tag:blogger.com,1999:blog-89900232215501419322024-03-10T03:12:01.264-07:00ENGLISH with McCABEwriting literature essay Martin Luther King Letter Birmingham Jail George Orwell Shooting Elephant Ted Conover Arthur Miller Death Salesman Malcolm X Ernest Hemingway Sherman Alexie David Sedaris John Updike Nancy Mairs Gabriel García Márquez Raymond Carver Anton Chekhov Charles Bukowski T C Boyle Gerald Locklin Ralph Ellison James Baldwin Joyce Carol Oates Bob Dylan Kafka Metamorphosis Jeff Wall Dorothea Lange Tillie Olsen Flannery O'Connor Junot Diaz James Joyce Tim O'Brien Andre KerteszChristopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.comBlogger163125tag:blogger.com,1999:blog-8990023221550141932.post-32499520272930119622016-02-08T01:16:00.000-08:002017-06-20T09:06:58.267-07:00What's Up with English with McCabe?<div style="text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Not much is up with English with McCabe these days since I retired from my position as an English professor at Pasadena City College. I'll be stopping by PCC from time to time, but for now I'm off to other things. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Frank Sinatra sings "Angel Eyes"</span></div>
Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com4tag:blogger.com,1999:blog-8990023221550141932.post-71065901613528344812015-12-19T22:02:00.004-08:002022-10-07T10:11:13.391-07:00Antonio Tapia: It’s not that I can’t, but how can I?<div class="No_0020Spacing" style="line-height: 24pt; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;">
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif" style="font-size: large;"><i>Antonio Tapia, a student in my English 1A, fall 2015, tells us what it is to be a student and a man who uses technology in a way many of us don't. His essay is worth reading. Antonio, thanks for sending this to me and allowing me to share it with others.</i></span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif" style="font-size: large;">A Reflection by <span style="line-height: 24pt;">Antonio Tapia</span></span></div>
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<span class="Normal__Char"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif" style="font-size: large;">I have always had physical limitations, and as a teenager it bothered me a bit. One thing that always helped me overcome this feeling of being dependent on someone else was being able to go to school. We can learn something new every day if we put our effort into it. My mother always taught me to believe that everyone is equal to each other, but I have seen not everyone has this belief. Due to my disability I have been judged by what I can and cannot do, but for me it’s not that I can’t, but how can I? I still do have limitations, but I always try to do my best at the things that I can do. I’m good at using a computer, and it is something I can use on my own. Technology is a tool that has allowed me to efficiently do some of my daily tasks. For now, technology has not made all things completely accessible, and sometimes I become frustrated when I can’t physically do something without someone helping me out.</span></span></div>
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<span class="Normal__Char"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif" style="font-size: large;">Two of the devices that I use daily are my power wheelchair and respirator. I wouldn’t know what I would do without these devices. The respirator aids with my breathing, and the respirator is something I can’t live without. The wheelchair lets me go most places, and I say most because not everywhere is wheelchair accessible. Most people who do not use a wheelchair do not consider this, and sometimes I get invited somewhere that is not accessible for me, including a friend’s house or very old public buildings. Until I am able to get a wheelchair that can climb stairs, I am limited to where I can go. Some buildings have backdoors as the only accessible entrance. One of my friends calls it the VIP entry. It's his way of making me feel better as I can't always go through the front door like everyone else.</span></span></div>
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<span class="Normal__Char"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif" style="font-size: large;">I feel that most people do judge me when we first meet, but eventually they see that they shouldn’t. That I always find a way to do the things that I want to do. Sometimes it just requires a different way for me to do something, and of course I am still human. I, too, require to socialize and have fun with others. Please don’t take this as me asking for pity, but to just recognize that I can do a lot more just in a different way.</span></span></div>
Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com0tag:blogger.com,1999:blog-8990023221550141932.post-45073074537203047152015-12-16T21:30:00.000-08:002015-12-16T22:08:16.235-08:00Merry Christmas!<div class="separator" style="clear: both; text-align: center;">
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Christmas in Catalonia. Group Swim in Barcelona. Credit: Emilio Morenatti/Associated Press. from The New York Times, December 15, 2011</div>
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<span class="Apple-style-span" style="color: white; font-family: "georgia" , "times new roman" , "times" , serif; font-size: 15px; line-height: 18px;">Chrisas Day, the big event is a group swim in the chilly waters of the Mediterranean off Barcelona.</span></div>
Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com3tag:blogger.com,1999:blog-8990023221550141932.post-89272540325013874482015-12-16T21:23:00.000-08:002015-12-17T06:31:31.790-08:00Etta, Elvis, and Charles: Merry Christmas Baby<div class="separator" style="clear: both; text-align: center;">
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Etta James singing "Merry Christmas, Baby"</div>
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Elvis Presley singing "Merry Christmas, Baby"</div>
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Charles Brown singing "Merry Christmas, Baby"</div>
Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com0tag:blogger.com,1999:blog-8990023221550141932.post-72825678298104688892015-12-09T21:13:00.000-08:002015-12-09T21:27:06.192-08:001B: Raymond Carver (1938-1988)<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif; font-size: small;">Raymond Carver (1938-88) said in a 1977 interview,</span><br />
<span style="font-family: "verdana" , sans-serif; font-size: small;"> <span style="background-color: white; line-height: 16.00299835205078px; text-align: left;">“I am beginning to feel like a cigarette with a body attached to it.”<br />Photograph by Bob Adelman, Syracuse, New York, 1984.</span></span></td></tr>
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<span style="font-size: xx-small; text-align: start;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">"A writer ought to speak about things that are important to him. . . . I tend to go back to the time and the people I knew well when I was younger and who made a very strong impression on me . . . . most of the people in my stories are poor and bewildered, that's true. The economy, that's important . . . I don't feel I'm a political writer and yet I've been attacked by right-wing critics in the U.S.A. who blame me for not painting a more smiling picture of America, for not being optimistic enough, for writing stories about the people who don't succeed. But these lives are as valid as those of the go-getters. Yes, I take unemployment, money problems, and marital problems as givens in life. People worry about their rent, their children, their home life. That's basic. That's how 80-90 percent, or God knows how many people live. I write stories about a submerged population, people who don't always have someone to speak for them. I'm sort of a witness, and, besides, that's the life I myself lived for a long time. I don't see myself as a spokesman but as a witness to these lives. I'm a writer."</span></span><br />
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<i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large; text-align: start;">--</i><i style="font-size: x-large; text-align: start;"><span style="font-family: "trebuchet ms" , sans-serif;">Raymond Carver</span></i></div>
<span style="font-size: large;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; text-align: start;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; text-align: start;">The above remarks by Carver were taken from an interview he did in spring 1987. For the complete text of this interview and one other with Carver, </span><b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; text-align: start;"><a href="http://sun.iwu.edu/~jplath/carver.html"><span style="color: blue;">view this link</span>.</a></b></span><br />
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<b style="font-weight: bold;">One: </b><b style="font-weight: bold; text-align: left;">[<span style="color: red;">Recommended.</span>]</b><span style="text-align: left;"> Watch the</span><span style="text-align: left;"> videos, above, about Carver.</span></div>
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<b>Two: </b><b>[<span style="color: red;">Recommended.</span>] </b>Read the Carver pages at the <span style="color: blue;"><a href="http://www.poetryfoundation.org/bio/raymond-carver" style="font-weight: bold;"><span style="color: blue;">Poetry Foundation</span></a>.</span></div>
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<b>Three: [<span style="color: red;">Recommended.</span>] </b>Read Carver's interview with the <span class="Apple-style-span" style="color: blue;"><a href="http://www.theparisreview.org/interviews/3059/the-art-of-fiction-no-76-raymond-carver" style="font-weight: bold;"><span style="color: blue;"><i>Paris Review</i></span></a>, </span>from Summer 1983.</div>
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<b>Four: [<span style="color: red;"><u>Recommended</u></span>]:</b> Read articles, take your pick, on Carver that are linked at <span style="color: blue; font-style: italic;"><a href="http://topics.nytimes.com/top/reference/timestopics/people/c/raymond_carver/index.html" style="color: blue; font-style: italic; font-weight: bold;">The New York Times</a>.</span></div>
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<b>Five:</b> <b>[<span style="color: red;"><u>Recommended</u></span>]: </b>Visit <i>The New Yorker's</i> <b><a href="http://www.newyorker.com/books/double-take/eighty-five-from-the-archive-raymond-carver"><span style="color: blue;">Raymond Carver page</span>.</a></b> The magazine has published many of Carver's stories and remembrances of him over the years.<br />
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The draft of the story, "Beginners," which became "What We Talk About When We Talk About Love," can be found <span style="color: blue;"><span style="color: blue; font-weight: bold;"><span style="color: blue;"><a href="http://public.wsu.edu/~bryanfry/Beginners%20Edited.pdf" style="color: blue;">right here</a>. </span></span></span>It shows Gordon Lish's edits. There is also a brief sample of Lish's edits <a href="http://biblioklept.org/2011/03/02/read-gordon-lishs-edit-of-raymond-carvers-what-we-talk-about-when-we-talk-about-love/"><span style="color: blue;">here</span>.</a><br />
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Lish's edits are an excellent example of the dynamics, or call it the conflict, that exist between writer and editor. See a discussion of Carver's <a href="http://www.newyorker.com/reporting/2007/12/24/071224fa_fact?currentPage=all"><b><span style="color: blue;">July 8, 1980 letter</span></b></a> to Lish, protesting his recent editorial cuts (some as much as 70%) of his collection of stories, <i>What We Talk About When We Talk About Love</i>. Letters from Carver to Lish, including the July 8, 1980 Carver letter to Lish, can be found <a href="http://www.newyorker.com/reporting/2007/12/24/071224fa_fact_carver"><b><span style="color: blue;">here</span></b>.</a><br />
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Now that you are an expert on "What We Talk About When We Talk About Love," I invite you to read "What We Talk About When We Talk About Doughnuts," from <i>The New Yorker</i>, May 10, 1999.</div>
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<b>Six:</b> <a href="http://www.loa.org/"><b><span style="color: blue;">The Library of America</span></b></a> publishes, as they say, "Authoritative texts of great American writing." They have a <a href="http://www.loa.org/volume.jsp?RequestID=307"><b><span style="color: blue;">page</span></b></a> on Carver. They also made a statement on Gordon Lish's editing of "Beginners"/"What We Talk About When We Talk About Love" and a letter, a tortured letter, by Carver with a plea to Lish to return the story more closely to the original. The Library of America's statement and Carver's letter <span style="color: blue;"><a href="http://www.loa.org/images/pdf/Carver_Note_on_Texts_re_Beginners_WWTA.pdf" style="font-weight: bold;"><span style="color: blue;">appears here</span></a>.</span><br />
<b>Seven:</b> Find "The Bath" at <a href="http://www.massey.ac.nz/massey/fms/Colleges/College%20of%20Humanities%20and%20Social%20Sciences/EMS/Readings/139.105/Additional/The%20Bath%20-%20Raymond%20Carver.pdf"><b><span style="color: blue;">this site</span>.</b></a><br />
<b>Eight:</b> Find an early version of "So Much Water So Close to Home"<span style="color: #073763;"> </span><span style="color: blue;"><b><a href="http://www.nyx.net/~kbanker/chautauqua/carver.htm">right here.</a> </b></span><span style="color: #0b5394;"><span style="color: black;">Please note, however, that this version incorrectly includes a question mark ("?") at the end of the story; it should end with a period.</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Redesign of Raymond Carver book covers by Todd Hido</td></tr>
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<b>Nine:</b> Carver's stories have inspired a number of films. They include <i>Short Cuts</i> by Robert Altman (and a cast of dozens, at least). Go <a href="http://www.nytimes.com/books/01/01/21/specials/carver-altman2.html"><b><span style="color: blue;">here to read</span></b></a> an interview with filmmaker Altman and poet Tess Gallagher, Carver's widow. Here's<span style="color: blue;"> <a href="http://www.rogerebert.com/reviews/short-cuts-1993">Roger Ebert's review</a> </span>of <i>Short Cuts</i>. A list of other Carver-inspired films can be <a href="http://www.imdb.com/name/nm0142577/">found at IMDB</a><u>.</u><br />
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<b>Ten: </b>Listen to writer Richard Ford, a close friend of Carver, <a href="https://soundcloud.com/guardianbookspodcast/richard-ford-reads-the">read Carver's "The Student's Wife."</a><br />
<u><br /></u><b>Eleven:</b> Want to learn more about Carver and his editor, Gordon Lish? <a href="http://www.nybooks.com/articles/archives/2010/may/27/two-raymond-carvers/">Read this</a> from <i>The New York Review of Books</i>. Thanks to former English 1B student Oshin Edralin, we have a YouTube video to watch about Lish and Carver. Here it is:</div>
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<b style="color: #0b5394;">Twelve:</b><span style="color: #0b5394;"> </span><b>[<span style="color: red;"><u>Recommended</u></span>]: </b><span style="color: #0b5394;"> For poetry by Carver go to </span><a href="http://www.poetryfoundation.org/bio/raymond-carver#poet"><span style="color: blue;"><b>this site</b></span></a><span style="color: #0b5394;"> at the Poetry Foundation and click the tab for "Poems, Articles and More." </span><a href="http://www.poetrysoup.com/famous/poems/best/raymond_carver" style="font-weight: bold;"><span style="color: blue;">Poetry Soup</span></a><span style="color: #0b5394;"> has a pretty good sample of his poetry, too, as does </span><a href="http://allpoetry.com/poems/by/Raymond%20Carver"><b><span style="color: blue;">All Poetry</span><span style="color: #0b5394;">.</span></b></a></div>
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<span style="text-align: start;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Carver described, in a <i>Paris Review</i> interview from the Summer 1983 issue, his writing process and the hard but pleasurable work involved in doing revisions: </span></span></div>
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<span style="background-color: white; color: #333333; line-height: 25.19999885559082px; text-align: start; text-indent: 27px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">"Much of this work time, understand, is given over to revising and rewriting. There's not much that I like better than to take a story that I've had around the house for a while and work it over again. It's the same with the poems I write. I'm in no hurry to send something off just after I write it, and I sometimes keep it around the house for months doing this or that to it, taking this out and putting that in. It doesn't take that long to do the first draft of the story, that usually happens in one sitting, but it does take a while to do the various versions of the story. I've done as many as twenty or thirty drafts of a story. Never less than ten or twelve drafts."</span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-size: xx-small; line-height: 25.19999885559082px; text-align: start; text-indent: 27px;"><br class="Apple-interchange-newline" /><span style="color: #333333;">For </span><i style="color: #333333;">The Paris Review's</i><span style="color: #333333;"> complete interview with Carver, </span><b><a href="http://www.theparisreview.org/interviews/3059/the-art-of-fiction-no-76-raymond-carver"><span style="color: blue;">visit this page</span><span style="color: #333333;">.</span></a></b></span></span></div>
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<tr><td class="tr-caption" style="font-size: 12.800000190734863px;"><span style="font-size: x-small;">Group work at its finest? Or a staged photo op? From left to right, clockwise: Kary, Elizabeth, Elia, </span><br />
<span style="font-size: x-small;">Nancy, Sara, and Stephanie, take on Carver's "Fever" at Shatford Library. </span><span style="font-size: x-small;">(June 1, 2011.)</span><br />
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<tr><td class="tr-caption" style="font-size: 12.800000190734863px;"><span style="font-size: x-small;">The Carver Gang discussing "What We Talk About When We Talk About Caffeine."</span><br />
<span style="font-size: x-small;">Clockwise, left to right: Stephanie, Tina, Sara, Kary, Brian, Some Guy, Kim and Nancy. June 8, 2011.</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">In the <i>Paris Review</i> interview, published in the Summer 1983 issue, Carver also discussed the purpose and pleasure of fiction:</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">"The days are gone, if they were ever with us, when a novel or a play or a book of poems could change people's ideas about the world they live in or even about themselves. Maybe writing fiction about particular kinds of people living particular kinds of lives will allow certain areas of life to be understood a little better than they were understood before. But I'm afraid that's it, at least as far as I'm concerned. Perhaps it's different in poetry. . . . Good fiction is partly a bringing of the news from one world to another. That end is good in and of itself, I think. But changing things through fiction, changing somebody's political affiliation or the political system itself, or saving the whales or the redwood trees, no. Not if these are the kinds of changes you mean. And I don't think it should have to do any of these things, either. It doesn't have to do anything. It just has to be there for the fierce pleasure we take in doing it, and the different kind of pleasure that's taken in reading something that's durable and made to last, as well as beautiful in and of itself. Something that throws off these sparks—a persistent and steady glow, however dim."</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-size: xx-small; line-height: 25.19999885559082px; text-align: start; text-indent: 27px;"><span style="color: #333333;">For </span><i style="color: #333333;">The Paris Review's</i><span style="color: #333333;"> complete interview with Carver, </span><b><a href="http://www.theparisreview.org/interviews/3059/the-art-of-fiction-no-76-raymond-carver"><span style="color: blue;">visit this page</span><span style="color: #333333;">.</span></a></b></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: small;">"<span style="background-color: white; text-align: left;">I'm not a 'born' poet. I don't know if I'm a 'born' anything </span>except a white American male,<span style="background-color: white; text-align: left;">" </span><span style="background-color: white;">Carver said of himself in the <i>Paris Review</i> interview from the Summer 1983 issue. </span><span style="background-color: white; text-align: center;">Photograph by Marion Ettlinger for Carver's 1985 poetry collection, </span><i style="text-align: center;">Where Water Comes Together With Other Water</i><span style="background-color: white; text-align: center;">.</span></span></div>
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Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com65tag:blogger.com,1999:blog-8990023221550141932.post-78859090485190016742015-11-30T21:44:00.000-08:002015-12-13T14:54:36.372-08:001A: George Orwell (1903-1950) & 1984<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2aJVUjeyWugplC8BO_b3szRu_xRXVCZNRzl2vn0uwWjPWcG8hlwPpBCiDmStjUV99plPJzYdjrwbdhKJgr3-5XqkoY2q-8Gn6yVMfy48sAPkku0cGjmTvUmJiZ5AiSf2_Xkh0OaHYQaH5/s1600/George+Orwell+brainpickings.jpg" imageanchor="1" style="font-size: 12.7272720336914px; margin-left: 1em; margin-right: 1em;"><img border="0" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2aJVUjeyWugplC8BO_b3szRu_xRXVCZNRzl2vn0uwWjPWcG8hlwPpBCiDmStjUV99plPJzYdjrwbdhKJgr3-5XqkoY2q-8Gn6yVMfy48sAPkku0cGjmTvUmJiZ5AiSf2_Xkh0OaHYQaH5/s1600/George+Orwell+brainpickings.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">There are numerous sources available on the web about George Orwell, author of <i>Animal Farm</i> (1945) and <i>1984</i> (1949). <a href="http://theorwellprize.co.uk/">The Orwell Prize</a> is an extraordinary site that has extensive biographical information about him and reproductions of his essays and fiction. A good biography of Orwell can be found at <a href="http://www.oxforddnb.com/public/dnb/31915.html"><span style="color: blue;">Oxford Directory of National Biography</span></a>. In addition, a six-part series about him has been posted on YouTube. It runs about a half-hour. Here are the links for the Orwell program: <a href="http://www.youtube.com/watch?v=iHaAB7VCWvw&feature=related">Part I</a>, <a href="http://www.youtube.com/watch?v=RIkcb2SWyI4&feature=related">Part II</a>, <a href="http://www.youtube.com/watch?v=rHCrbAWPjYA&feature=related">Part III</a>, <a href="http://www.youtube.com/watch?v=d280vXgbqjs&feature=related">Part IV</a>, <a href="http://www.youtube.com/watch?v=sRNqGJxw22g&feature=related">Part V</a>, and <a href="http://www.youtube.com/watch?v=xWOo_zPP1rY&feature=related">Part VI</a> (Part VI may still be broken.) There is also a multi-part series called <a href="https://www.youtube.com/watch?v=_Db3-svhC4k&list=PLC9608424E2AC4FF0">The Real George Orwell.</a> Elsewhere you can read Orwell's explanation of <span style="color: blue;"><a href="http://www.brainpickings.org/index.php/2012/06/25/george-orwell-why-i-write/"><span style="color: blue;">why he writes</span>.</a> </span>His reasons, to paraphrase him, briefly: (I) Sheer egotism, (II) Aesthetic enthusiasm, (III) Historical impulse, (IV) Political purpose. <a href="http://www.shortlist.com/entertainment/books/15-things-you-%28probably%29-didnt-know-about-george-orwell"><span style="color: blue;">Click on this</span></a> for 15 Things You (Probably) Didn't Know About George Orwell. Christopher Hitchens and George Packer talk about Orwell <a href="https://www.youtube.com/watch?v=W32BEjvU7QM">on C-SPAN</a> (closed captioned).</span><br />
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<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">"Eric Blair (George Orwell) stands third from left in this photo from his days at the Burma Provincial Police Training School, dated 1923." from Wai Moe's article "Orwell's Old School Sold to Burmese Tycoon" in <i>The Irrawaddy: Covering Burma and Southeast Asia</i>, October 26, 2010. (Source: <a href="http://irrawaddy.org/article.php?art_id=17590"><i>The Irrawaddy</i></a>).</span><br />
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<span style="font-size: large;">Yangoon, largest city in Myanmar (Burma), where Orwell served as a police officer, is profiled </span><a href="http://www.nytimes.com/2013/09/13/world/asia/videos-from-yangon-myanmar.html" style="font-size: x-large;"><span style="color: blue;">here</span>.</a><span style="font-size: large;"> You'll also find several videos about Yangoon at this </span><a href="http://www.nytimes.com/2013/09/13/world/asia/videos-from-yangon-myanmar.html" style="font-size: x-large;"><span style="color: blue;">page</span>.</a></span><br />
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<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Question: Is the name of the country where Orwell served known as Burma or Myanmar? Here's <a href="http://www.wordorigins.org/index.php/burma_myanmar/">one explanation.</a></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Orwell was in Burma from 1922-27. <a href="http://theorwellprize.co.uk/george-orwell/by-orwell/burmese-days/">Burmese Days</a> <span style="color: #333333;">was Orwell's first novel, </span></span><span style="color: #333333; font-size: large;">published in the U.S. in 1934. Here's an <a href="http://www.nytimes.com/2013/05/24/world/asia/orwells-house-links-myanmar-to-its-burmese-days.html?pagewanted=all">article about the house</a> in Katha, Myanmar (formerly Burma) where he wrote the novel. </span><span style="color: #333333; font-size: large;">You can find his essay <a href="http://theorwellprize.co.uk/george-orwell/by-orwell/essays-and-other-works/how-a-nation-is-exploited-the-british-empire-in-burma/">"How a Nation Is Exploited – The British Empire in Burma"</a> </span><span style="color: #333333; font-size: large;">that he wrote as E.A. Blair (aka George Orwell) after returning to Great Britain in 1927.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsr2vA7GKxlPpS72ByqXTNge15EvI7SPR5T2S0W4Lpjj-4cRRqrWBRBabwhHEuHVr37roUkvuB1z6sohxXeoX6fE_S9a8QV8q7juIYu53aYzFGkHC6OBoL39-CS0gOBieSBhoxmunopUHj/s1600/Finding+George+Orwell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsr2vA7GKxlPpS72ByqXTNge15EvI7SPR5T2S0W4Lpjj-4cRRqrWBRBabwhHEuHVr37roUkvuB1z6sohxXeoX6fE_S9a8QV8q7juIYu53aYzFGkHC6OBoL39-CS0gOBieSBhoxmunopUHj/s320/Finding+George+Orwell.jpg" width="202" /></span></a></div>
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<span style="color: #333333; font-size: large;">NPR broadcast a program about <a href="http://www.npr.org/templates/story/story.php?storyId=4761169">Exploring Burma through Orwell</a>. Emma Larkin, author of <i>Finding George Orwell in Burma</i>, published in 2005, is interviewed. Larkin, the name is a pseudonym, learned how powerful Orwell's writing was for many Burmese. For one elderly Burmese man, upon hearing the name of the author of <i>1984</i>, "his</span><span style="text-align: center;"><span style="color: #333333; font-size: large;"> eyes suddenly lit up. He looked at me with a brilliant flash of recognition, slapped his forehead gleefully, and said, 'You mean the prophet!'" The prologue of her book, from which this passage appears, can also be found on <a href="http://www.npr.org/templates/story/story.php?storyId=4761169">this NPR page.</a></span></span></span><br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSNwF0QjpiVb7B_kz5NoNJI8lztvk6ZT1UiYRKMixmlsywH3Fc66W9HSCkIEu6i9aB4lfoi763cD-rqMd83HB_Woek28AxkX4irFH3cNEmI4kQnyRaHOlQiHlUxu5kfYOy4kCc4y3sbKi-/s1600/Orwell+Passport+Photo+c.+1935.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="640" nx="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSNwF0QjpiVb7B_kz5NoNJI8lztvk6ZT1UiYRKMixmlsywH3Fc66W9HSCkIEu6i9aB4lfoi763cD-rqMd83HB_Woek28AxkX4irFH3cNEmI4kQnyRaHOlQiHlUxu5kfYOy4kCc4y3sbKi-/s400/Orwell+Passport+Photo+c.+1935.jpg" width="452" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.7272720336914px;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Orwell passport photo, circa 1935</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">You can learn more about the recent history of Myanmar (formerly Burma) from </span><a href="http://topics.nytimes.com/top/news/international/countriesandterritories/myanmar/index.html" style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;">The New York Times</a><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">. and the </span><a href="http://www.bbc.com/news/world-asia-pacific-12990563" style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;">BBC News</a><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">.</span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large; text-align: left;">During October 2013 </span><a href="http://www.nytimes.com/2013/10/03/world/asia/myanmar-violence-buddhists-muslims.html" style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: x-large; text-align: left;">violence escalated</a><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large; text-align: left;"> between Buddhists and Muslims, with six Muslims killed on one attack upon them. From </span><a href="http://www.nytimes.com/2013/10/16/world/asia/2-dead-and-american-wounded-in-myanmar-blasts.html?src=recg" style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: x-large; text-align: left;">The New York Times, Oct. 15, 2013</a><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large; text-align: left;">: "A series of unexplained blasts across Myanmar over the past several days has left two people dead and raised anxiety in the country’s main city, Yangon, where an explosion on Monday at a luxury hotel injured an American tourist."</span><br />
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<strong><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Obama’s Historic Visit</span></strong></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">In mid-November 2012, during a trip to Southeast Asia, <a href="http://www.nytimes.com/2012/11/20/world/asia/obama-in-an-emerging-myanmar-vows-support.html?hp&_r=0" style="color: #666699; text-decoration: initial;">President Obama made a historic visit to Myanmar </a>to “extend the hand of friendship” as the country began to throw off military rule and emerge from decades of isolation.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Obama is the first sitting American president to visit Myanmar, with the hope of solidifying the stunning changes that have transformed this country and encouraging additional progress toward a more democratic system. With the promise of more financial assistance, Mr. Obama vowed to “support you every step of the way.”</span></div>
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Asian Elephants </b>(as in Orwell's "Shooting an Elephant")</span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Some things about them: They are 6.5-11.5 feet tall; weigh around 11,000 pounds; and are 21 feet long, the World Wildlife Fund reports.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Elephants & Timber, 1920's, is also at <a href="https://www.youtube.com/watch?v=Efv366AsvBc">this page.</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-size: large;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ff3RS08_KKU" width="420"></iframe></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Rangoon - Burma (1920-1929) is also <a href="https://www.youtube.com/watch?v=ff3RS08_KKU">at this page.</a></span></div>
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/XeAIo0JIAks" width="420"></iframe></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">See Working Elephant of Myanmar <a href="https://www.youtube.com/watch?v=XeAIo0JIAks">here at this page.</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/fZUNMGz-XKc" width="560"></iframe></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Watch from about 13:00 minutes to 19:00 minutes to see working</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">timber elephants in Myanamar today,</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> If the video does not play go <a href="https://www.youtube.com/watch?v=fZUNMGz-XKc">to this page.</a></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">How important is the Asian Elephant to the region? Here is what the <a href="http://worldwildlife.org/species/asian-elephant">World Wildlife Fund</a> has to say:</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">"<span style="background-color: white; line-height: 24px;">Elephants are an important cultural icon in Asia. According to Indian mythology, the gods (deva) and the demons (asura) churned the oceans in a search for the elixir of life so that they would become immortal. As they did so, nine jewels surfaced, one of which was the elephant. In Hinduism, the powerful deity honored before all sacred rituals is the elephant-headed Lord Ganesha, who is also called the Remover of Obstacles."</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaKB4UA8qt3PgNkcFsedpVGm1g11lKMxIkWO0RhICmFyur-QYnXU7R2WKf1QHkFv0ybrcNtJ9Ytqsqc_aqAnZ81Qz_wavc232auaA2GiDB7VvLttNxHpeRdHhdk2W9RvAGX8ci1TZJT07q/s1600/Photo_3_Asian_Elephant.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaKB4UA8qt3PgNkcFsedpVGm1g11lKMxIkWO0RhICmFyur-QYnXU7R2WKf1QHkFv0ybrcNtJ9Ytqsqc_aqAnZ81Qz_wavc232auaA2GiDB7VvLttNxHpeRdHhdk2W9RvAGX8ci1TZJT07q/s640/Photo_3_Asian_Elephant.jpg" width="640" /></span></a></div>
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Close-up of an Asian elephant. Source: World Wildlife Fund</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><span style="color: #990000; font-size: x-large;">Nineteen Eighty-Four (1984)</span></b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><span style="font-size: x-large;"></span><span style="font-size: large;">published June 6, 1949</span></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSxDLSZrZR84cotY_e1McykPZkqbMBklyPGR3yyf-b5P-f34G1UQiI5UJCc72tMGISj6u_x88_peB0beWTTMGckOslBVgbAcMUiNOpmyecRJWn0rULk35DH2MRc0oxAm5sGFsOOeD3vMV6/s1600/1984+slogans+with+Big+Brother.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSxDLSZrZR84cotY_e1McykPZkqbMBklyPGR3yyf-b5P-f34G1UQiI5UJCc72tMGISj6u_x88_peB0beWTTMGckOslBVgbAcMUiNOpmyecRJWn0rULk35DH2MRc0oxAm5sGFsOOeD3vMV6/s1600/1984+slogans+with+Big+Brother.jpg" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-large;"><a href="http://cms.mentalfloss.com/article/64195/14-things-you-might-not-know-about-nineteen-eighty-four"><span style="color: blue;">14 Things</span> </a>You Might Not Know About <i>Nineteen Eighty-Four</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS3cX01orZ8g_QRxPU7EbCHS0_LyWqswvV52P3MTAhOKzPrQx37wzJhqrCp1hgt0WHg215iRotehU0E_Yo-Zt5Ta7XwsagqEMTo13gR9tdTYUf8R4aAl5BIXAfOxiVh_FcJz4bA56-Q1la/s1600/orwell+1984.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS3cX01orZ8g_QRxPU7EbCHS0_LyWqswvV52P3MTAhOKzPrQx37wzJhqrCp1hgt0WHg215iRotehU0E_Yo-Zt5Ta7XwsagqEMTo13gR9tdTYUf8R4aAl5BIXAfOxiVh_FcJz4bA56-Q1la/s320/orwell+1984.jpg" width="242" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>Orwell letter and <i>Nineteen Eighty-Four</i></b></span></div>
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<span style="color: red; font-family: "times" , "times new roman" , serif;"><b>RECOMMENDED</b></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="color: blue; font-family: "times" , "times new roman" , serif;"><a href="http://www.openculture.com/2014/01/george-orwell-explains-in-a-revealing-1944-letter-why-hed-write-1984.html">Orwell explains in a letter why he'd write Nineteen Eighty-Four</a>,</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Open Culture, January 9, 2014</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">A similar post appears at <a href="http://www.thedailybeast.com/articles/2013/08/12/george-orwell-s-letter-on-why-he-wrote-1984.html">The Daily Beast</a>, August 12, 2013</span></div>
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<b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;"><i>Nineteen Eighty-Four</i> reviews, sales, and . . .</b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="http://www.newworker.org/ncptrory/1984.htm">by science fiction writer Isaac Asimov</a></span></div>
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<i>The New Worker</i>, undated</div>
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<a href="http://io9.com/5890861/read-aldous-huxleys-review-of-1984-he-sent-to-george-orwell">Brave New World novelist Aldous Huxley's review of 1984 he sent to Orwell</a></div>
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<i>iO9</i>, March 6, 2012</div>
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<a href="http://www.nytimes.com/1984/01/01/nyregion/the-message-for-today-in-orwell-s-1984.html">The Message for Today in Orwell's '1984'</a></div>
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<i>The New York Times</i>, January 1, 1984</div>
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<a href="http://www.independent.co.uk/arts-entertainment/books/news/orwells-1984-sixty-years-on-1698619.html">Orwell's '1984' 60 Year On</a></div>
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<i>The Independent,</i> June 7, 2009</div>
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<a href="http://www.bbc.com/news/magazine-21337504">1984: George Orwell's road to dystopia</a></div>
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BBC, February 10, 2013</div>
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<a href="http://www.newyorker.com/books/page-turner/so-are-we-living-in-1984">So Are We Living in 1984?</a></div>
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<i>The New Yorker, June 11, 2013</i></div>
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<a href="http://en.wikipedia.org/wiki/Nineteen_Eighty-Four">Wikipedia entry re: Nineteen Eighty-Four (1984</a>)<br />
<a href="http://www.npr.org/sections/thetwo-way/2013/06/11/190615813/book-news-sales-of-orwell-s-1984-leap-after-nsa-revelations">News: Sales Of Orwell's '1984' Spike After NSA Revelations</a><br />
NPR, June 11, 2013<br />
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<span style="color: red;"><b>RECOMMENDED</b></span><br />
<a href="https://www.youtube.com/watch?v=D7NrEXLklMQ">The Story of 1984 by George Orwell</a><br />
Discovery Civilasation</div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>Orwellian - The term</b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Search "Orwellian" on Google and you'll get about 725,000 hits. Here are some:</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="color: blue;"><a href="http://www.theguardian.com/books/booksblog/2014/nov/11/reading-group-orwellian-1984">Do You Really Know What 'Orwellian' Means?</a></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The Guardian, November 11, 2014</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="http://www.dailymail.co.uk/debate/article-1192484/60-years-Orwell-wrote-1984-destroyed-book-chilling-reminder-sinister-vision-reality.html">60 years after Orwell wrote 1984 and was destroyed by the book, a chilling reminder that his sinister vision is almost reality</a></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The Daily Mail, June 12, 2009</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="http://www.theatlantic.com/politics/archive/2012/09/calling-us-drone-strikes-surgical-is-orwellian-propaganda/262920/">Calling U.S. Drone Strikes 'Surgical' is Orwellian Propaganda</a></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The Atlantic, September 27, 2012</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="http://bigthink.com/the-proverbial-skeptic/orwellian-phrase-of-the-week">Orwellian Phrase of the Week</a></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Big Think, June 6, 2013</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="http://www.cnet.com/news/sinister-and-orwellian-biobeats-founder-warns-of-the-dark-side-of-wearables-and-biometrics/">'Sinister' and 'Orwellian': BioBeats founder warns of the dark side of wearables and biometrics</a></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">CNET, May 13, 2015</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="http://www.pbs.org/newshour/making-sense/big-brother-watching-one-isnt-nsa/">A Creepy Vision of the New Economic Order, Harvested by You</a></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">PBS Newshour, June 4, 2015</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>Finally . . .</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfOBkHPUKPdqG6I_43iaxk3qbj_6rMwtoL1KIrCechUhHx5XHbHsPTrQXFgEZJNHx-nxmdjqZrL8H7KSOrkDTRvnkC3MA6-pVWRraHJLSxDtk1eMwu-f-337PasY8e4Oekxw0-XWJcIEEM/s1600/1984+Lesley+Barnes+illustration.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfOBkHPUKPdqG6I_43iaxk3qbj_6rMwtoL1KIrCechUhHx5XHbHsPTrQXFgEZJNHx-nxmdjqZrL8H7KSOrkDTRvnkC3MA6-pVWRraHJLSxDtk1eMwu-f-337PasY8e4Oekxw0-XWJcIEEM/s640/1984+Lesley+Barnes+illustration.jpg" width="640" /></a></div>
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<a href="http://www.lesleybarnes.co.uk/1984-The-Graphic-Canon-3"><span style="color: blue;">Illustration</span></a> by <a href="http://www.lesleybarnes.co.uk/"><span style="color: blue;">Lesley Barnes</span></a>. Inspired by Orwell's <i>Nineteen Eighty-Four</i>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5v9-pfcp4TFK3TxIEDrv7JWW9-JoRs1x-FN8lIoQwxUjy59c3259NrhMc73FmQC7RCGD5-ktVDc_utxMyNGR84F5b-2lLry0D2ysDAJiLqDMb2bqzyIGh9LWq8Kdqsib4PEnBHToUjg98/s1600/1984+book+jacket.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5v9-pfcp4TFK3TxIEDrv7JWW9-JoRs1x-FN8lIoQwxUjy59c3259NrhMc73FmQC7RCGD5-ktVDc_utxMyNGR84F5b-2lLry0D2ysDAJiLqDMb2bqzyIGh9LWq8Kdqsib4PEnBHToUjg98/s640/1984+book+jacket.png" width="640" /></a></div>
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Book jacket by <a href="http://wcownews.typepad.com/macawards/2014/04/mac14-digital-arts-digital-imaging-nominees.html"><span style="color: blue;">Erik Alvarado</span></a></div>
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Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com19tag:blogger.com,1999:blog-8990023221550141932.post-33392775562972460992015-11-23T15:01:00.000-08:002015-11-23T22:05:26.711-08:001A Research Project (SEE SCHEDULE for WED. 11/25)<b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;">Are you writing an argument? You are for this assignment. Watch what some Harvard professors have to say about writing an argument. </b><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-large;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/D5mOwA-SIaI" width="560"></iframe></span></div>
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">You can also watch the above video with Harvard professors</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">discussing writing an argument at <a href="http://harvardwrites.com/writing-an-argument/">this site.</a> </span><br />
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<b><span style="font-size: large;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Looking for some statistics or reports? Try some of </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">these sites. These are only a selection. Post in the comments section if you find more.</span></span></b></div>
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<a href="http://www.who.int/topics/en/">World Health Organization</a><br />
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<a href="http://www.cdc.gov/nchs/fastats/default.htm">Centers for Disease Control and Prevention</a><br />
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<a href="http://www.cfr.org/">Council on Foreign Relations</a><br />
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<a href="https://www.whitehouse.gov/administration/eop/nsc">National Security Council</a> at The White House website.<br />
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<a href="http://www.bjs.gov/index.cfm?ty=dca">U.S. Department of Justice Bureau of Justice Statistics</a><br />
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<a href="https://www.whitehouse.gov/sites/default/files/docs/millennials_report.pdf">White House Council of Economic Advisors 15 Economic Facts about Millenials</a><br />
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-large;">****************</span></b></div>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>Television News</b></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">How's the research going? Could be better? </span><br />
<span style="font-size: large;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Try these TV news sites: <a href="http://www.cbsnews.com/60-minutes/">60 Minutes</a>, <a href="http://www.pbs.org/wgbh/pages/frontline/">PBS Frontline</a>, and other PBS news programs. Here is an example from PBS Newshour on <a href="http://video.pbs.org/video/2365495933/">Students and robotics</a>.</span></span><br />
<span style="font-size: large;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Why search and watch something broadcast on TV?</span></span><br />
<span style="font-size: large;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Chances are you'll find something pertinent to your topic at these sites. If you do, you might see the world you are researching better--you'll see people, places, examples of the concrete and the specific detail. And it will direct you to additional sources.</span></span><br />
<span style="font-size: large;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Check, too, some of the linked sites that appear on English with McCabe, at the right. "NEWSPAPERS, MAGAZINES & JOURNALS" and "FILM, TV & RADIO" are the ones to look for. </span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>Research Questions</b></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Here's a good exercise I found re: research questions. It is <a href="http://bcs.bedfordstmartins.com/bedfordresearcher/activities/docs/devresearchquestion.pdf">Bedford's My Research Project</a>. It encourages writers to develop research questions by asking the "what, why, when, where, who, </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">how, would/could, [and] should" of their topic. By doing so, writers can better focus their topic, conduct research, organize an essay, and advance an argument. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>MLA & Annotated Bibliography</b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Purdue OWL is an excellent site for writers. Here's two of their pages that will be helpful, in addition to what you find in your handbook and on the research assignment sheets: <a href="https://owl.english.purdue.edu/owl/resource/747/01/">MLA Formatting and Style Guide</a> and <a href="https://owl.english.purdue.edu/owl/resource/614/01/">Annotated Bibliography</a>.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-large;"><b><u>SCHEDULE UPDATE</u></b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b><u>(this is different than dates on Research Project sheet)</u></b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;"><b>Mon. 11/2</b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;"><b>Wed. 11/4</b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;"><b>DUE:</b> Research Proposal & Annotated Bibliography <b>Draft; </b></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;">A Writer’s Reference (reading to be assigned)</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium; white-space: pre;"> </span></div>
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;">Mon.</span> <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;">11/9</span></b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;"><b style="font-weight: normal;">DUE:</b><b style="font-weight: normal;"> </b>Research Proposal & Annotated Bibliography</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;"> FINAL Revision</span></div>
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;">Wed.</span> </b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;"><b>11/11</b> </span><span class="Apple-tab-span" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium; white-space: pre;"> </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;">Veterans Day — Campus Closed</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;"><b>Mon. 11/16</b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;">Class was canceled</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>Wed. 11/18</b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;"><b>DUE: </b>Research Draft #2 (bring 2 copies)</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: medium;">A Writer’s Reference (reading to be assigned)</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>Mon. 11/23</b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>DUE: </b>Research Draft #3 (bring 2 copies)</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">A Writer’s Reference (reading to be assigned)</span></div>
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<span style="color: red; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-large;"><b><u>Wed. 11/25</u></b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>DUE: Research Draft #4 (bring 2 copies)</b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Bring <i>A Writer’s Reference</i> to class</b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>Thursday 11/26 </b>Thanksgiving - Campus Closed</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>Mon. 11/30</b></span></div>
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<b style="font-family: 'helvetica neue', arial, helvetica, sans-serif; font-size: x-large;">DUE: Research </b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b><u>FINAL</u></b></span><b style="font-family: 'helvetica neue', arial, helvetica, sans-serif; font-size: x-large;"> Revision</b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>Wed. 12/2</b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><i>1984 </i>(pages 1-29)</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>Mon. 12/7</b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><i>1984 </i>(pages 29-104)</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>Wed. 12/9</b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><i>In-class essay re: 1984 (pages 1-104; Bring a blue book)</i></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b><u>Final Exam Meeting</u></b><i> </i></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Brief writing assignment</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><u><b>Mon./Wed. 9:15 a.m. class in C 269</b></u> will meet for final exam on Wed., Dec. 16, 8:00 a.m. - 10:00 a.m.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><u><b>Mon./Wed. 1:45 p.m. class in C 257</b></u> will meet for final exam on Wed., Dec. 16, 1:00 p.m. - 3:00 p.m. </span></div>
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Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com0tag:blogger.com,1999:blog-8990023221550141932.post-54595140989098026662015-11-21T15:12:00.000-08:002015-11-21T23:19:30.118-08:00Revision Questions for Research PapersWhen reviewing the essay draft, make your editorial comments directly on the draft and, in some cases, answer the questions below on the back of the student’s essay. Once you have completed these steps, which should take about 20 minutes, discuss your remarks with the writer.<br />
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1. Is the essay title sufficiently focused? If not, offer a suggested title. <br />
2. Does the first paragraph clearly introduce the subject under consideration? Is the theme of the work presented? Are there words (or sentences) in the first paragraph that can be removed (or edited) in order to make the introduction more concise and clear? does the writer offer a surprising statistic, anecdote, illustration, or provocative question? Should they?<br />
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3. What is the essay's thesis? Is it specific enough for the length of the essay? Where does it appear in the essay? (A thesis is an argument and it is the thread that runs from the beginning to the end of the essay.) Copy what you think the writer’s thesis is on the back of his or her essay.<br />
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4. Is the issue under consideration clearly summarized near the beginning of the essay? Should anything be added? On the other hand, is the issue summarized at too great of a length? If either is true, make your suggested revisions directly on the draft.<br />
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5. Are quotes from the original work(s) used judiciously? If not, how could they be improved? (Note: no more than 25% of the essay should be comprised of quotations.)<br />
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6. What are the best examples in support of the writer's thesis? Can they be more fully developed? How? What other examples could the writer provide?<br />
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7. Is there sufficient analysis of the examples? Or does the writer let the examples “speak” for themselves or "prove" the essay's thesis? If this is true, suggest where the writer needs to provide a fuller analysis of the example(s) provided.<br />
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8. Is the essay unified? Do paragraph topic sentences connect to the thesis? If not, what are the examples or discussions unrelated to the essay's thesis? If there are sections where the essay lacks focus, suggest an alternative presentation of the thesis and/or the examples so the essay achieves coherence.<br />
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9. Is the conclusion earned? Or does it introduce a new topic or idea not relevant to the essay’s thesis?<br />
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10. Are rules of citation followed within the essay’s text? If not, mark them for correction by the writer. Do all in-text citations appear on the Works Cited page? Review the sources—whether articles from a newspaper, magazine or scholarly journal, or book—on the Works Cited page. Are all of these sources cited within the essay? Does the Works Cited page follow MLA guidelines?<br />
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11. For the writer’s attention, mark errors in spelling, grammar, and punctuation.Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com4tag:blogger.com,1999:blog-8990023221550141932.post-32168033087007863372015-11-19T06:10:00.000-08:002015-11-19T06:06:56.465-08:001B: Flannery O'Connor (1925-1964)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFimjuVP5g393bfXlLDVSELD5pSd_q14tI69XAhd6pWD1IvWI6UOXU6voU1vT4Tf4Xt3RxGR7teOaCU-k9c6qC6n9c_gpOnH9KG9CHK6n2NBMbpoGFn8VZBP0fMvxgOM1K8n8iM4_ryOrg/s1600/o'connor+portrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="497" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFimjuVP5g393bfXlLDVSELD5pSd_q14tI69XAhd6pWD1IvWI6UOXU6voU1vT4Tf4Xt3RxGR7teOaCU-k9c6qC6n9c_gpOnH9KG9CHK6n2NBMbpoGFn8VZBP0fMvxgOM1K8n8iM4_ryOrg/s1600/o'connor+portrait.jpg" width="640" /></a></div>
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<span style="font-size: large; text-align: justify;">Let's start here with Flannery O'Connor </span><a href="http://www.openculture.com/2015/01/flannery-oconnor-to-lit-professor.html" style="font-size: x-large; text-align: justify;"><span style="color: blue;">writing</span></a><span style="font-size: large; text-align: justify;"> to a literature professor. She must have been a very patient woman. From <span style="color: blue;"><a href="http://www.openculture.com/2015/01/flannery-oconnor-to-lit-professor.html"><span style="color: blue;">Open Culture:</span></a> </span>"</span><span style="font-size: large;">Flannery O’Connor to Lit Professor: 'My Tone Is Not Meant to Be Obnoxious. I’m in a State of Shock.'”</span><br />
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<span class="Apple-style-span" style="font-size: large;">Want to learn more about Flannery O'Connor? Who doesn't? Check out some of these websites devoted to her: <a href="http://www.csustan.edu/english/reuben/pal/chap10/oconnor.html">Perspectives in American Literature</a>, and the <a href="http://www.libs.uga.edu/gawriters/oconnor.html">Georgia Writers Hall of Fame</a>.</span></div>
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<span class="Apple-style-span" style="font-size: large;">One of the most extensive websites concerning O'Connor is <a href="http://mediaspecialist.org/">Comforts of Home: The Flannery O'Connor Repository</a>. There you will find links to online publications about O'Connor, study guides and biographical information. <i>The New York Times</i> also has a <a href="http://topics.nytimes.com/top/reference/timestopics/people/o/flannery_oconnor/index.html">page on O'Connor</a>. Find an <i>Atlantic</i> magazine review of Brad Gooch's biography of O'Connor, <i>Flannery</i>, <a href="http://www.theatlantic.com/magazine/archive/2009/06/touched-by-evil/7422/">here</a>. More information about O'Connor's life and her writing is forthcoming because of Emory University's <a href="http://www.nytimes.com/2014/10/08/books/university-acquires-flannery-oconnors-papers-and-effects.html?hp&action=click&pgtype=Homepage&version=HpSectionSumSmallMedia&module=pocket-region&region=pocket-region&WT.nav=pocket-region&_r=0">acquisition</a> of her letters, drafts, and journals. These materials will be available to the public.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA8lQ4KvR1kQuOjsmegk0j5A1677hirxPCdrnFlCa9lcKPa823oq_TnOldNSQB2DNJuUqvF-xRZnYUD7PTbRjlzLauGc8Ry2qSQdQjX_C4_ZizmvXEIumNY6Y_XAuG1O2CkiHG_sfS7E9r/s1600/Self-Portrait1953.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA8lQ4KvR1kQuOjsmegk0j5A1677hirxPCdrnFlCa9lcKPa823oq_TnOldNSQB2DNJuUqvF-xRZnYUD7PTbRjlzLauGc8Ry2qSQdQjX_C4_ZizmvXEIumNY6Y_XAuG1O2CkiHG_sfS7E9r/s320/Self-Portrait1953.jpg" width="547" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>O'Connor's self-portrait from 1953.</b></span><br />
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<b style="font-size: x-large;"><u><i style="color: red;">HIGHLY RECOMMENDED</i></u></b><br />
<b style="font-size: x-large;"><u>O'CONNOR and art </u></b><br />
<span style="font-size: large;">from <i>The Paris Review</i></span><br />
<span style="font-size: large;"><a href="http://www.theparisreview.org/blog/2012/04/30/flannery-o%E2%80%99connor-and-the-habit-of-art/"><b>Flannery O'Connor and the Habit of Art</b></a></span><br />
<span style="font-size: large;">April 30, 2012 | by Kelly Gerald</span><br />
<span style="font-size: large;"><br /></span><span style="font-size: large;">"'For the writer of fiction,' Flannery O’Connor once said, 'everything has its testing point in the eye, and the eye is an organ that eventually involves the whole personality, and as much of the world as can be got into it.' This way of seeing she described as part of the 'habit of art,' a concept borrowed from the French Catholic philosopher Jacques Maritain. She used the expression to explain the way of seeing that the artist must cultivate, one that does not separate meaning from experience.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvENA33oZfgMyzHfrcgAtEidL__b_qVyh47vgD7t0Mkec1Y0MSIMhSL-IeG0vU9X2rk_9oN_n-CKlH5VvcCmqOZLuc0-r2MHcSXfhF9PW0CLemsbf-1tmbZoz-MgIXDeMZx5hXY88-cJlc/s1600/O'Connor+Illustration+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvENA33oZfgMyzHfrcgAtEidL__b_qVyh47vgD7t0Mkec1Y0MSIMhSL-IeG0vU9X2rk_9oN_n-CKlH5VvcCmqOZLuc0-r2MHcSXfhF9PW0CLemsbf-1tmbZoz-MgIXDeMZx5hXY88-cJlc/s1600/O'Connor+Illustration+1.jpg" width="203" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The sketches reproduced here are from <a href="http://www.amazon.com/gp/product/1606994794/ref=od_img_link_refresh_T1">Flannery O'Connor: The Cartoons</a>,<br />
work that she did in high school and college. </td></tr>
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<span style="font-size: large;">"The visual arts became one of her favorite touchstones for explaining this process. Many disciplines could help your writing, she said, but especially drawing: 'Anything that helps you to see. Anything that makes you look.' Why was this emphasis on seeing and vision so important to her in explaining how fiction works? Because she came to writing from a background in the visual arts, where everything the artist communicates is apprehended, first, by the eye.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihZbZY3EtKC9Ak4TNm671Ms0mTX2S5wAcF3pGCk-Znk1g0chntJuLqAEUpLtPcP3ePEfclUa5jRhORiKjz3w0-JQqy1puqN5Fb6dW7Sn05BX0cFy28YUDqR4iT0Mkxr8l7BsxUZXCUOyIE/s1600/O'Connor+Illustration+5+Traffic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihZbZY3EtKC9Ak4TNm671Ms0mTX2S5wAcF3pGCk-Znk1g0chntJuLqAEUpLtPcP3ePEfclUa5jRhORiKjz3w0-JQqy1puqN5Fb6dW7Sn05BX0cFy28YUDqR4iT0Mkxr8l7BsxUZXCUOyIE/s1600/O'Connor+Illustration+5+Traffic.jpg" width="302" /></a></div>
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<span style="font-size: large;">"She had developed the habits of the artist, that way of seeing and observing and representing the world around her, from years of working as a cartoonist. She discovered for herself the nuances of practicing her craft in a medium that involved communicating with images and experimenting with the physical expressions of the body in carefully choreographed arrangements. Her natural proclivity for capturing the humorous character of real people and concrete situations, two rudimentary elements she later asserted form the genesis of any story, found expression in her prolific drawings and cartoons long before she began her career as a fiction writer.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG0znds0yTKQhaoeozPbdAH9xSTd18CnlSUCkDmD_70bJcFDPi2f_B4TJsltO3j0FWKggXIZ8fWmq_byLhw0dQ-dEWHe0JEBaUynC8HWm1ChBAIXvq6FUn55pxdy8GdRvuRr6PuqWZpaZT/s1600/O'Connor+Illustration+6+I-believe-the-totalitarian-outlook.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG0znds0yTKQhaoeozPbdAH9xSTd18CnlSUCkDmD_70bJcFDPi2f_B4TJsltO3j0FWKggXIZ8fWmq_byLhw0dQ-dEWHe0JEBaUynC8HWm1ChBAIXvq6FUn55pxdy8GdRvuRr6PuqWZpaZT/s1600/O'Connor+Illustration+6+I-believe-the-totalitarian-outlook.jpg" width="322" /></a></div>
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<span style="font-size: large;">"Beginning at about age five, O’Connor drew and made cartoons, created small books, and wrote stories and comical sketches, often accompanied by her own illustrations. Although her interest in writing was equally evident, by the time she reached high school her abilities as a cartoonist had moved to the forefront. After her first cartoon was published in the fall of 1940, her work appeared in nearly every issue of her high-school and college newspapers, as well as yearbooks—roughly a hundred between 1940 and 1945—and most of these were produced from linoleum block cuts. When she graduated from the Georgia State College for Women in Milledgeville in 1945, she was a celebrated local cartoonist preparing for a career in journalism that would, she hoped, combine work as a professional writer and cartoonist."</span><br />
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<span style="font-size: large;"><span style="color: red;"><b>HIGHLY RECOMMENDED: </b></span></span><span style="font-size: large;"><i><a href="http://www.theparisreview.org/blog/2012/04/30/flannery-o%E2%80%99connor-and-the-habit-of-art/"><b><span style="color: blue;">read</span></b></a> the remainder of this essay.</i></span><br />
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<span class="Apple-style-span" style="font-size: large;"><u><b>O'CONNOR'S influence:</b></u></span><br />
<span class="Apple-style-span" style="font-size: large;">O'Connor is important to many writers, so they frequently mention her in their interviews and essays, T.C. Boyle among them. Here is what he had to say about her: </span><br />
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"[L]et us not forget Flannery O'Connor. I discovered her as an undergraduate (for an adjective-rich description of your not-so-humble narrator at the time, see above). I was in a literature class--the Contemporary Short Story or some such. And she, the most remarkable American writer of the '50s, was where she so assuredly deserved to be--enshrined in a fat anthology. The story was 'A Good Man is Hard to Find,' and it remains my favorite of all time, though certain pieces by the Three Cs (Cheever, Carver, and Coover) give it a run for the money. This story seems to me perfect in its radical synthesis of the horrific and the hilarious. I've read it a hundred times and I still laugh aloud at the scheming and senile grandmother, the howling brats, and the henpecked Bailey, and find the scene in which the grandmother's cat (Pitty Sing) attaches itself to the back of Bailey's neck, thus fomenting the accident, both chilling and (yes) wickedly funny. What ensues is a morality play that chills me right down to the black pit of my black heart. Accident rules the world, accident and depravity, and I don't have O'Connor's faith to save me from all that." (source: <a href="http://www.englisch.schule.de/boyle/boyleaut.htm#Boyle"><span style="color: blue;"><b>Reinhard Donat's webpage.</b></span></a>)</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj29DYtU7qOmXhGHUk0d5f_b5eu2l4lg0l43d9LZpqy2TXca8DXz1q5JwsDB_eg_RC21N7bXjr_t3ZgcJnsN-lS70rpt7ekO0lDpSk2StYgCRhR0SL6t3htVXFqy_n27aM-PWIqBz6PShR2/s1600/O'Connor%2BFlannery%2Bnotebook%2BDustin%2BChambers%2Bfor%2BThe%2BNew%2BYork%2BTimes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj29DYtU7qOmXhGHUk0d5f_b5eu2l4lg0l43d9LZpqy2TXca8DXz1q5JwsDB_eg_RC21N7bXjr_t3ZgcJnsN-lS70rpt7ekO0lDpSk2StYgCRhR0SL6t3htVXFqy_n27aM-PWIqBz6PShR2/s1600/O'Connor%2BFlannery%2Bnotebook%2BDustin%2BChambers%2Bfor%2BThe%2BNew%2BYork%2BTimes.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">O'Connor's notebooks. Photograph by Dustin Chambers for <i>The New York Times</i></td></tr>
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<span style="font-size: large;">"Now I am perfectly willing to believe Flannery O’Connor when she said, and she wasn’t kidding, that the modern world is a territory largely occupied by the devil. No one doubts the malevolence abroad in the world. But the world is also deranged. . . . the novelist is entitled to a degree of artifice and cunning, as Joyce said; or the 'indirect method,' as Kierkegaard said; or the comic-bizarre for shock therapy, as Flannery O’Connor did." </span><br />
<span style="font-size: large;"><i><b>-- Walker Percy</b></i></span><br />
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<span style="font-size: large;">"Flannery O’Connor was probably the biggest influence in my mature writing life. I didn’t discover her until I was at Arkansas, and I didn’t read her until I was around twenty-five, twenty-six. She was so powerful, she just knocked me down. I still read Flannery and teach her. . . . [I read] “A Good Man Is Hard to Find” and then I read everything. . . . I thought the author was a guy. I thought it was a guy for three years until someone clued me in very quietly at Arkansas. “It’s a woman, Barry.” Her work is so mean. The women are treated so harshly. The misogyny and religion. It was so foreign and Southern to me. She certainly was amazing."</span><br />
<span style="font-size: large;"><b><i>-- Barry Hannah</i></b></span><br />
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<span style="font-size: large;">"I take comfort in the way that, say, Flannery O’Connor would tend to revisit the same situations without losing much in the way of her power or variety. You know, you have the surly daughter who is driven nuts by her mother’s cheer and simplistic piety and common sense, and a shiftless handyman around somewhere. There are recurring patterns in her work, but she manages to refresh them each time out. I suppose I hope to achieve something like that. . . . But to get back to Flannery O’Connor, what kind of experience did she have, afterall? She spent, what, one year away from her farm in Milledgeville? Yet her stories are full of life and drama and real humanity, and it’s because she kept her eyes open."</span><br />
<span style="font-size: large;"><b><i>-- Tobias Wolfe</i></b></span><br />
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<span style="font-size: large;">Bruce Springsteen was asked by <i>The New York Times Book Review</i>, October 30, 2014: "</span><span style="font-size: large;">If you had to name one book that made you who you are today, what would it be?</span><br />
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<span style="font-size: large;">"One would be difficult, but t</span><span style="font-size: large;">he short stories of Flannery O’Connor landed hard on me. You could feel within them the unknowability of God, the intangible mysteries of life that confounded her characters, and which I find by my side every day. They contained the dark Gothicness of my childhood and yet made me feel fortunate to sit at the center of this swirling black puzzle, stars reeling overhead, the earth barely beneath us."</span><br />
<span style="font-size: large;"><b><i>-- Bruce Springsteen</i></b></span><br />
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<span style="font-size: large;">"A writer like Flannery O’Connor, in stories like 'Good Country People' or 'A Good Man Is Hard to Find,' can not only make you laugh aloud, but make you cringe too. And make you think. To engage your humor and your emotions, that’s quite a trick. I’d like to think that I’m able to do that, to keep the reader off balance—is this the universe of the comedy or the tragedy? or some unsettling admixture of the two?—to go beyond mere satire into something more emotionally devastating, and gratifying. If that ain’t art, I don’t know what is."</span><br />
<span style="font-size: large;"><b><i>-- T. Coraghessan Boyle</i></b></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span class="Apple-style-span" style="font-size: large;"><span style="color: blue;">"<a href="http://www.newyorker.com/reporting/2013/09/16/130916fa_fact_oconnor">My Dear God: A young writer’s prayers"</a> </span>by O'Connor was published in <i>The New Yorker</i>, </span><span style="font-size: large;">September 16, 2013. The magazine introduces O'Connor's words by saying, how these "excerpts from her journal chart her thoughts on the subject of faith and prayer, and her hopes for her fiction."</span></span><br />
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A review of O'Connor's <i>A Prayer Journal </i>can also be found at NPR. Listen to or read the transcript of the November 20, 2013 broadcast<span style="color: blue;"> <a href="http://www.npr.org/templates/story/story.php?storyId=246409443&utm_content=socialflow&utm_campaign=nprbooksfacebook&utm_source=nprbooks&utm_medium=facebook">here.</a> </span></span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Now for some words from O'Connor herself. I invite you to read her address <a href="http://www.en.utexas.edu/amlit/amlitprivate/scans/grotesque.html">"Some Aspects of the Grotesque in Southern Fiction"</a> from 1960. There is also an audio clip of O'Connor <a href="http://www.openculture.com/2013/04/listen_as_flannery_oconnor_reads_some_aspects_of_the_grotesque_in_southern_fiction_c_1960.html">reading it aloud here.</a> It is in this address that O'Connor says the following: "The social sciences have cast a dreary blight on the public approach to fiction. When I first began to write, my own particular bête noire was that mythical entity, The School of Southern Degeneracy. Every time I heard about The School of Southern Degeneracy, I felt like Br'er Rabbit stuck on the Tarbaby. There was a time when the average reader read a novel simply for the moral he could get out of it, and however naive that may have been, it was a good deal less naive than some of the more limited objectives he now has. Today novels are considered to be entirely concerned with the social or economic or, psychological forces that they will by necessity exhibit, or with those details of daily life that are for the good novelist only means to some deeper end."</span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">When you get a chance, and I hope it is soon, read her story <a href="http://faculty.weber.edu/Jyoung/English%206710/Good%20Country%20People.pdf">"Good Country People"</a>. Funny, dark, tragic and wise: all the things another great O'Connor story delivers.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Milledgeville, GA is the town where O'Connor grew up and returned to as an adult.<br />
It also serves as the inspiration and landscape for many of her stories. </td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="background-color: white; line-height: 22.005001068115234px; text-align: left;">A writer for </span><i style="line-height: 22.0050010681152px; text-align: left;">The New York Times </i><span style="background-color: white; line-height: 22.005001068115234px; text-align: left;">visited O'Connor's Georgia and shares his observations of what he found:</span></span></div>
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<span style="background-color: white; line-height: 22.0050010681152px; text-align: left;">"THE sun was white above the trees, and sinking fast. I was a few miles past Milledgeville, Ga., somewhere outside of Toomsboro, on a two-lane highway that rose and plunged and twisted through red clay hills and pine woods. . . . </span><span style="background-color: white; line-height: 22.0050010681152px; text-align: left;">Somewhere outside Toomsboro is where, in O'Connor's best-known short story, “A Good Man Is Hard to Find,” a family has a car accident and a tiresome old grandmother has an epiphany.</span></span><br />
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<span style="background-color: white; line-height: 22.0050010681152px; text-align: left;">"</span><span style="background-color: white; line-height: 22.0050010681152px; text-align: left;">O'Connor's short stories and novels are set in a rural South where people know their places, mind their manners and do horrible things to one another. It's a place that somehow hovers outside of time, where both the New Deal and the New Testament feel like recent history. It's soaked in violence and humor, in sin and in God. He may have fled the modern world, but in O'Connor's he sticks around, in the sun hanging over the tree line, in the trees and farm beasts, and in the characters who roost in the memory like gargoyles. It's a land haunted by Christ — not your friendly hug-me Jesus, but a ragged figure who moves from tree to tree in the back of the mind, pursuing the unwilling."</span></span><br />
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<span style="background-color: white; line-height: 22.0050010681152px; text-align: left;">from <a href="http://www.nytimes.com/2007/02/04/travel/04Flannery.html">"In Search of Flannery O'Connor"</a> by Lawrence Downes, The New York Times, Feb. 4, 2007.</span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="background-color: white; line-height: 22.0050010681152px; text-align: left;"><br /></span></span><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="background-color: white; line-height: 22.0050010681152px; text-align: left;"><span style="color: red;"><b>HIGHLY RECOMMENDED</b>:</span> Listen to Stephen Colbert read <a href="https://soundcloud.com/selectedshorts/stephen-colbert-special">O'Connor's "The Enduring Chill." </a></span></span><br />
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="color: red;"><b>VERY HIGHLY RECOMMENDED:</b></span> You can <a href="http://manasto.tumblr.com/post/107920720/a-good-man-is-hard-to-find-by-flannery-oconnor">listen</a> to O'Connor read "A Good Man is Hard to Find." It was recorded in 1959 at Vanderbilt University. Note how O'Connor's reading draws attention to the story's humor.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">O'Connor loved birds, keeping many species on her farm in Milledgeville, Georgia.<br />
She was especially fond of "the king of birds," the peacock, pictured with her, above.</td></tr>
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Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com0tag:blogger.com,1999:blog-8990023221550141932.post-46191655128075229392015-11-19T06:08:00.000-08:002015-11-19T06:05:51.523-08:001B: Flannery O'Connor & a '49 Mercury: Hearse-Like?<div class="separator" style="clear: both; text-align: center;">
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Last seen in PCC parking lot. The Misfit at the wheel. Flannery O'Connor in the backseat. David Lindley & El Rayo-X on the radio blasting "Mercury Blues."Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com0tag:blogger.com,1999:blog-8990023221550141932.post-64953367179374295112015-11-10T09:20:00.000-08:002015-11-10T09:12:38.675-08:001B: Arthur Miller (1915-2005) & Death of a Salesman<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCDpQONSKLJtARqOwkNDJiLuiKcrZQX7oDEx-OG4n18yNgrRJ5Ri0IRY8Nm2u1RBRKwS92iyBicN70p0LbhSSUK3cZJLa58VwN8S9dYLDdv6n-vBCa6dbvs9mR2_NXyIq353HS-5mvS18j/s1600/Arthur+Miller.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCDpQONSKLJtARqOwkNDJiLuiKcrZQX7oDEx-OG4n18yNgrRJ5Ri0IRY8Nm2u1RBRKwS92iyBicN70p0LbhSSUK3cZJLa58VwN8S9dYLDdv6n-vBCa6dbvs9mR2_NXyIq353HS-5mvS18j/s640/Arthur+Miller.jpg" width="640" /></a></td></tr>
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<span class="Apple-style-span" style="font-size: small;">Arthur Miller: younger (at left); older (at right).</span></div>
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<span style="font-size: large; text-align: justify;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>The New York Times</i> has an extensive archive of articles on Arthur Miller. Click </span></span><a href="http://topics.nytimes.com/top/reference/timestopics/people/m/arthur_miller/index.html?scp=1-spot&sq=arthur%20miller&st=cse" style="text-align: justify;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">here</span></a><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large; text-align: justify;"> to see their many reports, slide shows, and videos on him, from reviews to interviews to a celebration of his life in the theater. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Miller also appeared on the Charlie Rose show where he offered his </span><a href="http://www.youtube.com/watch?v=BirqjuayQTA"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">thoughts</span></a><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"> on what makes a great playwright. With a little searching you can find many other interviews with Miller on YouTube.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Here is a wonderful video, thanks to a great find by Rosario Anguiano. It's <a href="https://www.youtube.com/watch?v=AckMkV0AFEI">A Conversation on Writing with Arthur Miller</a>, and he talks about <i>Death of a Salesman</i> during the first three minutes of the program. It is all worth watching. Here is another: a <a href="https://www.youtube.com/watch?v=10JGdLW3H30">60 Minutes report on Arthur Miller.</a></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">As you can probably see, the above video has been "terminated." But give <a href="http://www.cbsnews.com/news/marilyn-monroe-50-years-since-her-death/">Arthur Miller on 60 Minutes (Rewind)</a> a try. It may still be working when you click on <a href="http://www.cbsnews.com/news/marilyn-monroe-50-years-since-her-death/">this link.</a></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="text-align: justify;">You can also find Miller interviews in print. Here is one, an </span><a href="http://www.theparisreview.org/interviews/4369/the-art-of-theater-no-2-arthur-miller" style="text-align: justify;">interview</a><span style="text-align: justify;"> with Miller, that I found in </span><i style="text-align: justify;">The Paris Review</i><span style="text-align: justify;">, Summer 1966 issue. Miller was also interviewed by the </span><a href="http://www.neh.gov/about/awards/jefferson-lecture/arthur-miller-interview" style="text-align: justify;">National Endowment for the Humanities</a><span style="text-align: justify;"> in 2002, and the <a href="http://quod.lib.umich.edu/cgi/t/text/text-idx?cc=mqr;c=mqr;c=mqrarchive;idno=act2080.0037.403;rgn=main;view=text;xc=1;g=mqrg">Michigan Quarterly Review in 1998</a>. </span><span style="text-align: justify;">Miller was featured on a PBS American Masters Program. </span><a href="http://www.pbs.org/wnet/americanmasters/episodes/arthur-miller/none-without-sin/56/" style="text-align: justify;">Go here</a><span style="text-align: justify;"> to read their biography of him.</span></span></div>
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<span style="color: #38761d; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Brief notes about the characters in <i>Death of a Salesman:</i></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Willy Loman (said to be 60, pages 6&8; 63, page 42)</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Linda Loman ("not even 60")</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Happy (son of Willy and Linda, 32)</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Biff (son of Willy and Linda, 34)</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Bernard (son of Charley; Biff's age)</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">The Woman (Willy has an affair with her)</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Charley ("Uncle Charley," next-door neighbor; friend, not related)</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Uncle Ben (Willy's brother)</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Howard Wagner (Willy's boss; the son of Willy's former boss)</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Jenny (Charley's secretary)</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Stanley (waiter)</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Miss Forsythe (woman at restaurant)</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Letta (woman at restaurant)</span><br />
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<b><u><span style="font-size: x-large;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #38761d;">English 1B students: Print and Read:</span></span></span></u></b><br />
<b><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://www.nytimes.com/books/00/11/12/specials/miller-common.html?_r=2&oref=slogin">Arthur Miller's "Tragedy and the Common Man."</a></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"> In this 1949 essay, Miller makes clear the relationship between a character like Willy Loman and the more classical (and commonly accepted) tragic figures from Greek playwrights and Shakespeare. <u><span style="color: #38761d;"> BRING YOUR COPY--<i>print it out--of "Tragedy and the Common Man" to</i> class. You need not read it before class. Skimming it would be smart, however, </span></u></span></b></div>
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><span style="color: #38761d;"><u>ATTENTION!</u></span></b></span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="color: #38761d;"><u></u></span></b>If the above link to "Tragedy and the Common Man" does not work, try <a href="http://vccslitonline.cc.va.us/tragedy/milleressay.htm">this link</a> to get a copy of Miller's essay. It was posted by <span class="Apple-style-span" style="border-spacing: 2px;"><span style="background-color: white;">Prof. Eric Hibbison of J. Sargeant Reynolds Community College</span></span><span class="Apple-style-span" style="border-spacing: 2px;"> </span><span class="Apple-style-span" style="border-spacing: 2px;">in Richmond, VA.</span></span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;"><br /></span></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;">If you've read "Tragedy and the Common Man" you've seen Miller's remark about the Oedipus and Orestes complexes. Thanks to the urging of Ricardo Paredes and Rafael Azizyan it's time to offer a briefing on said complexes.</span></span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;"><br /></span></span><span style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;">These complexes begin with Greek tragedies by Sophocles and Euripides. Sophocles' tragedy <i>Oedipus Tyrannus, the </i>story of Oedipus, is about a man who fulfills a prophecy by unknowingly murdering his father and marrying his mother. Sigmund Freud saw in this tale an example of a repressed personality passionately drawn to the parent of the opposite sex and severe hatred for the same sex parent </span><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: "arial" , "helvetica" , sans-serif;">(e.g., son loves mother, son hates father).</span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: "arial" , "helvetica" , sans-serif;">The Orestes complex is the opposite: in the story of Euripedes' <i>Electra</i> a man named Orestes kills his mother (with Electra's assistance) to avenge his father's death. Freud took this play to serve as a template in describing the son whose extreme violent nature is directed against his mother while his deepest affection is reserved for his father. Today, with reference to both complexes, the offspring examined in this diagnosis may be a son or a daughter.</span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: "arial" , "helvetica" , sans-serif;">Maureen Dowd of <i>The New York Times</i> looks at the father-son relationship in the play and in our lives <a href="http://www.nytimes.com/2012/03/25/opinion/sunday/dowd-how-oedipus-wrecks.html?src=me&ref=general">with Mike Nichols</a>,</span><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: "arial" , "helvetica" , sans-serif;"> stage and film director, and director of the <i>Salesman</i> production with Philip Seymour Hoffman as Willy. Here is <i>The New York Times</i> <a href="http://www.nytimes.com/2012/03/16/theater/reviews/death-of-a-salesman-with-philip-seymour-hoffman.html?pagewanted=all&_r=0">review of the production</a>. NPR also did an interview with Hoffman about his performance; go to this <span class="Apple-style-span" style="color: blue;"><a href="http://www.npr.org/2012/04/12/150305122/philip-seymour-hoffman-broadways-new-salesman">page to listen to the interview.</a></span></span></span><br />
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<tr><td class="tr-caption" style="text-align: center;">Taking their bow: Linda Emond, left, as Linda Loman, and Philip Seymour Hoffman as Willy.</td></tr>
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<span style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: "arial" , "helvetica" , sans-serif;">Finally, you may wish to turn to the web pages of Prof. Barbara McManus, of the College of New Rochelle, and <a href="http://www2.cnr.edu/home/bmcmanus/poetics.html">her discussion</a> of Aristotle's definition of tragedy. Note how Aristotle calls for a character to be "renowned and prosperous." What would Miller say to this? Willy is neither, of course. Miller's explanatory argument is not just for the drama critics and audiences of 1949, it may be for Aristotle too.</span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><br /></span><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;">If you wish further help understanding the meaning of tragedy in dramatic literature, check Dr. L. Kip Wheeler's <a href="http://web.cn.edu/kwheeler/lit_terms_T.html" style="font-weight: bold;">website</a> for definitions of tragedy, tragic flaw and tragic hero.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">For a discussion regarding the idea of a flashback in contrast to the past being concurrent to the present read Miller's remarks below. He made them in his interview with the National Endowment for the Arts:</span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">"[<i>Death of a Salesman</i>] begins with its action, and there are no transitions. It is a kind of frontal attack on the conditions of [Willy Loman's] life, without any piddling around with techniques. The basic technique is very straightforward. It is told like a dream. In a dream, we are simply confronted with various loaded symbols, and where one is exhausted, it gives way to another. In <i>Salesman</i>, there is the use of a past in the present. It has been mistakenly called flashbacks, but there are no flashbacks in that play. It is a <u><i>concurrence</i></u> [my emphasis] of a past with the present, and that's a bit different."</span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In fall 2012 Manuel Gonzalez asserted that flashbacks do occur in the play, after all. I attempted to explain Miller's position by quoting William Faulkner's position re: the past: </span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">"The past is never dead. It's not even past." Explain why you agree (or not) that Faulkner's words describe Miller's characterization of Willy.</span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">These three clips, below, from three very different <i>Death of a Salesman</i> productions:</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Fredric March starred as Willy Loman in the 1951 film</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">version of <i>Death of a Salesman</i>. Arthur Miller had</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">no control of the screenplay and was unhappy with</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">the film, which cut a number of scenes from his play.</span></div>
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Brian Dennehy was honored twice, a Tony Award (1999) and the</div>
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Laurence Olivier Award (2005), for his stage performances</div>
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of Willy Loman in New York and London, respectively.</div>
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<span style="font-family: "times" , "times new roman" , serif;">Lee J. Cobb brought Willy Loman to the world in the 1949 stage premiere</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"> of <i>Death of a Salesman</i>. Here Cobb is--some believe he was the</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"> quintessential Willy--in the 1966 television broadcast.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Miller reads excerpts from </span><i style="font-family: Times, 'Times New Roman', serif;">Death of a Salesman</i><span style="font-family: "times" , "times new roman" , serif;">. This recording was made in Feb.1955 in New York City at the 92nd Street Y, home to many literary events. If the recording does not play, go to the </span><a href="http://92y.tumblr.com/post/23545264682/from-the-poetry-center-archive-arthur-miller" style="font-family: Times, 'Times New Roman', serif;">92nd Street Y archive</a><span style="font-family: "times" , "times new roman" , serif;"> to listen.</span></div>
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><u>Questions re: <i>Death of a Salesman</i>:</u> </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">All Miller quotes below are taken from his “Tragedy and the Common Man” essay.</span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">We will form groups for discussion regarding these questions. One group member will lead the discussion, one will take notes and two others will prepare to represent the group for a class discussion. One set of notes per group will be collected at the end of the discussion. <span style="color: #990000;">Answer the questions in <span style="color: #990000;">RED</span> for group discussions.</span> Along with your answers refer to specific pages within the play. Include these page numbers with the notes that you will give to me.</span></div>
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<span class="Apple-style-span" style="color: #990000; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">1.<span class="Apple-tab-span" style="white-space: pre;"> </span>What does Miller mean when he says in his essay, “we are often held to be below tragedy or tragedy above us”? Does he agree with this belief? Do you? Why?</span></div>
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><u>2.<span class="Apple-tab-span" style="white-space: pre;"> </span>How is Willy Loman, as Miller writes, unwilling to “remain passive in the face of what he conceives to be a challenge to his dignity, his image of his rightful status”? Does Willy’s family—Linda, Biff and Happy—share this trait with him or not? Explain.</u></span></div>
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><u>3.<span class="Apple-tab-span" style="white-space: pre;"> </span>Miller discusses “the underlying fear of being displaced” and its connection to tragedy. How does this quality apply to Willy Loman?</u></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: large;"><u>4. Miller argues how “tragedy requires the finest appreciation by the writer of cause and effect.” Offer examples from <i>Death of a Salesman</i> that illustrate his claim. </u></span><br />
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<span style="color: #990000; font-family: arial, helvetica, sans-serif; font-size: large;">5. What is the difference between a hallucination, a dream, and a remembrance? Is Willy inhabiting a world of hallucinations or dreams? Neither? Are his remembrances mostly accurate, or not? Explain with specific references to Ben, the Woman, and Biff.</span></div>
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span><span class="Apple-style-span" style="color: #990000; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">6. Why is it difficult to follow the action? Why is Miller telling things in such, some might say, an unconventional fashion? Time is all over the place. (Some students have asked.)</span></div>
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large; font-weight: normal;"><br /></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><u>7. How do each of Willy's family members react to Willy's planned suicide? What does their reaction--whether to confront, ignore, or be gentle--reveal about their character?</u> </span></div>
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span><span class="Apple-style-span" style="color: #990000; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">8. Willy favors Biff over Happy. Why? Is it because Biff is a talented athlete, the oldest, or reflects the nature of a succession in a powerful family? Explain.</span></div>
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span><span class="Apple-style-span" style="color: #990000; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">9. Some members of the audience see Willy as suffering some sort of nervous disorder or mental disability. If this is so, can Willy still be a tragic hero as Miller wants us to believe he is? When answering the question, recall Miller's assertion that "the tragic feeling is evoked in us when we are in the presence of <u><i><b>a character who is ready to lay down his life, if need be, to secure one thing--his sense of personal dignity</b></i></u> [my emphasis.] From Orestes to Hamlet, Medea to Macbeth, the underlying struggle is that of the individual attempting to gain his "rightful" position in his society."</span></div>
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><u>10. We know that the gods are present in Greek tragedies. Royal figures appear in Shakespeare. Are they present in <i>Death of a Salesman</i>? Offer examples that demonstrate that this is true.</u></span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; text-align: -webkit-auto;">The 1949 premiere of Miller's <i>Death of a Salesman</i>,</span></div>
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<span style="background-color: white; font-family: "times" , "times new roman" , serif; text-align: -webkit-auto;"> with Mildred Dunnock, Lee J . Cobb, Arthur Kennedy, and Cameron Mitchell.</span></div>
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<span style="font-family: "arial"; font-size: large;"><u>Additional Questions from previous classes:</u></span><span style="color: red; font-family: "arial"; font-size: large;"> </span><br />
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<span style="font-family: "arial"; font-size: large;">1. What is the importance of music playing at the opening and end of Act I? (Jeremy)</span><br />
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<span style="font-family: "arial"; font-size: large;"><span style="color: #990000;">2. Why do you think that Willy is so stubborn? Why does he resist change?</span> (Eunice)</span><br />
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<span style="color: #990000; font-family: "arial"; font-size: large;">3. Why does Willy demand that Linda not speak?</span><span style="color: #990000; font-family: "arial"; font-size: large;"> </span><span style="color: #990000; font-family: "arial"; font-size: large;">(Felipe)</span><br />
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<span style="color: #990000; font-family: "arial"; font-size: large;">4. Why does Biff tell his mother to dye her hair? </span><br />
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<span style="font-family: "arial"; font-size: large;">5. Willy says, "That's a million dollar idea!" What is Willy revealing about himself when he says these words? (Shogo)</span></div>
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<span style="font-family: "arial"; font-size: large;"><span style="color: #990000;">6. Why does Willy want to kill himself?</span> (Dara)</span></div>
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<span style="font-family: "arial"; font-size: large;"><span style="color: #990000;">7. Why does Happy not have the respect of his family?</span> (Sydnee)</span></div>
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<span style="font-family: "arial"; font-size: large;">8. Reread the description of Feminist criticism in our literature textbook. Apply its features to the character of Linda.</span></div>
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<span style="font-family: "arial"; font-size: large;"><b>The Many Productions of <i>Death of a Salesman</i></b></span></div>
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<span style="font-family: "arial"; font-size: large;">There have been hundreds, if not thousands, of productions of <i>Death of a Salesman</i> since its 1949 premiere. Here are some memorable ones.</span></div>
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<span style="font-family: "arial"; font-size: large;"><a href="http://www.nytimes.com/2012/05/19/us/on-religion-since-the-opening-curtain-a-debate-is-willy-loman-jewish.html?ref=topics">Since the Opening Curtain, Is Willy Loman Jewish?</a></span></div>
<span style="font-family: "arial"; font-size: large;">"A Yiddish play with the title <i>Toyt fun a Salesman</i> opened at the Parkway Theater in Brooklyn early in 1951. As most of the audience recognized from the name alone, the show was a translation of Arthur Miller’s drama <i>Death of a Salesman</i>. It seemed a mere footnote to the premiere production, which had completed its triumphal run on Broadway several months earlier, having won the Pulitzer Prize."</span><span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif; line-height: 17.9196166992188px; text-align: center;"> </span><span style="font-family: "arial"; font-size: large;">A photograph of the production appears below. </span><span style="font-family: "arial"; font-size: large;"> </span><span style="font-family: "arial";">(from </span><i style="color: #666666; font-family: arial, helvetica, sans-serif; line-height: 17.9196166992188px; text-align: center;">The New York Times</i><span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif; line-height: 17.9196166992188px; text-align: center;">, May 18, 2012)</span><br />
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<span itemid="http://graphics8.nytimes.com/images/2012/05/19/nyregion/RELIGION/RELIGION-articleLarge.jpg" itemprop="associatedMedia" itemscope="" itemtype="http://schema.org/ImageObject">Gene Lockhart, center, playing Willy Loman in the 1949 original production</span></div>
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<span itemid="http://graphics8.nytimes.com/images/2012/05/19/nyregion/RELIGION/RELIGION-articleLarge.jpg" itemprop="associatedMedia" itemscope="" itemtype="http://schema.org/ImageObject"> of “Death of a Salesman,” by Arthur Miller. (from <i>The New York Times</i>, May 18, 2012)</span></div>
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<span style="font-family: "arial"; font-size: large;">Philip Seymour Hoffman starred as Willy Loman in a New York production of <i>Death of a Salesman</i> in Spring 2012. See </span><a href="http://www.nytimes.com/2012/03/11/theater/philip-seymour-hoffman-stars-in-death-of-a-salesman.html?scp=1&sq=hoffman%20death%20of%20a%20salesman&st=cse" style="font-size: x-large;"><span style="font-family: "arial";">"Searching for the Life of a Salesman,"</span></a><span style="font-family: "arial"; font-size: large;"> <i>The New York Times</i>, March 8, 2012. Maureen Dowd, also of the <i>Times</i>, talks to its director Mike Nichols about the significance of the father-son relationship in her article </span><span style="font-family: "arial"; font-size: large;"><a href="http://www.nytimes.com/2012/03/25/opinion/sunday/dowd-how-oedipus-wrecks.html?src=me&ref=general">"How Oedipus Wrecks."</a></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">A scene from the 2012 Broadway revival of <i>Death of a Salesman</i>, with, from left, </span><br />
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<span style="font-size: small;"><span style="font-family: "arial"; font-size: large;">The South Coast Repertory (SCR) theatre in Costa Mesa, CA production of </span><i style="font-family: Arial; font-size: x-large;">Death of a Salesman</i><span style="font-family: "arial"; font-size: large;"> ran August-September 2013. Go to the </span><a href="http://www.scr.org/calendar/view?id=6018" style="color: blue; font-family: Arial; font-size: x-large; font-weight: bold;">SCR site</a><span style="font-family: "arial"; font-size: large;"> for more information. The </span><i style="font-family: Arial; font-size: x-large;">Los Angeles Times</i><span style="font-family: "arial"; font-size: large;"> also </span><a href="http://www.latimes.com/entertainment/arts/culture/la-et-cm-charlie-robinson-death-salesman-20130908,0,580100.story" style="font-family: Arial; font-size: x-large;"><b><span style="color: blue;">profiled Charlie Robinson</span></b></a><span style="font-family: "arial"; font-size: large;">, who starred as Willy Loman.</span></span></div>
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<span style="font-size: small;"><span style="font-size: small;">Charlie Robinson as Willy Loman in the </span>August-September 2013</span></div>
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<span style="font-size: small;"> South Coast Repertory, Costa Mesa, production of <i>Death of a Salesman</i></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt7pMNz-JZXrhLDASd8cyDKPXqm6GinKi3vLiskwj9O8agp1zzqdDnd-8Sv9kO0s0uowiXi3GwIkWnPaA10BmcAnYiePiFHg764Ko0QAPr5qmglAUYklHd4uU5pSIyW_NjWlPvWcZDM5F3/s1600/Death+of+a+Salesman+China+1983.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt7pMNz-JZXrhLDASd8cyDKPXqm6GinKi3vLiskwj9O8agp1zzqdDnd-8Sv9kO0s0uowiXi3GwIkWnPaA10BmcAnYiePiFHg764Ko0QAPr5qmglAUYklHd4uU5pSIyW_NjWlPvWcZDM5F3/s1600/Death+of+a+Salesman+China+1983.jpg" width="640" /></a></div>
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<span style="font-size: small;">Arthur Miller with 1983 Chinese cast of <i>Death of A Salesman</i>. Ruocheng Ying played Willy Loman in the production staged at the Peoples Art Theatre in Beijing. Photograph by Inge Morath. Read about Miller's recollections of the production <a href="https://www.nytimes.com/books/00/11/12/specials/miller-beijing.html">here.</a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3u8Rdjc2siDsagU43UcCE42XJ6ZKXPG1t1n6R8AhfGm5D__0qq0p99PUPE7jJh06Ety_yBQ8TzLNLgb6fAbK7nBQCQvZkuQ7lTq4xbLdI7-rHRrb6H3MHvuyQh2c56Iwpq4zs8kHEQRjl/s1600/Death+os+Salesman+Australia+photo+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3u8Rdjc2siDsagU43UcCE42XJ6ZKXPG1t1n6R8AhfGm5D__0qq0p99PUPE7jJh06Ety_yBQ8TzLNLgb6fAbK7nBQCQvZkuQ7lTq4xbLdI7-rHRrb6H3MHvuyQh2c56Iwpq4zs8kHEQRjl/s1600/Death+os+Salesman+Australia+photo+2.jpg" width="640" /></a></div>
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<span style="font-size: small;">Image from a 2012 Australian production of <i>Death of a Salesman, </i>where its connection to American culture is apparent, it was said to be "more relevant to Australia than ever." </span><span style="font-size: small;">Read about the production </span><a href="https://overland.org.au/2012/07/the-ongoing-life-of-death-of-a-salesman/" style="font-size: medium;">here.</a><span style="font-size: small;"> </span></div>
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Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com20tag:blogger.com,1999:blog-8990023221550141932.post-68443246220673283162015-11-05T09:33:00.000-08:002015-11-10T08:01:25.355-08:00All My Sons by Arthur Miller at A Noise Within--Some News Re: Tonight!<div>
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<span style="font-family: "tahoma"; font-size: large;">I'm looking forward to seeing all of you who are attending <i>All My Sons</i> tonight!</span><br />
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<span style="font-family: "tahoma"; font-size: large;">Running time for <i>All My Sons</i> is 2 hours and 20 minutes and includes one intermission. The play starts at 7:30. Our seats should be close together, but if your seat assignment is not next to the friend or family member who is joining tonight, arrive early. You may be able to trade seats with someone before the play starts. This is not, however, </span><span style="font-family: "tahoma"; font-size: large;">guaranteed.</span><br />
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<span style="font-family: "tahoma"; font-size: large;"><b>DIRECTIONS & PARKING</b></span><br />
<span style="font-family: "tahoma"; font-size: large;">A Noise Within is located at 3352 E Foothill Blvd, Pasadena, CA 91107. Please be sure to check the theatre's website at <a href="http://www.anoisewithin.org/">www.anoisewithin.org</a> for additional maps, directions, dining, and parking information. If you have questions please call 626.356.3121 or email boxoffice@anoisewithin.org.</span><br />
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<span style="font-family: "tahoma"; font-size: large;">From the I-210, exit Madre Street (be careful not to confuse this with Sierra Madre Blvd) and head north toward the mountains on Sierra Madre Villa Ave. Immediately north of the freeway, on your right will be the Sierra Madre Villa Metro Gold Line Parking Structure where there is plenty of FREE theatre patron and Handicap parking. We recommend you park closest to the elevators on any level.</span><br />
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<span style="font-family: "tahoma"; font-size: large;">The theatre is located north of the parking structure. Exit the parking structure at Level 1 on the Sierra Madre Villa Ave side where the elevators are located. Please follow the signs to our Backstage Door which opens 1 hour prior to curtain, or proceed to Sierra Madre Villa Ave, turn right and head north for one half block to Foothill Blvd. Turn right on Foothill Blvd and the Box Office entrance to A Noise Within will be on your right.</span><br />
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<span style="font-size: large;">Date: Thursday, November 5th at 7:30 PM. </span></div>
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<span style="font-family: "tahoma"; font-size: large;">A Noise Within, </span><span style="font-family: "tahoma"; font-size: large;">3352 E Foothill Blvd, Pasadena</span><br />
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<span style="font-family: "tahoma"; font-size: large;"><a href="https://www.google.com/maps/place/A+Noise+Within/@34.1493859,-118.0813815,15z/data=!4m2!3m1!1s0x0:0x6e03a812cf6eae49">A Noise Within location and map</a></span><br />
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<span style="font-size: large;">After the performance we'll be meeting members of the company. Tickets for our group are all sold out. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">For now, the above video about the play is not working. You should be able to <a href="http://www.anoisewithin.org/play/all-my-sons/">watch it here.</a></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">For more information about A Noise Within check these websites or send me an email: cjmccabe@pasadena.edu . </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><a href="http://www.anoisewithin.org/">http://www.anoisewithin.org/</a></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">You can find more about Arthur Miller <a href="http://englishwithmccabe.blogspot.com/2013/09/1b-arthur-miller-death-of-salesman.html">here at English with McCabe</a>.</span><br />
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<span style="font-size: large;"><span style="background: transparent; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="background: transparent; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">"One of the nation's premier classical repertory companies.”</em></span></span><br />
<span style="font-size: large;"><span style="background: transparent; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="background: transparent; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"> </em></span>- The Huffington Post</span><br />
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Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com0tag:blogger.com,1999:blog-8990023221550141932.post-86264508858445097202015-10-26T19:37:00.000-07:002015-10-26T19:38:29.103-07:00Harvard Prof. of Physics: Just Ask. Then Keep Asking<i style="font-size: x-large;">The New York Times</i><span style="font-size: large;">, September 14, 2011</span><br />
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<span class="Apple-style-span" style="font-size: x-large;">Just Ask. Then Keep Asking.</span><br />
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<span class="Apple-style-span" style="font-size: large;">By LISA RANDALL, professor of physics, Harvard University and author of "Knocking on Heaven's Door"</span><br />
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<span class="Apple-style-span" style="font-size: large;">I was shy the way many geeky girls can be. Professors hardly noticed that they rarely answered girls’ questions before some boy who didn’t actually know the answer interrupted. But a professor who later became my adviser gave me the best advice I ever received, which was to not be afraid to speak up and ask questions. Suddenly teachers were speaking directly to me, and my questions were usually good enough that I could detect the relief of other students who actually had the same ones, reassuring me I was doing the right thing. Now, as a professor, I know not to see classes as passive experiences. The occasional interruption keeps people engaged and illuminates subtle points, and in research even leads to new research directions. Just participating and questioning makes your mind work better. Don’t you agree?</span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">In the same article, <a href="http://www.nytimes.com/interactive/2011/09/18/magazine/18mag-edExperiences.html?ref=magazine">"The Educational Experiences That Change a Life,"</a> others recall pivotal moments in their learning.</span>Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com2tag:blogger.com,1999:blog-8990023221550141932.post-14061159262904846792015-10-25T21:30:00.000-07:002015-10-28T09:04:26.469-07:00Dog Research<div id="divSelDisplay" style="font-family: 'Segoe UI', Helvetica, Arial, sans-serif; font-size: 13px; padding-bottom: 1px; padding-right: 15px; position: relative; top: -18px; z-index: 0;">
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Inside the Canine Mind</div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Dog Smarter than a 2 year-old</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"><a href="http://www.nytimes.com/2011/11/20/opinion/sunday/is-your-dog-smarter-than-a-2-year-old.html">http://www.nytimes.com/2011/11/20/opinion/sunday/is-your-dog-smarter-than-a-2-year-old.html</a></span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Enlisting a Virtual Pack</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"><a href="http://www.nytimes.com/2013/04/23/science/enlisting-a-virtual-pack-to-study-dog-minds.html">http://www.nytimes.com/2013/04/23/science/enlisting-a-virtual-pack-to-study-dog-minds.html</a></span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">skill in expert dogs</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">ephost@ebsco.com on behalf of ephost@epnet.comReplyReply AllForwardActions</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Title:<span class="Apple-tab-span" style="white-space: pre;"> </span>Skill in Expert Dogs</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Author(s):<span class="Apple-tab-span" style="white-space: pre;"> </span>Helton, William S.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Source:<span class="Apple-tab-span" style="white-space: pre;"> </span>Journal of Experimental Psychology: Applied, v13 n3 p171-178 Sep 2007. 8 pp.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Peer Reviewed:<span class="Apple-tab-span" style="white-space: pre;"> </span>Yes</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">ISSN:<span class="Apple-tab-span" style="white-space: pre;"> </span>1076-898X</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Descriptors:<span class="Apple-tab-span" style="white-space: pre;"> </span>Motor Development, Cognitive Processes, Psychomotor Skills, Animals, Comparative Analysis, Human Body, Experience, Competition</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Abstract:<span class="Apple-tab-span" style="white-space: pre;"> </span>The motor control of novice participants is often cognitively demanding and susceptible to interference by other tasks. As people develop expertise, their motor control becomes less susceptible to interference from other tasks. Researchers propose a transition in human motor skill from active control to automaticity. This progression may also be the case with nonhuman animals. Differences in performance characteristics between expert, advanced, intermediate, and novice dogs competing in the sport of agility were investigated. There were statistically significant differences between dogs of varying competitive levels in speed, motor control, and signal detections suggestive of increasing motor control automaticity in highly skilled, or expert, dogs. The largest sequential motor control difference was between novice and intermediate dogs, d = 0.96, whereas the largest sequential signal detection difference was between advanced and expert dogs, d = 0.90. These findings have two significant implications for expertise researchers: first, the observed similarities between dogs and humans may enable dogs to be used as expert models; and second, expertise science and methods may be profitably employed in the future to create more proficient canine workers.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Abstractor:<span class="Apple-tab-span" style="white-space: pre;"> </span>Author</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Number of Pages:<span class="Apple-tab-span" style="white-space: pre;"> </span>8</span></div>
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<span style="font-family: 'Segoe UI', Helvetica, Arial, sans-serif;">Publication Type:</span><span class="Apple-tab-span" style="font-family: 'Segoe UI', Helvetica, Arial, sans-serif; white-space: pre;"> </span><span style="font-family: 'Segoe UI', Helvetica, Arial, sans-serif;">Journal Articles; Reports - Research</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Availability:<span class="Apple-tab-span" style="white-space: pre;"> </span>American Psychological Association. Journals Department, 750 First Street NE, Washington, DC 20002-4242. Tel: 800-374-2721; Tel: 202-336-5510; Fax: 202-336-5502; e-mail: order@apa.org; Web site: http://www.apa.org/publications</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">URL:<span class="Apple-tab-span" style="white-space: pre;"> </span>http://content.apa.org/journals/xap/13/3/171</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Journal Code:<span class="Apple-tab-span" style="white-space: pre;"> </span>FEB2014</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Entry Date:<span class="Apple-tab-span" style="white-space: pre;"> </span>2007</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Accession Number:<span class="Apple-tab-span" style="white-space: pre;"> </span>EJ777458</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Persistent link to this record (Permalink):<span class="Apple-tab-span" style="white-space: pre;"> </span>https://login.ezp.pasadena.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=eric&AN=EJ777458&site=ehost-live</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Cut and Paste:<span class="Apple-tab-span" style="white-space: pre;"> </span><a href="https://login.ezp.pasadena.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=eric&AN=EJ777458&site=ehost-live">Skill in Expert Dogs</a></span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Database:<span class="Apple-tab-span" style="white-space: pre;"> </span>ERIC</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">By: William S. Helton</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Department of Psychology, Michigan Technological University;</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Acknowledgement: I thank Christina Sommer and the handlers at the Queen City Dog Training Club in Cincinnati, Ohio for facilitating this study. In addition, I thank Mark Williams, Anders Ericsson, Philip Ackerman, and four anonymous reviewers for their keen comments and assistance in preparing this article.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Expertisein humans has been studied for a long time and there are many stable findings (Ericsson, Charness, Feltovich, & Hoffman, 2006). However, humans are not the only experts (Helton, 2004, 2005; in press; Terrace, Son, & Brannon, 2003). In a similar vein to human experts, highly trained canines undergo a long period of formal skill training and practice, varying from 6 months to several years (Fjellanger, Andersen, & McLean, 2000; Helton, 2005, 2006, in press; Marschark & Baenniger, 2002). Helton (2007), for example, found that exceptional dogs in the sport of agility have accumulated over 1,000 hr of task-specific practice. Although this figure may seem trivial in comparison to 10,000 or more hr human experts accrue (Ericsson & Charness, 1994), it is substantially more practice than an animal in a laboratory study typically experiences.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">The application of expertise research to nonhuman animals is being debated (Helton, 2005; Rossano, 2003). There are, however, two reasons to remain open to the possibility of nonhuman expertise, especially canine expertise. First, highly skilled canines may serve as convenient, already existing animal models for human experts (Helton, 2004, 2005, 2007). As Helton (2004) argued, dogs may be useful in determining the role of individual differences in expertise acquisition because unlike humans, they are subject to genetic control and their early life experiences can be manipulated (Schmutz & Schmutz, 1998; Slabbert & Rasa, 1997). Studying canines may, therefore, enable the investigation of issues difficult to study in humans. Second, dogs are often required to develop skills in areas of vital societal importance such as accelerant detection, blind assistance, epilepsy detection, explosives detection, forensic tracking, guarding, hearing assistance, herding livestock, medical diagnosis, narcotics detection, detection of insect infestations, and microbial growth (Brooks, Oi, & Koehler, 2003; Fjellanger et al., 2000; Furton & Myers, 2001; Gazit & Terkel, 2003; Holland, 1994; Marschark & Baenniger, 2002; Pickel, Manucy, Walker, Hall & Walker, 2004; Slabbert & Rasa, 1997; Wells & Hepper, 2003). The application of expertise science and methods to animals may assist in the development of more proficient dogs, thereby providing a benefit to society.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">The focus of this paper on dogs should not be interpreted in anyway as suggesting that expertise occurs only in humans and dogs, as there is evidence that expertise is spread widely across species (Helton, in press). An extensive learning process has been documented in the acquisition of skills for a variety of animals, such as bees (Dukas & Visscher, 1994; Keasar, Motro, Shur, & Shmida, 1996), birds (Caldow et al., 1999; Yoerg, 1994), cats (Bailey, 1993; Caro, 1994), primates (Lonsdorf, 2005, 2006; Lonsdorf, Eberly, & Pusey, 2004), and spiders (Edwards & Jackson, 1994; Heiling & Herberstein, 1999; Morse, 2000). Skill learning appears to be similar even when remotely related species are compared (Helton, in press). Heiling and Herberstein's research, for example, on spider web design strongly resembles the findings of the knowledge of results (KR) literature on human skill learning (Salmoni, Schmidt, & Walter, 1984). There are, in addition, a number of other species that along with dogs serve useful, expert roles in society, including elephants, horses, rats, and a variety of aquatic mammals (Chatkupt, Sollod, & Sarobol, 1999; Diamond, 1999; Houser et al., 2005; Moore, 1997; Otto, Brown, & Long, 2002). Dogs are, however, a significant and readily available source of nonhuman experts (Helton, 2004).</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">For dogs to be used in the future as models for human experts or for expertise methodology to be applied to the study of canine expertise, similarities and differences between dog and human skill need to be elucidated. In human studies (Logan, 1985; Proctor & Dutta, 1995), changes in attention during skill development are well established. Fitts and Posner's (1967) three-stage model of expertise development is a case in point. In this model, the initial cognitive stage consists of close attention to cues and feedback. Performance during the cognitive stage is not fluid and requires active coordination of separate skill elements. Skill production during this stage is attentionally demanding. The associative-stage in the model consists of organizing these separate skill elements into larger units or chunks. This organization results in an increase in skill fluidity speed and a decrease in attentional requirements. The final autonomous stage results in the skill becoming relatively independent from cognitive control and attention, or in other words, automatic. The cognitive independence of the skill frees-up attention for coordinating other activities and operations. The development of skill automaticity may also occur in other animals. If this is the case, then animals may provide useful models for testing competing theories of expertise development and automaticity (see Helton, 2004).</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">In the Fitts and Posner (1967) model, and in other analogous stage models (e.g., Anderson, 1995), the early cognitive stage entails a declarative knowledge component. Animals are not capable of declarative knowledge, if by declarative one literally means the ability to declare in language what one knows. However, Terrace and his colleagues (2003) argued that declarative knowledge and language were distinct and that declarative knowledge predated language in evolution. A knowledge system in which information is encoded analogically as images is an example of a nonverbal declarative knowledge system (Kosslyn, 1980; Terrace et al., 2003). Some animals such as dogs use encoded images to guide their behavior (Adachi, Kuwahata, & Fujita, 2007; Topal, Byrne, Miklosi, & Csanyi, 2006). Regardless of whether dogs possess declarative knowledge or not, stage models of expertise have not been applied to canines and may prove useful in understanding the changes in attention that occur during skill development in canines.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">In the present study, Fitts and Posner's (1967) stage model of expertise will be investigated in dogs competing in the sport of agility. Although in the human literature consciousness, automaticity, and attention appear to be conceptually mingled (Moors & De Houwer, 2006; Rossano, 2003), the present investigation focuses on attention and remains agnostic regarding animal consciousness. Researchers have proposed that there is limited attention available for information processing in humans (Helton et al., 2005; Hirst & Kalmar, 1987; Kahneman, 1973) and other animals (Bushnell, 1998; Bushnell, Benignus, & Case, 2003; Gottselig, Wasserman, & Young, 2001). A skill performed without attention is considered to be automatic (Logan, 1985; Moors & De Houwer, 2006). Automaticity is gradated; tasks require more or less attention. Most tasks have some attention cost, although they can be exceedingly small (Paul, Ada, & Canning, 2005). Researchers have suggested that skills become more automatic with practice (Bebko et al., 2003). Skill execution in the early stage of learning requires the executive attention system to actively integrate subcomponents of the skill and coordinate their production (Proctor & Dutta, 1995). The attention demands of skill production is less intense with practice because the subroutines have been stored in larger memory units or chunks (Ericsson & Charness, 1994) and/or the brain has actually reorganized (Foyer-Lea & Matthews, 2004; Hill & Schneider, 2006; Poldrack et al., 2005). Chunking has also been used as an explanation for findings in research with nonhuman animals (Macuda & Roberts, 1995; Terrace, 1987).</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Movement Control</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Aspects of human bipedal movement control appear to be cognitively demanding and susceptible to interference by other cognitive tasks (Beilock, Wierenga, & Carr, 2002; Bloem, Steijns, & Smits-Engelsman, 2003; Woollacott & Shumway-Cook, 2002). Although alternative explanations exist for some motor control tasks (Beauchet, Dubost, Aminian, Gonthier, & Kressig, 2005; Riley, Baker, Schmit, & Weaver, 2005), there is a growing consensus that the control of human locomotion in constrained settings (Abernethy, Hanna, & Plooy, 2002; Sparrow, Bradshaw, Lamoureux, & Tirosh, 2002) and in response to perturbations (Woollacott & Shumway-Cook, 2002) is cognitively demanding and susceptible to attentional resource limitations. The attention demand of gait and stance control in nonconstrained settings is difficult to discern, especially in healthy adults, because these tasks are overpracticed (Paul et al., 2005; Riley et al., 2005).</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Bardy and Laurent (1991) demonstrated increased auditory reaction time (RT) in an unconstrained walking task versus a sitting control condition. Sparrow et al., (2002) investigated the attention costs of walking on RT to auditory and visual signals. Relative to no-walking baseline RT, walking increased the response latency in all conditions. Sparrow et al. included a condition in which they constrained the participants' walking by making them place their feet on specific targets. This constrained condition increased response latency during walking. Walking alone appears to have an attention cost. This cost is increased by additional constraints on walking. The control of motion is likely to require active attention, especially when perturbed or constrained.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Although biped and quadruped locomotion are distinct, quadrupeds, like bipeds, need to actively control their balance, especially during abrupt changes in direction and speed (Lee, Bertram, & Todhunter, 1999). The control of complex movements in animals should be initially attention demanding. Predators, for example, need to become skillful at dealing with movement constraints, as their motion is restricted both by uneven terrain and by an evasive prey. Predators, moreover, need to learn how to deal with perturbations, as many prey animals will literally attempt to knock the predator off balance. The attention costs of motor control should be reduced with practice, freeing resources for other tasks and operations, such as prey detection and decision making. If this is the case with nonhuman quadrupeds, then novice animals will differ from experienced animals in their ability to direct attention to nonmovement control operations.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Caro's (1994) ethological research on cheetahs is one of the most extensive investigations of skill development in predators and provides two important pieces of evidence. First, Caro reported that cheetah mothers provide their offspring with the opportunity to hunt in a controlled environment. The mothers capture live prey and bring it back to their cubs. The mothers then release the live prey and encourage the cubs to chase. These young cheetahs develop the ability to chase, knock down, and suffocate prey without the additional cognitive burdens of actual hunting, like prey detection and decision making. Second, one of the primary differences between novice adolescent cheetahs and experienced adult cheetahs is the average distance of abandoning a chase. Adolescents on average abandon a chase after 18 m, whereas adults abandon chase after only 2 m. Perhaps, adult cheetahs have more skill or attention available for reading prey signals and are, therefore, more aware of when a chase is futile.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Field studies with predators limit one's ability to rule out nonlearned, innate mechanisms. Cheetahs have evolved over a long period of time to be successful predators and these developmental changes noted by Caro (1994) may reflect underlying innate mechanisms. There is, however, a quadruped that develops skills in areas that are evolutionarily novel and therefore, are unlikely to be due to innate mechanisms: the working dog.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Canine Agility</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Canine athletes, similar to human athletes, undergo a long period of formal skill training and practice (Helton, 2006, 2007). The popularity of training dogs for activities makes finding highly skilled canines relatively easy. In the current study, canine agility performance will be examined. Agility is a relatively new sport. It was developed in the 1970s and is, therefore, evolutionarily novel. The sport of agility involves a dog running through an obstacle course made up of inclined walls (A-frames), hurdles, tunnels, chutes (collapsed cloth tunnels), elevated dog walks, weave-poles, and see-saws. The dogs must follow a prescribed path through the obstacles and are directed by a handler using gestures and vocal commands. Faults are given for mistakes and speed is calculated. The sport involves endless variation as the placement of the obstacles is not static (for a picture of an agility competition, see Figure 1).</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"><br /></span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">xap-13-3-171-fig1a.gifFigure 1. Two pictures of an actual agility competition. The obstacles are mobile and can be reconfigured to form endless variations. The handler is given a particular path through the obstacles and must direct the dog through the correct path.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Agility is interesting for researchers of motor control because the dog needs to simultaneously control body movement and detect handler signals. When completing an agility course, the dog is performing two tasks: (a) listening and looking for commands (handler signals); and (b) controlling movement in a constrained environment. Moreover, these dogs do not stop moving to detect handler signals; signals are detected while the dog is moving. Agility, in addition, enables the researcher to quantify both motor performance and signal detections. The dog's speed and various types of precision can be measured separately, enabling the examination of different skill components.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">In the present investigation, novice, intermediate, advanced, and expert American Kennel Club (AKC) dogs will be compared for their running speed and various types of precision on a full agility course. More highly skilled dogs will, unquestionably, have overall better performance. The critical issue is whether the limited attention theories developed by researchers to explain human skill development can be applied to agility dogs. If they can be, then a distinct pattern should be noted. Initially, dogs' motor performance should be attentionally demanding, therefore, improvements in motor control should develop early. Once motor skills become sufficiently chunked or automatized, attention should be freed, enabling an increase in signal detections and running speed. The dogs' obedience to simple commands will also be examined to rule out the alternative possibility that any differences detected between the dogs of varying expertise levels are due simply to changes in self-control, obedience, or willingness to comply to the handler's commands. There should be little difference between the dogs of various expertise levels in their ability to follow simple commands, like to sit and stay, or in their self-control.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Method</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Participants</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Participants were 60 dogs and their handlers. The dogs and handlers were recruited at the Queen City Dog Training Club in Cincinnati, Ohio, an AKC affiliated center. The Club is nationally recognized as a premiere agility training facility and has produced a number of AKC champions. Only experienced handlers, with prior experience working with advanced and expert dogs, were included to reduce, though not completely eliminate, the impact of handler expertise experience. The dogs consisted of 15 each from four levels of ability: novice, intermediate, advanced, and expert. The determination of a dog's expertise level was made using the AKC's preestablished competitive designations (see http://www.akc.org/events/agility/index.cfm). The novice dogs in this study were not naïve. The dogs had some training in the sport of agility and were familiar with the obstacles. The dogs were matched for height (leg length), a factor that influences running speed in the sport (Helton, 2006, 2007) with 1 in. of tolerance. Where possible dog breed was matched across levels; however, as previous research does not indicate a significant effect for breed on agility performance when height is controlled, height was given higher priority for matching purposes (Helton, 2006, 2007). The dogs ranged in age from 2 years to 7 years (M = 3.6 years, SD = 1.5 years).</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Procedure</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">The dogs were assessed at the training club over 3 days. The Queen City Dog Training Center is a 9,600 sq. ft. climate controlled building with antislip matting built especially for the sport of agility. The dogs competed in full agility courses consisting of all obstacle types and their respective combinations. Course length and the exact number of obstacles employed depended on the dogs' competitive abilities. More skilled dogs ran slightly longer courses than their less skilled counterparts. The height of jumping obstacles is adjusted for the height of the dog, as is the standard in the sport. All dogs competed at least two runs on separate days. The obstacles were arranged by an experienced AKC course setter for each session. The course lengths ranged from 127 to 173 yards (M = 152.1, SD = 16.4) with 15 to 19 obstacles (M = 17.5, SD = 1.6). The time to complete a course ranged from 43.9 to 101 seconds (M = 62.8, SD = 12.5).</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">In this study, performance measures were assessed from the dogs' runs for both speed and precision. Speed was the average time for a run, regardless of number of faults made during the course. The speed of each run was calculated by dividing the distance of the course measured in yards by the time of the run measured in seconds (yd/sec). Course time was measured using Signature Gear electronic timers (Signature Gear Corporation, Saint Louis, Missouri). These electronic timers are specifically designed for agility competitions and are accurate to 1 ms.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">In agility, faults are given for a number of inappropriate actions by the dog. Different types of faults can be distinguished. Three types of faults of interest are refusals-runouts (R), obstacle faults (O), and table faults (T). A refusal is when a dog starts toward an obstacle and ceases forward movement. A runout is when the dog passes by the next correct obstacle. An obstacle fault is given when the dog fails to perform on an obstacle, for example, not touching contact zones or knocking bars on jumps. A table fault is when a dog leaves a rest or pausing zone, typically an elevated platform, prematurely.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">The kind of faults made may be diagnostic of underlying skill differences between dogs of differing levels of ability. The exact underlying nature of these faults is open to speculation; however, they are objectively different in nature. R faults are made when the dog is not committing to an obstacle. These errors may indicate an underlying state of signal uncertainty. In the case of a refusal, the dog is second guessing the handler's signal, turning back to the handler, perhaps, for verification. In the case of a runout, the dog most likely missed a handler signal. An R fault, therefore, most likely reflects a missed or nearly missed handler signal. O faults are motor skill errors; the dog whereas engaging with the obstacle, fails to do so appropriately. T faults are errors of obedience or dog self-control. The handler indicates to the dog to sit and stay on the platform, but before being given the release command by the handler, the dog prematurely releases him or herself.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">In addition to speed, the three different types of precision were collected: refusal/runout (R), obstacle (O), and table (T). To calculate precision values, the fault types were summed for each dog and divided by the total number of runs the dog ran. A constant (1) was added to these values and they were inverted (1/(x + 1)) to ensure normality (Kirk, 1995). The constant was added to deal with cases of zero faults. For these metrics, a higher value reflects more precision. These faults were determined by AKC-qualified agility judges who were blind to the purpose of the study. As is typical in the sport of agility, a primary ring judge determined the faults. At least two other judges were present and could be queried about unclear cases; none, however, occurred.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Results</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">To assess whether there were speed–accuracy trade-offs, the relationships between speed and the precision measures were calculated using Pearson product–moment correlations. Speed was significantly correlated with O precision, r(58) = .44, p < .01; and R precision, r(58) = .43, p < .01; but not with T precision, r(58) = .21, ns. O and R precision were significantly correlated with each other, r(58) = .42, p < .01; but neither O precision, r(58) = .20, ns; nor R precision, r(58) = .23, ns; were correlated significantly with T precision. There was no evidence for speed–accuracy trade-offs observed between dogs; more precise dogs tended to be faster, not slower.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Speed and the precision measures were analyzed with orthogonal comparisons (Keppel & Zedeck, 2001). Depending on whether the performance metric was hypothesized to differ late or early in skill development, Helmert or reverse-Helmert contrasts were conducted. For Helmert contrasts, each group was compared to the mean of all subsequent groups, whereas for reverse-Helmert contrasts each group is compared to the mean of all previous groups (Field, 2000). The speed means for the four expertise groups are displayed in Figure 2. For the speed reverse-Helmert contrasts (MSE = 2.84), experts were significantly different from the average of the other groups, t(56) = 5.99, p < .01, d = 1.60; advanced dogs were significantly different from the average of intermediates and novices, t(56) = 3.81, p < .01, d = 1.02; and intermediates were not significantly different from novices, t(56) = 1.76, ns, d = 0.47.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"><br /></span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">xap-13-3-171-fig2a.gifFigure 2. The mean running speeds (yd/sec) for the four expertise groups (error bars are 95% confidence intervals).</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">The precision scores for each expertise group can be seen in Figure 3. For T-precision Helmert contrasts (MSE = 0.01), novices did not differ significantly from the average of the other groups, t(56) = 1.00, ns, d = 0.27; intermediates did not differ significantly from the average of advanced and experts, t(56) = 0.64, ns, d = 0.17; and advanced dogs did not differ significantly from experts, t(56) = 0.24, ns, d = .06. For O-precision Helmert contrasts (MSE = 0.37), novices were significantly different from the average of the other groups, t(56) = 4.77, p < .01, d = 1.27; intermediates did not differ significantly from the average of advanced and experts, t(56) = 0.50, ns, d = 0.13; and advanced dogs did not differ significantly from experts, t(56) = 1.68, ns, d = 0.45. For R-precision reverse-Helmert contrasts (MSE = .35), experts were significantly different from the average of the other groups, t(56) = 4.53, p < .01, d = 1.21; advanced dogs did not differ significantly from the average of intermediates and novices, t(56) = 0.61, ns, d = 0.16; and intermediates did not differ significantly from novices, t(56) = 0.99, ns, d = 0.26.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">xap-13-3-171-fig3a.gifFigure 3. The mean precision measures for the four expertise groups (error bars are 95% confidence intervals).</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Discussion</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">As predicted, dogs of varying expertise levels differed significantly on objective measures of performance. R precision may be indicative of signal detections. The large differences between experts and novices for the amount of R precision indicate that a major aspect of dog agility skill is learning to accurately detect handler signals (e.g., to not miss them). The clear speed and O-precision differences between experts and novices indicate that along with the perceptual-cognitive skill learning, agility skill entails substantive changes in motor control. The expert dogs are not only more careful when moving through and on to obstacles (more O precision), they are also moving more quickly (speed). The lack of significant differences between dogs of different expertise levels for T precision and the overall high T-precision values, regardless of expertise level, may indicate a ceiling effect. To compete in agility, dogs are already under control and obey basic commands accurately.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Faster and more precise expert dogs are expected, as agility dogs' designated expertise levels should be based on objective features of performance. More critical was the unique pattern of skill differences with increasing agility expertise. In line with the limited attention theories developed by researchers using human participants (Bloem et al., 2003; Fitts & Posner, 1967; Woollacott & Shumway-Cook, 2002), a distinct pattern in the dogs' performance was predicted. From this perspective the dogs' motor performance initially should be attentionally demanding. Therefore, improvements in motor control should come earlier, namely O-precision improvements should come before improvements in signal detection, or R precision. Once motor skills become sufficiently chunked or automatized, then attentional resources should be freed, enabling an increase in R precision (signal detections) and an overall increase in running speed. The results of this study corroborate this theoretical pattern.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">As can be seen in Figure 3, the largest sequential difference in R precision (signal detections) occurred when experts were compared to advanced dogs (d = 0.90), whereas the largest sequential difference in O precision occurred between novice and intermediate dogs (d = 0.96). Speed increases across the expertise levels; however, noticeable changes in speed occurred when intermediates were sequentially compared to advanced dogs (d = 0.65) and advanced dogs were compared to experts (d = 0.72), slightly later in skill level than the major O-precision gains. Although improvement in motor control continues throughout levels, the majority of the gains in these abilities occur at skill levels lower than the expert designation. This finding may indicate that earlier in skill development motor control is attentionally demanding and then later becomes increasingly automated, first allowing increases in speed and then finally major increases in signal detections.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">The results of this study fit nicely within Fitts and Posner's (1967) three-stage model of expertise development. In their model, the initial cognitive stage consists of close attention to cues and feedback. Performance during the cognitive stage is not fluid and requires the active, attentive coordination of the separate skill elements. The transition from novice to intermediate is marked by improvement in motor control (O precision), or in other words, the accurate production of the individual motor elements. The next associative stage in their model consists of organizing these separate skill elements into larger units or chunks. This organization results in an increase in skill fluidity and speed. The transition from intermediate to advanced is marked by an increase in speed, or in other words, the fluidity of skill production. The final automatic or autonomous stage consists of the skill becoming independent from cognitive control and attention. The independence of the skill frees-up attention for coordinating other activities and operations. The transition from advanced to expert in this study is marked by an increase in signal detections (R precision), a task that presumably requires attention.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">There are alternative explanations for the reported findings. One alternative explanation is that only exceptional dogs, those that make no faults to begin with, continue on to become experts. Handlers may, moreover, selectively remove dogs from competition. Handlers may first remove those dogs who fail to show motor expertise (O precision) and then eventually those dogs failing to detect signals (R precision). Because the data collected for this study were not longitudinal, this explanation is possible. There is some evidence that suggests that although possible, this explanation is implausible. First, looking at the overall fault rates, 6 of the 15 expert dogs had a completely flawless performance, whereas none of the 15 novices had a flawless performance. As far as can be determined, both from the data at hand and from conversations with AKC officials, flawless novice dogs do not exist, so there would be none to select out. There is, in addition, no reason to suspect a fault specific (O vs. R) weeding out process from one competitive level to the next. This issue will hopefully be resolved in the future with the employment of longitudinal studies, in which individual dogs are tracked from the beginning of their training.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Another possible issue is handler confounding. Agility is a team sport in which handlers play a critical role in directing the dogs' movements. It could be argued that the findings of this study may be due to handler differences instead of dog differences. Before continuing too far with this line of reasoning, one point should be made clear: the novice and intermediate dogs' handlers were not agility novices themselves. To be included in this study, all handlers needed to have previously competed with a dog at an advanced or expert level. Thus, whatever signaling method the handlers of novice and intermediate dogs employed had worked previously with a highly skilled dog. Although there will be differences in the exact signaling method a handler employs, the dogs' skill is to learn to detect their handler's signals. Handler differences do not, moreover, explain the developmental pattern in regards to motor skill (O precision).</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Regardless of possible objections and alternative explanations, the findings of this study are intriguing and deserve closer examination. From a practical perspective, agility may prove useful as a real-world task revealing changes in attention during skill development and automaticity in animals. If, as is being suggested, some aspects of agility skill are automatizable in dogs, then dogs may serve a role in studying automaticity in general. A successful animal model of the development of skill automaticity may prove useful in the future for examining factors that influence skill automaticity that are difficult or restricted in human participants (e.g., underlying genetic factors and early rearing practices). Dogs may prove useful in this regard as they are subject to genetic control and their early life experiences can be manipulated (Schmutz & Schmutz, 1998; Slabbert & Rasa, 1997).</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">The dual-task paradigm is commonly used to measure task automaticity in humans (Abernethy, 1988; Pashler, 1994, 1998). Automatic tasks place little burden on attention and, subsequently, performance on concurrent secondary tasks are unaffected. Nonautomatic tasks, however, compete with secondary tasks for attention. This competition between the tasks for limited resources leads to performance deterioration in one or both of the tasks. Although agility is a natural dual task, with movement and signal detection occurring simultaneously, dual-task methodology was not rigorously employed in this study. Researchers in the future could emulate the dual-task method used in human expertise research (Beilock et al., 2002; Leavitt, 1979; Smith & Chamberlin, 1992) with agility dogs. The results of this study will hopefully encourage researchers to conduct these studies.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Although they do not rule out alternative explanations, these preliminary findings are provocative. The results of this study intriguingly match expectations based on Fitts and Posner's (1967) stage model of expertise development. Undoubtedly, more research is warranted. The sport of agility offers researchers an excellent setting to test theories of skill automaticity and executive attention in a nonhuman species. Regardless of its impact on the theoretical understanding of expertise, this paper provides an initial step toward a science of canine expertise. The need to study the operational performance of working dogs is critical. Knowing how an explosive detection dog works, for example, is as important as knowing how a human luggage inspector works, if the goal is to keep our airliners safe. More specific to the present study, K–9 law-enforcement dogs are actually trained in agility, in a manner very similar to the dogs in this study. The K–9s need to navigate quickly through all types of obstacles, while they simultaneously process the verbal and gestural commands from their human partners. Further research in this area would be extremely useful in understanding canine expertise and developing more proficient canine workers.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">References</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Abernethy, B. (1988). Dual-task methodology and motor skills research: Some applications and methodological constraints. Journal of Human Movement Studies, 14, 101–132.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Abernethy, B., Hanna, A., & Plooy, A. (2002). The attentional demands of preferred and non-preferred gait patterns. Gait and Posture, 15, 256–265.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Adachi, I., Kuwahata, H., & Fujita, K. (2007). Dogs recall their owner's face upon hearing the owner's voice. Animal Cognition, 10, 17–21.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Anderson, J. R. (1995). Learning and memory: An integrated approach. New York: Wiley.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Bailey, T. N. (1993). The African leopard: Ecology and behavior of a solitary felid. New York: Columbia University Press.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Bardy, B. G., & Laurent, M. (1991). Visual cues and attention demand in locomotor positioning. Perceptual and Motor Skills, 72, 915–926.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Beauchet, O., Dubost, V., Aminian, K., Gonthier, R., & Kressig, R. W. (2005). Dual-task-related gait changes in the elderly: Does the type of cognitive task matter?Journal of Motor Behavior, 37, 259–264.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Bebko, J. M., Demark, J. L., Osborne, P. A., Majumder, S., Ricciuti, C. J., & Rhee, T. (2003). Acquisition and automatization of a complex task: An examination of three-ball cascade juggling. Journal of Motor Behavior, 35, 109–118.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Beilock, S. L., Wierenga, S. A., & Carr, T. H. (2002). Expertise, attention, and memory in sensorymotor skill execution: Impact of novel constraints on dual-task performance and episodic memory. Quarterly Journal of Experimental Psychology: Human Experimental Psychology, 55, 1211–1240.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Bloem, B. R., Steijns, J. A. G., & Smits-Engelsman, B. C. M. (2003). An update on falls. Current Opinion in Neurology, 16, 15–26.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Brooks, S. E., Oi, F. M., & Koehler, P. G. (2003). Ability of canine termite detectors to locate live termites and discriminate them for non-termite material. Journal of Economic Entomology, 96, 1259–1266.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Bushnell, P. J. (1998). Behavioral approaches to the assessment of attention in animals. Psychopharmacology, 138, 231–259.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Submitted: November 27, 2006 Revised: June 8, 2007 Accepted: June 11, 2007</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Source: Journal of Experimental Psychology: Applied. Vol. 13. (3), Sep, 2007 pp. 171-178)</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Accession Number: 2007-14487-006</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Digital Object Identifier: 10.1037/1076-898X.13.3.171</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">cognition in domestic dogs: object permanence & social cueing</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">ephost@ebsco.com on behalf of ephost@epnet.comReplyReply AllForwardActions</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> mccabecj@sbcglobal.net; Christopher J. Mc Cabe </span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Attachments:</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">EJ796402.pdf (3 MB)[Open as Web Page]</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Tuesday, October 27, 2015 8:44 AM</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">PASADENA CITY COLLEGE, SHATFORD LIBRARY</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Record: 1</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Title:<span class="Apple-tab-span" style="white-space: pre;"> </span>Cognition in Domestic Dogs: Object Permanence & Social Cueing</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Author(s):<span class="Apple-tab-span" style="white-space: pre;"> </span>Clotfelter, Ethan D.; Hollis, Karen L.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Source:<span class="Apple-tab-span" style="white-space: pre;"> </span>American Biology Teacher, v70 n5 p293-298 May 2008. 6 pp.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Peer Reviewed:<span class="Apple-tab-span" style="white-space: pre;"> </span>Yes</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">ISSN:<span class="Apple-tab-span" style="white-space: pre;"> </span>0002-7685</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Descriptors:<span class="Apple-tab-span" style="white-space: pre;"> </span>Animals, Object Permanence, Cognitive Processes, Memory, Cognitive Ability, Brain Hemisphere Functions, Science Instruction, Laboratory Experiments, College Science, Science Experiments, Teaching Methods, Cues, Research Design, Research Methodology, Higher Education</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Abstract:<span class="Apple-tab-span" style="white-space: pre;"> </span>Cognition is a general term describing the mental capacities of an animal, and often includes the ability to categorize, remember, and communicate about objects in the environment. Numerous regions of the telencephalon (cerebral cortex and limbic system) are responsible for these cognitive functions. Although many researchers have used traditional laboratory animals such as rodents and pigeons in the study of animal cognition, an increasing number of studies focus on species such as non-human primates, dolphins, and domestic dogs ("Canis familiaris"). Such studies can provide insight into the evolution of cognitive processes in humans. In this article, the authors describe a laboratory exercise that they have used with college students, although the exercise would be equally effective at the middle- or high-school levels. The primary objective of this exercise is to use an animal familiar to all students, the domestic dog, to examine the phenomena of object permanence and social cueing. More specifically, the approach described here will teach students about the importance of careful experimental design and the interpretation of data. (Contains 3 tables and 3 figures.)</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Abstractor:<span class="Apple-tab-span" style="white-space: pre;"> </span>ERIC</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Number of References:<span class="Apple-tab-span" style="white-space: pre;"> </span>13</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Number of Pages:<span class="Apple-tab-span" style="white-space: pre;"> </span>6</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Intended Audience:<span class="Apple-tab-span" style="white-space: pre;"> </span>Teachers</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Publication Type:<span class="Apple-tab-span" style="white-space: pre;"> </span>Guides - Classroom - Teacher; Journal Articles; Reports - Descriptive</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Availability:<span class="Apple-tab-span" style="white-space: pre;"> </span>National Association of Biology Teachers. 12030 Sunrise Valley Drive #110, Reston, VA 20191. Tel: 800-406-0775; Tel: 703-264-9696; Fax: 703-264-7778; e-mail: publication@nabt.org; Web site: http://www.nabt.org</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">URL:<span class="Apple-tab-span" style="white-space: pre;"> </span>http://www.nabt.org</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Journal Code:<span class="Apple-tab-span" style="white-space: pre;"> </span>FEB2014</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Entry Date:<span class="Apple-tab-span" style="white-space: pre;"> </span>2008</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Accession Number:<span class="Apple-tab-span" style="white-space: pre;"> </span>EJ796402</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Persistent link to this record (Permalink):<span class="Apple-tab-span" style="white-space: pre;"> </span>https://login.ezp.pasadena.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=eric&AN=EJ796402&site=ehost-live</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Cut and Paste:<span class="Apple-tab-span" style="white-space: pre;"> </span><a href="https://login.ezp.pasadena.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=eric&AN=EJ796402&site=ehost-live">Cognition in Domestic Dogs: Object Permanence & Social Cueing</a></span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Database:<span class="Apple-tab-span" style="white-space: pre;"> </span>ERIC</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Section:</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">INQUIRY & INVESTIGATION</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Cognition is a general term describing the mental capacities of an animal, and often includes the ability to categorize, remember, and communicate about objects in the environment. Numerous regions of the telencephalon (cerebral cortex and limbic system) are responsible for these cognitive functions. Although many researchers have used traditional laboratory animals such as rodents and pigeons in the study of animal cognition, an increasing number of studies focus on species such as non-human primates, dolphins, and domestic dogs (Cams familiaris). Such studies can provide insight into the evolution of cognitive processes in humans (Miklósi et al., 2004; Gomez, 2005). Here we describe a laboratory exercise we have used with great success with college students, although the exercise would be equally effective at the middle- or high-school levels. The primary objective of this exercise is to use an animal familiar to all students, the domestic dog, to examine the phenomena of object permanence and social cueing. More specifically, the approach described here will teach students about the importance of careful experimental design and the interpretation of data. In this regard, the activity is consistent with the National Science Education Standards (National Research Council, 1996) in that it encourages the skills of scientific inquiry (Standards B and E), allows students to engage in extended investigations (Standard D), and nurtures collaboration among students (Standard E). In addition, this exercise aligns with the National Standard that secondary science teachers should be able to demonstrate "Measurement as a way of knowing and organizing observations of constancy and change."</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Object Permanence</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">A relatively simple form of cognition is illustrated by the phenomenon known as object permanence, the awareness that objects exist even when they are not visible. Object permanence is a universal characteristic among primates (Gomez, 2005). Most studies of object permanence utilize the scheme originally conceived by the Swiss developmental psychologist Jean Piaget from his studies of human infants and toddlers (e.g., Piaget & Inhelder, 1969; Table 1). In the 1980s and 1990s, comparative psychologists began applying this same scheme to dogs (Triana & Pasnak, 1981; Gagnon & Doré, 1992, 1993). Some studies found that dogs perform at a level consistent with a one- to two-year-old human toddler, meaning that they usually score better than 50% on Visible and Invisible Displacement Tests (see below). Other studies have suggested that dogs may simply associate the location of the hidden object with some fixture of the environment (Collier-Baker et al., 2004). Thus, the degree of object permanence in domestic dogs is still very much a question of scientific debate.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Social Cueing</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">A separate but equally interesting area of research focuses on the ability of animals to follow social cues from humans. The most frequently investigated cue is pointing toward a hidden object, which has been studied in a diverse array of mammals including non-human primates, dogs, wolves, goats, and cetaceans (Miklósi & Soproni, 2006). Interestingly, dogs perform much better at this task than do either wolves (Canis lupus) or chimpanzees (Pan troglodytes), which originally led some researchers (Hare et al., 2002) to speculate that domestication selects for a particular set of cognitive abilities that allow for human-dog communication. More recent work (Hare et al., 2005) suggests that social cueing may simply be a byproduct of the domestication process itself. At a minimum, dogs' ability to follow social cues means that they quickly learn to associate human pointing with rewards such as food or toys. A more intriguing possibility, however, is that dogs might possess what cognitive psychologists call a "theory of mind," the ability to recognize another individual — in this case a human — as a separate, sentient being in possession of information different from what the dog possesses.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">How To Get Study Subjects</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">We have had great success in enlisting assistance from faculty and staff dog-owners at our respective institutions. Most owners are interested in learning more about animal cognition, are delighted to participate (even multiple times), and are quite curious as to how their dogs perform relative to their peers. Students are encouraged to seek out dogs belonging to friends and neighbors, as long as the testing sessions follow the same protocol. Students and teachers at the college level should be advised that any animal usage on college property is regulated by an Institutional Animal Care and Use Committee (IACUC). Because dogs will be tested in owners' homes, IACUC approval typically is not required; nonetheless, we suggest contacting the IACUC. Students and teachers at all levels should be aware of the possible safety issues involved in working with other peoples' dogs and should involve the owner in the testing procedure to the greatest extent possible.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Things To Do Before Each Testing Session Begins</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Our own classes are typically 15-25 students; and we typically have students work in groups of two to four, with each group responsible for collecting data on eight to ten dogs. Data can be pooled from all groups, if needed. Prior to testing, we often bring a dog into the classroom to demonstrate proper testing procedure. Testing sessions require a minimum of two people, one of whom can be the owner of the dog. The students should select a testing site that is familiar to the dog (owner's home, office, yard, or nearby park) and has a minimum of distractions. With the exception of students with severe dog allergies or phobias, all students should familiarize themselves with the dog being tested. This familiarization process will minimize distractions during the testing process. During this time, the students can ask the owner to fill out the Dog Personality Questionnaire (see below).</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">The students should determine what breed of dog they're working with, and assign it to one of the eight AKC groups listed below in Table 2. In our experience, mixed-breed dogs often out-perform purebreds; thus, we usually add a ninth category to accommodate mixed breeds. The students should also find out the age and sex of the dog, and whether it has been spayed or neutered. The students should question the owner as to what test object (food, ball, or chew toy) would generate the most interest from the dog. In our experience, the vast majority of dogs are preoccupied with food, and we usually supply each group of students with a box of dog biscuits or soft dog treats for this purpose. Depending on the dog's level of interest in the object, students may need to play with it for several minutes before testing. If food is used as the test object, the students should not test a dog immediately after it has eaten. In our experience, the most reliable test object is a food item (dog biscuit). Thus, we use "food" for the remainder of this article.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Setting Up a Testing Session</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">The materials needed are relatively simple: the test object (food), a clipboard for recording data, a stopwatch or wristwatch, three containers of uniform size and color, and one container small enough to fit inside the others. We usually use three 5-gallon buckets and one 1-gallon bucket for our containers, but some dogs are fearful of these large buckets. Alternatively, students can use three 1-gallon paint buckets and a styrofoam cup. The students should arrange the three buckets in a semi-circle such that they are equidistant from the dog. The buckets should be placed upright and approximately one meter apart. The students (with help from the owner) should position the dog approximately 2-3 meters from the buckets. To visualize the spatial arrangement of dog and buckets, imagine a clock face in which the buckets are placed at 11, 12, and 1 and the dog is positioned at 6. To maintain consistency among trials, the students could ask the owner to mark the dog's position with masking tape.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Single Visible Displacement Test</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">The first test of object permanence is called the Visible Displacement Test, so called because the dog sees the experimenter hide (or displace) the food. The student playing the role of "experimenter" should walk back and forth behind the buckets and hold the food such that the dog can see it. Once the student is sure he/she has the dog's attention, the student should place the food inside one of the buckets. Another student records time on the stopwatch. After 10 seconds, the owner or handler can release the dog. Score the trial as successful if the dog attempts to move or displace the correct bucket. Score the trial as unsuccessful if the dog approaches the incorrect bucket to within one body length or does not make an appropriate response for 30 seconds. Repeat three times for each dog, each time using the same bucket. If a dog is successful in two or three trials, it has reached Stage 4 (Table 1). We have found that a 2-out-of-3 success rate is more conservative and precludes dogs that are making random selections.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Sequential Visible Displacement Test</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Position the dog and buckets as before. Conduct these trials exactly as before, only this time conceal the food under a different bucket; remember to use the same bucket for each of the three tests. If the dog chooses the bucket under which the food was previously concealed, it is making what are called "A-not-B" errors and, thus, has not progressed past Stage 4. If the dog successfully locates the food under the new bucket, it has reached Stage 5 (Table 1). Remember that a dog who was unsuccessful in the first test but successful in the second test may not necessarily have learned anything the first time, and therefore may still be in Stage 4.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Invisible Displacement Test</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Position the dog and buckets as before. The student ("experimenter") standing behind the bucket should hold the food in his/her hand, showing it to the dog. Once the dog sees the food, the student should place the object into the smaller container. The student should be sure that the dog sees the placement of the food. Put the small container inside one of the big buckets (still in place on the floor), remove the object, and place it inside the big bucket. Lift the small container up in the air and rotate it toward the dog to show that it is empty. Wait for 10 seconds and then release the dog. Score the trial as successful if the dog attempts to move or displace the correct bucket, or if the dog looks inside the correct bucket. Score the trial as unsuccessful if the dog chooses the incorrect bucket or does not make an appropriate response for 30 seconds. Conduct three tests, hiding the food inside the same bucket each time. If the dog is successful two or three times, it has reached Stage 6 of object permanence. To determine whether dogs truly have Stage 6 object permanence, we would ideally subject them to successive and alternating invisible displacement tests, but time- or dog-related constraints may not make this additional testing feasible.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Social Cueing</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Remove the dog from the room or area. Remove one of the buckets and re-arrange the two remaining buckets such that they are equidistant from the dog's position. Hide the food inside one of the buckets. Bring the dog back into the room and position it in the same place as before. While the owner gently restrains the dog, the experimenter should stand behind the buckets and point and gaze at the bucket that conceals the hidden object for 10 seconds. The owner or handler can then release the dog. Score the trial as successful if the dog chooses the correct bucket, unsuccessful if it chooses the incorrect bucket or makes no appropriate choice. Conduct four tests, changing the position of the target object so that each bucket holds the object twice (remember to remove the dog each time). The dog must be successful on at least two consecutive tests to have succeeded at the task.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Dog Personality Questionnaire</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">An active area of animal behavior research is the study of behavioral syndromes, which are suites of correlated behaviors roughly analogous to an animal's "personality" (Sih et al., 2004). A key question in behavioral syndrome research is whether a set of behaviors that is adaptive in one context might be maladaptive in another. For example, a bold and inquisitive animal might be highly successful in situations where such behaviors are called for, but significantly less so in situations where the risk of predation or other hazards is high. Thus, in addition to our studies of canine object permanence and social cueing, we have sought to quantify dog personality to determine which behavior patterns are associated with cognitive performance. Table 2 represents a Dog Personality Questionnaire we have adapted from the Internet (© Wendy Volhard, http://www.volhard.com/training/cpp.htm). This questionnaire, originally conceived for dog training purposes, includes questions designed to assess a dog's predatory instincts, desire to be part of a pack, motivation for fighting, and tendency to flee. For each of these "drives" the questionnaire will generate a numerical score between 0 and 100. Other dog personality questionnaires are also available online (e.g., http://www.lincoln.ac.uk/dbs/staff%5fprofile/h%5fwright.htm). These personality scores can be used for additional analyses, if desired (see below).</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Data Analysis</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Endless possibilities exist for data analysis, which depend on student interest and the number of dogs to which the students have access. The simplest approach is to pool all dogs together and calculate the mean success rate (percentage or proportion) on each of the Object Permanence and Social Cueing Tests (Figure 1). That is, each dog would score 0%, 33%, 66% or 1.00% on the Object Permanence Test or 0%, 25%, 50%, 75% or 100% on the Social Cueing Test. In addition, students can analyze success on the tests as a function of dog sex (creating two additional categories of neutered and spayed dogs often produces interesting results), dog age (for example, categories of 0-1 years, 2-3 years, 4-6 years, 7-9 years, and 10+ years), or AKC breed group (Table 3, Figure 2). More advanced students could test for statistical differences between (t-tests) or among (analysis of variance) groups using statistical analysis software. The "Data Analysis" function under "Tools" in Microsoft Excel™ is capable of conducting both of these tests. First, organize your data into columns. An example of data for a two-sample t-test would be success (as proportions or percentages) in Visible Displacement Tests by mixed-breed dogs in one column and success in Visible Displacement Tests by purebred dogs in another column. Data to be analyzed by analysis of variance (ANOVA) would be in three or more columns (e.g., success in invisible displacement tests by multiple breed classes or age groups). A number of online resources may be consulted for discussion of how to interpret the results of these statistical tests (e.g., http://pareonline.net/getvn.asp?v=4&n=5).</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Finally, students could create simple scatter plots in which each dog's score on the social cueing test (0-100%) is plotted against its score (0-100) on each of the dog personality profiles. For more advanced students, correlation coefficients and significance (P or α) values for each scatter plot could be calculated using statistical analysis software. As an example, Figure 3 illustrates a strong correlation between hypothetical social cueing scores and total pack drive scores (r = 0.81, P < 0.001).</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">An important aspect of scientific research, and an essential feature of classroom enquiry (National Research Council, 2000) is communicating one's results to the public. We have found that it is informative for students, as well as gratifying for dog owners, to prepare written reports detailing their findings. Students may want to protect the sensitive egos of the dog owners, however, by withholding the identity of the dogs in their study.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Integration into Curricula</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">This exercise has been used successfully in animal behavior courses at Amherst and Mt. Holyoke Colleges, and it could also be integrated into college-level courses on developmental or comparative psychology. Based on conversations we have had with high school teachers throughout New England, there are ample opportunities for integrating this exercise into high school curricula. For example, many schools have electives in physiology (some of which include neuroscience units), psychology, or even animal behavior. The Advanced Placement Biology curriculum includes a unit on animal behavior (taxis and kinesis), the emphasis of which is similar to our emphasis here: experimental design and interpretation of results. Thus, this exercise on dog cognition could supplement that part of the curriculum, particularly because (after some training) it can be performed by groups of students outside of the classroom.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Table 2a. Dog Personality Questionnaire (Adapted from © Wendy Volhard, http://www.volhard.com/training/cpp.htm).</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">For each answer, please choose: Almost always ( 10) Sometimes ( 5) Hardly ever (0)</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">1. Does YOUR DOG sniff the ground or air a lot?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">2. Does YOUR DOG get along with other dogs?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">3. Does YOUR DOG stand its ground or investigate strange objects or sounds?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">4. Does YOUR DOG run away from new situations?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">5. Does YOUR DOG get excited my moving objects, such as bikes or squirrels?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">6. Does YOUR DOG get along with people?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">7. Does YOUR DOG like to play tug-of-war games to win?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">8. Does YOUR DOG hide behind you when unable to cope?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">9. Does YOUR DOG stalk cats, other dogs, or things in the grass?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">10. Does YOUR DOG bark when left alone?.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">11. Does YOUR DOG bark or growl in a deep tone?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">12. Does YOUR DOG act fearful in unfamiliar situations?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">13. Does YOUR DOG, when excited, bark in a high-pitched voice?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">14. Does YOUR DOG solicit petting or like to snuggle with you?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">15. Does YOUR DOG guard territory?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">16. Does YOUR DOG tremble or whine when unsure?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">17. Does YOUR DOG pounce on toys?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">18. Does YOUR DOG like to be groomed?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">19. Does YOUR DOG guard food or toys?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">20. Does YOUR DOG crawl or turn upside down when reprimanded?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">21. Does YOUR DOG shake and "kill" toys?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">22. Does YOUR DOG seek eye contact with you?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">23. Does YOUR DOG dislike being petted?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">24. Is YOUR DOG reluctant to come close to you when called?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">25. Does YOUR DOG steal food or garbage?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">26. Does YOUR DOG follow you around like a shadow?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">27. Does YOUR DOG dislike being groomed or bathed?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">28. Does YOUR DOG have difficulty standing still when groomed?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">29. Does YOUR DOG like to carry things?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">30. Does YOUR DOG play a lot with other dogs?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">31. Does YOUR DOG guard the owner(s)?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">32. Does YOUR DOG cringe when someone strange bends over him/her?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">33. Does YOUR DOG wolf down food?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">34. Does YOUR DOG jump up to greet people?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">35. Does YOUR DOG like to fight with other dogs?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">36. Does YOUR DOG urinate during greeting behavior?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">37. Does YOUR DOG like to dig and bury things?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">38. Does YOUR DOG show reproductive behaviors, such as courting or mounting other dogs?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">39. Does YOUR DOG get picked on by other dogs (either now or when it was young)?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">40. Does YOUR DOG tend to bite when cornered?</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Table 2b. Scoring the Dog Personality Questionnaire. Write the scores from each question in the spaces below to obtain prey drive, pack drive, fight drive, and flight drive scores for each dog (© Wendy Volhard, http://www.volhard.com/training/cpp.htm)</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">1. 2. 3. 4.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">5. 6. 7. 8.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">9. 10. 11. 12.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">13. 14. 15. 16.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">17. 18. 19. 20.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">21. 22. 23. 24.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">25. 26. 27. 28.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">29. 30 31. 32.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">33. 34. 35. 36.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">37. 38. 39. 40.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Total prey Total pack Total fight Total flight</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> drive: drive: drive: drive:</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Table 1. Jean Piaget's stages of object permanence in human infants and toddlers</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Stage 1 (0-1 month) No response to disappearance</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Stage 2 (1-4 months) Coordinating modalities — e.g.,</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> looking for source of sound</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Passive expectation — continued gaze</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> at point of disappearance</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> No following of dropped object or</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> anticipation of trajectory</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Stage 3 (4-8 months) Visual anticipation of trajectory —</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> looks where dropped object is expected to</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> land</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Responds to game of peek-a-boo</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> No retrieval of fully hidden object</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Stage 4 (8-12 months) Retrieval of fully hidden object</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Makes A-not-B errors (persistent searching</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> for hidden object in location where object</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> previously was found)</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Stage 5 (12-18 months) Success on A-not-B task</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Failure on invisible displacements —</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> search confined to visible hiding places</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Stage 6 (18-24 months) Success on all of above</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Table 3. Breed groups recognized by the American Kennel Club (www.akc.org)</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Hunting Group Hound Group Working Group Terrier Group</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Brittany Afghan Hound Akita Airedale Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Pointer American Alaskan Malamute American</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Foxhound Staffordshire</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">German Basenji Anatolian Australian Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Shorthaired Pointer Shepherd</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">German Basset Hound Bernese Mountain Bedlington Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Wirehaired Pointer Dog</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Chesapeake Bay Beagle Boxer Border Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Retriever</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Curly-Coated Black and Tan Bullmastiff Bull Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Retriever Coonhound</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Flat-Coated Bloodhound Doberman Cairn Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Retriever Pinscher</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Golden Retriever Borzoi German Pinscher Dandie Dinmont</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Labrador Dachshund Giant Schnauzer Irish Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Retriever</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">English Setter English Great Dane Kerry Blue Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Foxhound</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Gordon Setter Greyhound Great Pyrenees Lakeland Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Irish Setter Harrier Greater Swiss Manchester Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Mountain Dog (Standard)</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">American Water Ibizan Hound Komondor Miniature Bull</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Spaniel Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Clumber Spaniel Irish Wolfhound Kuvasz Miniature Schnauzer</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Cocker Spaniel Norwegian Mastiff Norfolk Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Elkhound</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">English Cocker Otterhound Newfoundland Norwich Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Spaniel</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">English Springer Petit Basset Portuguese Parson Russell</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Spaniel Terrier Griffon Water Dog</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Vendéen</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Field Spaniel Pharaoh Hound Rottweiler Scottish Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Irish Water Rhodesian Saint Bernard Sealyham Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Spaniel Ridgeback</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Nova Scotia Saluki Samoyed Skye Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Duck Tolling</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Retriever</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Spinone Italiano Scottish Siberian Husky Smooth Fox Terrier</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Deerhound</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Sussex Spaniel Whippet Standard Soft Coated</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Schnauzer Wheaten Terrier</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Welsh Springer Staffordshire Bull</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Spaniel Terrier</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Vizsla Welsh Terrier</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Weimaraner West Highland</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> White Terrier</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Wirehaired Pointing Wire Fox Terrier</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Griffon</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Toy Group Non-Sporting Herding Group Miscellaneous Group</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Group</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Affenpinscher American Australian Beauceron</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Eskimo Dog Cattle Dog</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Brussels Griffon Bichon Frise Australian Plott</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Shepherd</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Cavalier King Boston Terrier Bearded Collie Redbone Coonhound</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Charles Spaniel</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Chihuahua Bulldog Belgian Malinois Swedish Vallhund</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Chinese Crested Chinese Belgian Sheepdog Tibetan Mastiff</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Shar-pei</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">English Toy Chow Chow Belgian Tervuren</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Spaniel</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Havanese Dalmatian Border Collie</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Italian Greyhound Finnish Spitz Bouvier des Flandres</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Japanese Chin French Bulldog Briard</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Maltese Keeshond Canaan Dog</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Miniature Lhasa Apso Cardigan Welsh Corgi</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;"> Pinscher</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Papillon Löwchen Collie</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Pekingese Poodle German Shepherd Dog</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Pomeranian Schipperke Old English Sheepdog</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Pug Shiba Inu Pembroke Welsh Corgi</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Shih Tzu Tibetan Spaniel Polish Lowland Sheepdog</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Silky Terrier Tibetan Terrier Puli</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Toy Fox Terrier Shetland Sheepdog</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Yorkshire Terrier</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">GRAPH: Figure 1. Success rates (%) in three tests of object permanence and one test of social cueing in 50 domestic dogs. Error bars represent standard errors.</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">GRAPH: Figure 2. Success rates (%) in The Invisible Displacement Test by 48 domestic dogs in five AKC breed groups (see Table 3). Sample sizes for each breed group are given in parentheses. Error bars represent standard errors.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">GRAPH: Figure 3. Hypothetical data showing a strong relationship between one measure of dog personality, the total pack drive score (see Table 2a, b), and the success rate (%) on the Social Cueing Test.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">References</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Collier-Baker, E., Davis, J.M. & Suddendorf, T. (2004). Do dogs (Canis familiaris) understand invisible displacement? Journal of Comparative Psychology, 118, 421-433.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Gagnon, S. & Doré, F. Y. (1992). Search behavior in various breeds of adult dogs (Canis familiaris): Object permanence and olfactory cues. Journal of Comparative Psychology, 106, 58-68.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Gagnon, S. & Doré, F.Y. (1993). Search behavior of dogs (Canis familiaris) in invisible displacement problems. Animal Learning and Behavior, 21, 246-254.</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Gomez, J.-C. (2005). Species comparative studies and cognitive development. TRENDS in Cognitive Sciences, 9, 118-125.</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Hare, B., Brown, M., Williamson, C. & Tomasello, M. (2002). The domestication of social cognition in dogs. Science, 298, 1634-1636.</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Hare, B., Plyusnina, I, Ignacio, N., Schepina, O., Stepika, A., Wrangham, R. & Trut, L. (2005). Social cognitive evolution in captive foxes is a correlated by-product of experimental domestication. Current Biology, 15, 226-230.</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Miklósi, Á., Topál, J. & Csányi, V. (2004). Comparative social cognition: What can dogs teach us? Animal Behaviour, 67, 995-1004.</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Miklósi, Á. & Soproni, K. (2006). A comparative analysis of animals' understanding of the human pointing gesture. Animal Cognition, 9, 81-93.</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">National Research Council. (1996). National Science Education Standards. Washington, DC: National Academies Press.</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">National Research Council. (2000). inquiry and the National Science Education Standards: A Guide for Teaching and Learning. Washington, DC: National Academies Press.</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Piaget, J. & Inhelder, B. (1969). The Psychology of the Child. New York: Basic Books.</span></div>
<div>
<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Sih, A., Bell, A.M., Johnson, J.C. & Ziemba, R.E. (2004). Behavioral syndromes: An integrative overview. Quarterly Review of Biology, 79, 241-277.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">Triana, E. & Pasnak, R. (1981). Object permanence in cats and dogs. Animal Learning and Behavior, 9, 135-139.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">~~~~~~~~</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">By Ethan D. Clotfelter and Karen L. Hollis</span></div>
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</div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">ETHAN D. CLOTFELTER, Ph.D., is Associate Professor of Biology at Amherst College, Amherst, MA 01002.</span></div>
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<span style="font-family: Segoe UI, Helvetica, Arial, sans-serif;">KAREN L. HOLLIS, Ph.D., is Professor of Psychology at Mount Holyoke College, South Hadley, MA 01075.</span></div>
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Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com0tag:blogger.com,1999:blog-8990023221550141932.post-59545099814553779932015-10-23T10:44:00.000-07:002015-10-24T11:42:04.154-07:00PCC Events<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif3o4n7cWqvANhSmzsQ3BaaXi7uq0NN9k2odCnt6B6Z3Yj-iubCMm4-_JABLPqCkKB0i4Q3jtv8Bxoo4npRaTKHBbSfLg0Nxcoc5tCXuMgvl0mw8e3D1QelWfHCW8igx1RQMJFYR8oP_Qo/s1600/Baca+poet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif3o4n7cWqvANhSmzsQ3BaaXi7uq0NN9k2odCnt6B6Z3Yj-iubCMm4-_JABLPqCkKB0i4Q3jtv8Bxoo4npRaTKHBbSfLg0Nxcoc5tCXuMgvl0mw8e3D1QelWfHCW8igx1RQMJFYR8oP_Qo/s400/Baca+poet.jpg" width="400" /></a></div>
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<span style="font-family: Calibri,sans-serif; font-size: x-small;"><span style="font-size: 11pt;"><span style="color: black; font-family: Arial,sans-serif;"><br /></span></span></span></div>
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<span style="font-family: Calibri,sans-serif;"><span style="color: black; font-family: Arial,sans-serif;">The Cross-Cultural Center and STACC will be screening </span><span style="color: black; font-family: Arial,sans-serif;"><i>A Place to Stand,</i></span></span></div>
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<span style="font-family: Calibri,sans-serif;"><span style="color: black; font-family: Arial,sans-serif;">the documentary based on Jimmy Santiago Baca’s memoir.</span></span></div>
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<span style="font-family: Calibri,sans-serif;"><span style="color: black; font-family: Arial,sans-serif;">The film will be screened on two different occasions. </span></span></div>
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<span style="font-family: Calibri,sans-serif;"><span style="color: black; font-family: Arial,sans-serif;">When: Wednesday, 10/28/15, 6:15 PM</span></span></div>
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<span style="font-family: Arial, sans-serif;">and</span></div>
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<span style="font-family: Calibri,sans-serif;"><span style="color: black; font-family: Arial,sans-serif;">Thursday, 10/29/15, noon. </span></span></div>
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<span style="font-family: Calibri,sans-serif;"><span style="color: black; font-family: Arial,sans-serif;">Where: Creveling Lounge</span></span></div>
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<span style="font-family: Calibri,sans-serif;"><span style="color: black; font-family: Arial,sans-serif;">Event is free. Open to the public. Students may bring friends!</span></span></div>
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<span style="font-family: Calibri,sans-serif;"><span style="color: black; font-family: Arial,sans-serif;">Light refreshments will be served.</span></span></div>
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<span style="font-family: Arial, sans-serif;">Baca will also be at PCC's Borders of Diversity program</span></div>
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<span style="font-family: Arial, sans-serif;">as the keynote speaker in Spring 2016</span></div>
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<span style="font-family: Calibri,sans-serif; font-size: x-small;"><span style="font-size: 11pt;"><span style="color: black; font-family: Arial,sans-serif;">You can find Baca's website <a href="http://www.jimmysantiagobaca.com/">here</a>. You'll find his biography, writing, videos, and other Baca-related resources at the site. There is also more information about Baca and samples of his poetry at the <a href="http://www.poetryfoundation.org/bio/jimmy-santiago-baca">Poetry Foundation website.</a></span></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: small;">UCLA Powell Library</span></td></tr>
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Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com0tag:blogger.com,1999:blog-8990023221550141932.post-56673606667126525542015-10-23T09:02:00.000-07:002015-10-26T19:54:10.090-07:001A: Editing<div style="text-align: center;">
<span class="Apple-style-span" style="font-size: large;">Self-editing for English 1A Paper</span></div>
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<br />
For each of the revision and editing questions below, indicate the pages in <i>A Writer's Reference</i> that address these questions.<br />
<br />
Next, in response to each set of revision and editing questions make comments and corrections directly on your draft. <br />
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By the time you finish this assignment, each paragraph of your draft should have some notation by it or within it.<br />
<br />
1. Who is your audience and what are you trying to communicate to them? <br />
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2. Does your first paragraph--the first sentences of your first paragraph--raise a provocative question, offer a surprising statistic, or provide an engaging anecdote? If not, what could you do differently?<br />
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3. Underline your thesis. Does it clearly state your essay's purpose and argument? Is it narrow enough for our research essay? How might you revise it?<br />
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4. Have you provided your reader with basic information about the book and author by the end of the first page? <br />
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5. What is the strongest paragraph in your essay? What are its strengths?<br />
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6. Which paragraph needs the most work? Why?<br />
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7. Give three examples of good transitions between paragraphs in your essay. If you can't find three, edit your sentences so you have three.<br />
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8. How well have you integrated sources into your draft? Do you "drop quotes" into your sentences and paragraphs? Identify where you have used signal phrases well and where you need to improve.<br />
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9. Examine your sentences. Do you use the active voice? Are your sentences wordy? Identify sentences for editing and make them clear and concise.<br />
<br />
10. Do you follow MLA guidelines re: in-text citations and a Works Cited page?Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com2tag:blogger.com,1999:blog-8990023221550141932.post-12825953686232429752015-10-22T20:01:00.000-07:002015-10-24T11:42:47.527-07:00Oxford Spring 2016<div class="separator" style="clear: both; text-align: center;">
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<br />Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com0tag:blogger.com,1999:blog-8990023221550141932.post-64003784295405022892015-10-20T08:59:00.000-07:002015-11-10T08:02:13.784-08:001B: Short Story Assignment/Schedule Update 10/20/15<div class="p1">
<span class="s1"><b><u>Follow this schedule, NOT the syllabus</u></b></span><br />
<span class="s1"><b><u>PRINT THIS OUT and KEEP A COPY</u></b></span></div>
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<span class="s1"><b>English 1B<span class="Apple-tab-span"> </span>Fall 2015 Essay re: the short story</b></span></div>
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<span class="s1"><b></b></span><br /></div>
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<span class="s1">"Fiction in general, and war stories in particular, serve a moral function, but not to give you lessons, not to tell you how to act. Rather, they present you with philosophical problems, then ask you to try to adjudicate them in some way or another. But it's an imperfect world, and we can't find perfect solutions in an imperfect world. And yet, even in this imperfect world, we seek proximate solutions. That's the business of living, and fiction tries to address that." (10-11) -- Tim O'Brien. "Responsibly Inventing History: An Interview with Tim O'Brien" by Brian C. McNerny. <i>War, Literature, and the Arts</i>. Fall/Winter 1994. Print. 1-26.</span></div>
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<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1">Writers of fiction often express ideas about the qualities of a good story, as O’Brien does, above. For this assignment select one of the short stories named below and explain how it illustrates O”Brien’s remarks about the nature of fiction. Integrate O’Brien’s critical remarks throughout your essay and connect them to specific passages in the story you are analyzing. </span></div>
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<span class="s1"></span><br /></div>
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<span class="s1"><b>Short Stories (pick one for analysis):</b></span></div>
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<span class="s1">Baldwin’s “Sonny’s Blues”</span></div>
<div class="p3">
<span class="s1">Boyle's "Balto"</span></div>
<div class="p3">
<span class="s1">Adichie’s “Birdsong”</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1">You are responsible to find the correct MLA citation method for this assignment. Cite both O’Brien’s theory of fiction and the short story you are examining within your essay. You are, then, providing in-text citations and a Works Cited page. (Note: the O’Brien quote, above, does </span><span class="s2">not </span><span class="s1">follow MLA guidelines.) You can find MLA guidelines in your textbook, <i>Literature</i>, and there is more information at<b> </b><a href="http://owl.english.purdue.edu/owl/resource/747/01/"><span class="s3"><b>Purdue Online Writing Lab</b></span></a><b>. </b></span></div>
<div class="p2">
<span class="s1"><b></b></span><br /></div>
<div class="p3">
<span class="s1"><b>Length: </b>3-4 pages (plus a Works Cited page)</span></div>
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<span class="s1"></span><br /></div>
<div class="p4">
<span class="s1"><b>Plagiarism: </b>See the syllabus for information about this depressing subject. If you do plagiarize any portion of your essay, you will get an “F” for this assignment and may not pass the course.</span></div>
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<span class="s1"></span><br /></div>
<div class="p4">
<span class="s1"><b>Manuscript Style and Grading Rubric:</b> See the syllabus</span></div>
<div class="p2">
<span class="s1"><b></b></span><br /></div>
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<span class="s1" style="font-size: large;"><b>Deadlines: <span style="color: red;">(note schedule update re: deadlines)</span></b></span><br />
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<span class="s1"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>THURS.<span class="Apple-tab-span"> </span>10/15<span class="Apple-tab-span"></span></b></span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Diaz (425)</span></div>
<div class="p1">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Adichie (434); Postcolonial Criticism (1272); Watch TED videos with </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Adichie: “The Danger of the Single Story” and “We Should All Be </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Feminists”. You’ll find links to the videos on the <a href="http://englishwithmccabe.blogspot.com/2015/09/chimamanda-ngozi-adichie-b-september-15.html">Adichie post on English with McCabe</a></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">.</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>In-class:</b> Quiz on Diaz and Adichie stories</span></div>
<span class="s1"></span></div>
<div class="p1">
<span class="s1"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b style="font-style: italic; text-decoration: underline;">Update:</b> Bring the first three paragraphs of your essay to class, and we'll work on it and more of it during class.</span></span><br />
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<span class="s1"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>TUES.<span class="Apple-tab-span"> </span>10/20</b></span></span></div>
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<span class="s1"><b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i><u><span style="color: red;">Essay (Draft #1) Due</span> </u></i></span></b></span>(For complete credit a complete draft of at least 3 pages plus a Works Cited page is required.)</div>
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<span class="s1"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Bring Miller’s <i>Death of a Salesman</i> and a copy of his essay “Tragedy </span></span><span class="s1"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">and the Common Man” to class. His essay is linked on <a href="http://englishwithmccabe.blogspot.com/2013/09/1b-arthur-miller-death-of-salesman.html">English with McCabe Arthur Miller post</a></span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">. Also bring </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Literature</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="p5">
<span class="s1"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>THURS. 10/22</b></span></span></div>
<div class="p5">
<span style="color: red;"><span class="s1"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><u style="font-style: italic; font-weight: bold;">Essay (Draft #2) Due</u> </span></span></span>(For complete credit a complete draft of at least 3 pages plus a Works Cited page is required.)<br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Student presentations re: short stories</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Bring Miller’s <i>Death of a Salesman</i> and a copy of Miller's essay “Tragedy </span><span class="s1" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">and the Common Man” to class. His essay is <a href="http://englishwithmccabe.blogspot.com/2013/09/1b-arthur-miller-death-of-salesman.html">linked on English with McCabe Arthur Miller post</a>. </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Also bring </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Literature</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">. We’ll begin to discuss “Writing </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">about Plays” (1223-1230), and Miller’s <i>Death of a Salesman</i>.</span><br />
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><u>Tues. 10/27 </u></span></b><br />
<span style="color: red;"><span class="s1"><b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i><u>Essay Due </u></i></span></b></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><i><u>(Typed Revision aka The Masterpiece for a Letter Grade)</u></i></b></span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Bring Miller’s <i>Death of a Salesman</i> and a copy of Miller's essay “Tragedy </span><span class="s1" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">and the Common Man” to class. His essay is <a href="http://englishwithmccabe.blogspot.com/2013/09/1b-arthur-miller-death-of-salesman.html">linked on English with McCabe Arthur Miller post</a>. </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Also bring </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Literature</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">. We’ll begin to discuss “Writing </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">about Plays” (1223-1230), and Miller’s <i>Death of a Salesman</i>.</span> </div>
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Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com0tag:blogger.com,1999:blog-8990023221550141932.post-51880503854657921692015-10-18T23:19:00.000-07:002015-10-18T23:24:13.998-07:001A: Frank Gehry, architect (1929--)<div style="text-align: center;">
<b><span style="color: red; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-large;">***<u>ENGLISH 1A STUDENTS</u>***</span></b><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">***<b><u>Some of the best articles and videos are marked with</u></b>***</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>***</b>My suggestion: print some articles and bring to the museum<b> </b>and class<b>***</b></span><br />
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<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/MtSdZ2B3c1c" width="560"></iframe></div>
<div style="text-align: center;">
Gehry's residence in Santa Monica, above.<br />
<b>***</b>Read about it and see pictures of it <a href="http://www.archdaily.com/67321/gehry-residence-frank-gehry/">at this page.</a><b>***</b><br />
<b>***</b><b style="color: red;">Video</b>: about his residence. Follow <a href="https://www.youtube.com/watch?t=30&v=MtSdZ2B3c1c">this link</a> if video does not play and to access <b>(CC)***</b><br />
<b>***<span style="color: red;">Video</span></b><b>: </b>Gehry <a href="https://www.youtube.com/watch?v=zQ-Kf3sJfok">on his creative influences <b>(CC)</b></a><b>***</b><br />
<b>***<span style="color: red;">Video</span></b>: Gehry says, <a href="https://www.youtube.com/watch?v=Lhx6ZVfPvWE">Be Yourself: His Advice to Students <b>(CC)</b></a><b>***</b></div>
<div style="text-align: center;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOxxobRBeOJtcaKoNu-8Kqhb812lSi3enkGbUGyPQgJYyn07-OEONKMCLD7sNUZRRd-kZ5JZwYh7JpGZGa0wVX-DUOw2ohSlEJnluO2FavVuTNNK2RXt8CdO5GZLFD0KF4_LKS2GDdZlqh/s1600/Frank+Gehry+c.+2006.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOxxobRBeOJtcaKoNu-8Kqhb812lSi3enkGbUGyPQgJYyn07-OEONKMCLD7sNUZRRd-kZ5JZwYh7JpGZGa0wVX-DUOw2ohSlEJnluO2FavVuTNNK2RXt8CdO5GZLFD0KF4_LKS2GDdZlqh/s640/Frank+Gehry+c.+2006.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Frank Gehry. photograph c. 2006</span></td></tr>
</tbody></table>
<div style="text-align: center;">
<span style="text-align: start;">Links to news, videos, and biographical entries on Gehry</span><br />
<span style="text-align: start;"><b>***</b>PBS </span><a href="http://www.pbs.org/wnet/americanmasters/episodes/frank-gehry/sketches-of-frank-gehry/602/" style="text-align: start;">American Masters</a> page "Sketches of Gehry"<b>***</b></div>
<div style="text-align: center;">
<b>***</b><a href="http://www.pritzkerprize.com/1989/bio">The Pritzker Architect Prize </a>(awarded to Gehry in 1989)<b>***</b><br />
***<a href="http://www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry">Guggenheim Museum in Bilbao</a>***<br />
***<span style="color: red;">Video</span>: <a href="https://www.youtube.com/watch?v=naWIQhV057Y&list=PLkRnEV5E-n9xvW1T2cq_2VwuJZZF7_lVT&index=2">Guggenheim Museum in Bilbao designed by Gehry</a> <b>(CC)</b>***<br />
<b>***</b>ArchDaily on Disney Hall can be <a href="http://www.archdaily.com/441358/ad-classics-walt-disney-concert-hall-frank-gehry/"><span style="color: blue;">found here</span>.</a><b>***</b><br />
<b>***</b><a href="http://www.notablebiographies.com/news/Ca-Ge/Gehry-Frank.html">Encyclopedia of World Biography</a> (profile of Gehry)<b>***</b><br />
<span style="color: red;">Video</span>: <a href="https://www.youtube.com/watch?v=vQFwyTBV9UU&list=PLkRnEV5E-n9zJPRnwRithyhxxTEzCHV5p&index=5">BBC Documentary 2015 Imagine: Frank Gehry</a> (with subtitles)</div>
<div style="text-align: center;">
<a href="http://topics.nytimes.com/top/reference/timestopics/people/g/frank_gehry/index.html" style="text-align: start;">The New York Times</a> </div>
<div>
<div style="text-align: center;">
<a href="http://www.greatbuildings.com/architects/Frank_Gehry.html">Great Buildings Online</a><br />
<a href="http://www.opushongkong.com/en/Frank_Gehry_Legends.html#Close">Photographs of legendary Gehry buildings</a><br />
<a href="https://en.wikipedia.org/wiki/List_of_works_by_Frank_Gehry#Completed">List of Gehry works</a> at Wikipedia<br />
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<a href="http://www.vanityfair.com/culture/2010/08/architecture-survey-201008">"Architecture in the Age of Gehry,"</a> <i>Vanity Fair</i>, August 2010</div>
<div>
"<a href="http://www.latimes.com/opinion/op-ed/la-oe-morrison-gehry-20141119-column.html#page=1">Frank Gehry, Inventing the Future</a>," a Q &A with Patt Morrison<br />
of the <i>Los Angeles Times, </i>November 18, 2014</div>
<div style="text-align: center;">
<a href="http://www.latimes.com/entertainment/arts/culture/la-et-cm-frank-gehry-chris-burden-art-project-unfinished-arles-20150512-story.html">"Frank Gehry on Chris Burden: 'Gift of the Gods,' Plus art l:eft Unfinished"</a> by Jessica Gelt, <i>Los Angeles Times</i>, May 2015. Burden's work is represented with three major pieces at LACMA: "Urban Light," "Metropolis II," and "Ode to Santos Dumant."</div>
<div>
<a href="http://www.latimes.com/entertainment/arts/culture/la-et-cm-frank-gehry-getty-trust-annual-medal-20150520-story.html">"Frank Gehry Wins Getty Trust's Annual Career Achievement Medal"</a></div>
<div>
by Mike Boehm, <i>Los Angeles Times</i>, May 21, 2015</div>
<div>
<span style="color: red;">Video</span>: <a href="https://www.ted.com/speakers/frank_gehry">TED Talks</a> with Gehry<br />
<span style="color: red;">Video</span>: Ted Talk with Gehry: <a href="https://www.ted.com/talks/frank_gehry_as_a_young_rebel?language=en">"My Days as a Young Rebel (1990)" (subtitled)</a><br />
<span style="color: red;">Video</span>: Ted Talk with Gehry: <a href="http://www.ted.com/talks/frank_gehry_asks_then_what?language=en">"A Master Architect Asks, Now What? (2002) (subtitled)"</a><br />
<span style="color: red;">Video</span>: Netropolitan Artsconversations: <a href="https://www.youtube.com/watch?v=BgA8c5C0FRk">Interview with Frank Gehry (closed captioned)</a></div>
Want to work at Gehry Partners, LLP? See <a href="http://www.foga.com/positions.asp">this page.</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_iTC6-hWJ0_J4dkzpH0vgekYkfBjcPI4SrXtzjLCzod9uV5Rto63Bq7Cb-yttFQYzsZED1DTbhBlV2TTsPEPWC_5gEY9Vhll740t_bJw_VJdv24lQiSMnheoHC_NqvxJjBF00MqovDXik/s1600/Frank+Gehry+office+c.+2004.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_iTC6-hWJ0_J4dkzpH0vgekYkfBjcPI4SrXtzjLCzod9uV5Rto63Bq7Cb-yttFQYzsZED1DTbhBlV2TTsPEPWC_5gEY9Vhll740t_bJw_VJdv24lQiSMnheoHC_NqvxJjBF00MqovDXik/s640/Frank+Gehry+office+c.+2004.jpg" width="640" /></a></div>
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<a href="https://www.foga.com/">Gehry Partners, LLP</a>. The office appears above.</div>
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List <a href="http://en.wikipedia.org/wiki/List_of_works_by_Frank_Gehry">of works by</a> Gehry at Wikipedia</div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-large;"><b>***</b><a href="http://wdch10.laphil.com/wdch10/index.html">WALT DISNEY CONCERT HALL</a><b>***</b></span></div>
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<b>***<span style="color: red;">Video</span></b>: an excerpt from <a href="https://www.youtube.com/watch?v=Ht6lqFfhk1M">from Sidney Pollack documentary</a> </div>
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on Gehry and Disney Hall <b>(CC)***</b><br />
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<b><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/pAEd1uDOZJE" width="560"></iframe></b><br />
<b><span style="color: red;">Video</span>: ***</b>Tour, above, of<b> </b>Disney Hall (CC). Try <a href="https://www.youtube.com/watch?v=pAEd1uDOZJE">this link</a> if above video broken.<b>***</b><br />
<b> <span style="color: red;">Video</span>: ***</b>Disney Hall<b> <a href="https://www.youtube.com/watch?v=MuzsdvQi_B8">interior view (CC).</a> </b>***</div>
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/6o8i0_4ljq0/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/6o8i0_4ljq0?feature=player_embedded" width="320"></iframe></div>
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<span style="font-weight: normal;"><span style="font-size: x-small;">***</span><span style="font-size: x-small;">Deborah Borda, L.A. Philharmonic president and ceo, </span><span style="font-size: x-small;">talks with </span><span style="font-size: x-small;">Frank Gehry on Walt Disney Concert Hall (CC)***</span></span><br />
<span style="font-size: x-small; font-weight: normal;">Follow <a href="https://www.youtube.com/watch?v=6o8i0_4ljq0">this link</a> if video does not play</span></div>
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<span style="font-size: x-small;"><b><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/W35iB5zdH5c" width="560"></iframe></b></span><br />
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<span style="font-size: x-small;">***In the Eye of Hurricane Mama - Inside the Music (CC)***</span><br />
<span style="font-size: x-small;">Follow <a href="https://www.youtube.com/watch?v=W35iB5zdH5c">this link</a> if video does not play </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgB86XAzLiNXXo2e3BBVqOrkAuQDJ1-ABtxUA6ge19FG8StDt19gpupHL8MpA2_D_HxamrGnd1ZiutAqfzVd5fPG3oRTN-yb2RqE14FNNKzl1FPH392-1hn9AK8gF7LR4dW6KCTk2N_cH1/s1600/Disney+Hall+under+construction.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgB86XAzLiNXXo2e3BBVqOrkAuQDJ1-ABtxUA6ge19FG8StDt19gpupHL8MpA2_D_HxamrGnd1ZiutAqfzVd5fPG3oRTN-yb2RqE14FNNKzl1FPH392-1hn9AK8gF7LR4dW6KCTk2N_cH1/s640/Disney+Hall+under+construction.jpg" width="640" /></a></div>
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Disney Hall under construction in downtown Los Angeles.<br />
It opened in 2003.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIPLXJ836lToHcNs8b8bBITydKEgWR_maDOOMsTcu4qEZOmI4ejN11nUO1T9h2ZUntFU_dg4ahLM2hRnqzuPXLcULeqzhRgAaXElc5Tqlg9sTCx-MiZWgv3dXb8QNcoH5XPgQpQPCv_aMK/s1600/Disney+Hall+Interior+of+the+hall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIPLXJ836lToHcNs8b8bBITydKEgWR_maDOOMsTcu4qEZOmI4ejN11nUO1T9h2ZUntFU_dg4ahLM2hRnqzuPXLcULeqzhRgAaXElc5Tqlg9sTCx-MiZWgv3dXb8QNcoH5XPgQpQPCv_aMK/s640/Disney+Hall+Interior+of+the+hall.jpg" width="640" /></a></div>
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Disney Hall, interior, with view of stage and pipe organs. Tours of Disney Hall are given<br />
throughout the week. For information about tours <a href="http://www.musiccenter.org/visit/Exploring-the-Center/Tours/">see this page.</a> Disney Hall offers performance tickets at a discount. See <a href="http://www.laphil.com/tickets/special-offers">this page</a> for ticket details.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnJhyc7YCFOXAxMU-qZug64YcYsaA7kZ9Hw50TnwPvgdywd8Ko6CMU5a3RrV7L3MCUw4hMSaKEPLbc5cxyspUgqEA_EmUS25ObJrbqZlrJ38xnG3jRkbXU94Y5_bCYlmn_Zx7lPau8Leym/s1600/Disney+Hall+exterior.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnJhyc7YCFOXAxMU-qZug64YcYsaA7kZ9Hw50TnwPvgdywd8Ko6CMU5a3RrV7L3MCUw4hMSaKEPLbc5cxyspUgqEA_EmUS25ObJrbqZlrJ38xnG3jRkbXU94Y5_bCYlmn_Zx7lPau8Leym/s640/Disney+Hall+exterior.jpg" width="640" /></a></div>
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Disney Hall in downtown Los Angeles, with an exterior view from Grand Avenue.</div>
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The Music Center's Dorothy Chandler Pavilion appears to the right.</div>
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<b>General Information about Disney Hall</b>: Tours of Disney Hall are given throughout the week. For information about tours <a href="http://www.musiccenter.org/visit/Exploring-the-Center/Tours/">see this page.</a> Disney Hall offers performance tickets at a discount. See <a href="http://www.laphil.com/tickets/special-offers">this page</a> for ticket details. Los Angeles Philharmonic's <a href="http://wdch10.laphil.com/wdch10/index.html">Walt Disney Concert Hall page</a> includes articles, photographs and video.<br />
<b>***</b>Read this page on Disney Hall and watch video on <a href="http://wdch10.laphil.com/wdch10/wdch/vision.html">this page. </a> <b>(CC)***</b><br />
<b><br /></b>
<b>***From <i>The New York Times</i>, RECOMMENDED ARTICLES</b><br />
<b>TO READ, PRINT AND BRING TO CLASS ***</b><br />
***<a href="http://www.nytimes.com/2003/08/21/arts/hollywood-ending-for-music-palace-gehry-s-hall-to-open-cue-soaring-strings.html">"Hollywood Ending For Music Palace; </a><br />
<a href="http://www.nytimes.com/2003/08/21/arts/hollywood-ending-for-music-palace-gehry-s-hall-to-open-cue-soaring-strings.html">Gehry's Hall to Open (Cue Soaring Strings)"</a>***<br />
***<a href="http://www.nytimes.com/2003/10/23/arts/architecture-review-a-moon-palace-for-the-hollywood-dream.html">"ARCHITECTURE REVIEW; A Moon Palace for the Hollywood Dream</a>"***<br />
<b><br /></b>
<b>The <i>Los Angeles Times</i> published <a href="http://www.latimes.com/entertainment/arts/disneyhall/la-et-cm-walt-disney-concert-hall-at-10-sg-storygallery.html">"Walt Disney Concert Hall at 10,"</a> September 13, 2013</b><br />
Read the articles marked with ***.<br />
<b>RECOMMENDED: Print and bring to class those marked***</b>.<br />
***<a href="http://www.latimes.com/entertainment/arts/disneyhall/la-et-cm-disney-hall-hawthorne-dto-htmlstory.html">"Frank Gehry's Walt Disney Concert Hall is inextricably of L.A."</a>***<br />
***<a href="http://graphics.latimes.com/storyboard-disney-hall-inside-and-out/">"Disney Hall: Inside and out" </a>***<br />
***A timeline for the hall's design and construction.<b> </b><a href="http://timelines.latimes.com/walt-disney-concert-hall-timeline/">See it here</a>.***<br />
***<a href="http://www.latimes.com/entertainment/arts/disneyhall/la-ca-disney-hall-building-pictures-photogallery.html">"Evolution of Disney Hall in Pictures"</a>***<br />
***<a href="http://www.latimes.com/entertainment/arts/disneyhall/la-ca-disney-gehry-20130922-story.html">"For architect Frank Gehry, Disney Hall is 'my home'"</a> ***<br />
***<a href="http://www.latimes.com/entertainment/arts/disneyhall/la-et-cm-walt-disney-concert-hall-cleaner-20130922-story.html">"Cleaners Make Walt Disney Concert Hall's Curves Sparkle"</a> ***<br />
***<a href="http://www.latimes.com/entertainment/arts/disneyhall/la-et-cm-disney-visitors-architecture-story.html">"Disney Hall's Architecture, not its Music, Lures Many"</a> ***<br />
***Watch the <a href="https://www.youtube.com/watch?v=tesyMHUgWBI&list=PL7dQ19jsdStW8B-Ydj7Vfn-uTaFmzrxMB">Disney Hall Virtual Tour, parts 1-5</a> (CC)***<br />
<br />
Wikipedia p<span style="text-align: center;">rofile of </span><a href="http://en.wikipedia.org/wiki/Walt_Disney_Concert_Hall" style="text-align: center;">Walt Disney Concert Hall</a>.</div>
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<b>***</b><a href="http://www.latimes.com/local/lanow/la-me-ln-la-river-frank-gehry-20150807-story.html#page=2">"Architect Frank Gehry is Helping L.A. with its Los Angeles River Master Plan,<b>***</b></a></div>
<div style="text-align: center;">
<a href="http://www.latimes.com/local/lanow/la-me-ln-la-river-frank-gehry-20150807-story.html#page=2"></a><a href="http://www.latimes.com/local/lanow/la-me-ln-la-river-frank-gehry-20150807-story.html#page=2"><b>***</b>but Secrecy Troubles Some</a>" by Peter Jamison, Martha Groves and Dan Weikel, <b>***</b></div>
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<i><b>***</b>Los Angeles Times</i>, August 7, 2015<b>***</b></div>
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<b>***</b><a href="http://www.latimes.com/local/california/la-et-la-river-notebook-20150809-story.html#page=1">"Frank Gehry Agreed to Make Over the L.A. River -- With One Big Condition"</a><b>***</b></div>
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<b>***</b>by Christopher Hawthorne, <i>Los Angeles Times</i>, August 9, 2015<b>***</b><br />
<b><a href="http://www.nytimes.com/2015/09/24/us/frank-gehry-draws-ire-for-joining-los-angeles-river-restoration-project.html?hp&action=click&pgtype=Homepage&module=second-column-region&region=top-news&WT.nav=top-news&_r=0">"Frank Gehry Draws Ire for Joining Los Angeles River Restoration Project"</a></b><br />
by Adam Nagourney, <i>The New York Times,</i> September 23, 2015<br />
<b><br /></b><b>***<a href="http://www.latimes.com/entertainment/arts/la-et-cam-frank-gehry-watts-20150912-story.html">"Watts made its mark on Frank Gehry,</a>***</b><br />
<b>***<a href="http://www.latimes.com/entertainment/arts/la-et-cam-frank-gehry-watts-20150912-story.html"> now the architect is returning the favor"</a>***</b><br />
<i>Los Angeles Times</i>, September 12, 2015</div>
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Facebook’s new headquarters, Menlo Park, CA, Spring 2015, designed by Gehry.</div>
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Photo: Christophe Wu/Facebook. More photographs at linked reviews, below.</div>
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<div style="text-align: center;">
<b>***</b><a href="http://www.latimes.com/entertainment/arts/la-et-cm-facebook-gehry-20150527-column.html#page=1">"Review" A low-key Facebook Building? In Gehry's Hands, Zuckerberg</a><b>*** </b></div>
<div style="text-align: center;">
<a href="http://www.latimes.com/entertainment/arts/la-et-cm-facebook-gehry-20150527-column.html#page=1"> </a><b>*** </b><a href="http://www.latimes.com/entertainment/arts/la-et-cm-facebook-gehry-20150527-column.html#page=1">has it Both Ways,"</a><i>Los Angeles Times</i>, May 27, 2015<b>***</b></div>
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<b>***</b><a href="http://time.com/30705/facebook-frank-gehry-campus-menlo-park/">"Here’s What Facebook’s New Frank Gehry-Designed Campus Will Look Like,"</a><b>***</b></div>
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<i>Time</i>, March 19, 2014.<br />
<br />
<b>***</b>Look at some photographs of the Facebook HQ <a href="http://qz.com/373448/photos-facebooks-new-headquarters-designed-by-frank-gehry/">here</a><a href="https://www.google.com/search?q=facebook+gehry&espv=2&biw=1093&bih=466&tbm=isch&tbo=u&source=univ&sa=X&sqi=2&ved=0CB0QsARqFQoTCIG04rivzscCFUnSgAodvqMKrg">.</a><b>***</b><br />
And there is this <a href="https://www.youtube.com/watch?v=MfOXq4Ag2DM">video</a> and <a href="http://www.cnbc.com/2015/05/22/inside-facebooks-futuristic-new-headquarters.html">this article.</a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-large;"><b>***</b><a href="http://www.lacma.org/art/exhibition/frank-gehry">FRANK GEHRY AT LACMA</a><b>***</b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><br /></b></span></div>
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<b>***<span style="color: red;">Video:</span></b> Local CBS station report on <a href="http://losangeles.cbslocal.com/2015/09/09/lacma-plans-retrospective-on-famed-architect-frank-gehrys-work/">Gehry retrospective at LACMA (CC)</a><br />
or try <a href="https://www.youtube.com/watch?v=RcBs52yjRJw">this link.</a> to access the CBS station report<b>***</b><br />
<b>***Video:</b> And someone sneaked in <a href="https://www.youtube.com/watch?v=zqB8uxVJrpQ">to get a preview</a><b>***</b><br />
<b>***</b><a href="http://www.latimes.com/entertainment/arts/la-et-cm-gehry-lacma-review-20150929-column.html">Review: "'Frank Gehry' at LACMA</a>, <i>Los Angeles Times</i>, Sept. 29, 2015"<b>***</b><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/iEc83bnCsIk" width="560"></iframe><br />
<b>***</b><i>The New York Times</i> event, above, with Frank Gehry and LACMA director Michael Govan<b>***</b></div>
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<span style="background-color: white; font-family: Times, 'Times New Roman', serif; line-height: 14.4px;">Images: Top, Elevation for Foundation Louis Vuitton.</span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; line-height: 14.4000005722046px;">Bottom, Foundation Louis Vuitton Study Model. Both © Gehry Partners, LLP.</span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; line-height: 14.4000005722046px;">Two videos on Foundation: <a href="https://www.youtube.com/watch?v=zkzCWVfpo7s">watch this</a> or <a href="https://www.youtube.com/watch?v=V7nQ4b2o84A">watch this.</a></span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><b>***READ THESE. BUT YOU DON'T NEED TO PRINT THESE***</b></span></div>
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<b style="font-family: Times, 'Times New Roman', serif;"><span style="font-size: x-large;">Los Angeles County Museum of Art</span></b><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;">general information</span><br />
<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.lacma.org/directions-parking">Directions and Parking</a></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.lacma.org/art/exhibition/frank-gehry">Frank Gehry Exhibition, September 13, 2015–March 20, 2016</a></span><br />
<a href="http://www.lacma.org/sites/default/files/Frank%20Gehry%20-%20Exhibition%20advisory%20-%20FINAL.pdf">LACMA "Frank Gehry" exhibition press release</a></div>
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<a href="http://www.lacma.org/search/site/LACMA%20app">Los Angeles County Museum of Art Mobile and Apps</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjol71MNMxQDiHWblicNlqQMhSVf6GAqiea9urZVVXBOkCkRxI_G4PrKiAI-1mX6ycW8MWS64-varVbkhEv-c5o1sxsjkdKhCd0gyLDqIHHd50vi7UGz8JAvcCmfycBSWM_pxZryQSgG5O/s1600/FRANK+GEHRY+CardboardRocker1_l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjol71MNMxQDiHWblicNlqQMhSVf6GAqiea9urZVVXBOkCkRxI_G4PrKiAI-1mX6ycW8MWS64-varVbkhEv-c5o1sxsjkdKhCd0gyLDqIHHd50vi7UGz8JAvcCmfycBSWM_pxZryQSgG5O/s320/FRANK+GEHRY+CardboardRocker1_l.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSogx_pM0gov815uzDVkDhv7K0QsWnHeSJlSEcrl-dt2TgjXzT6BPrIg4JyfHhosciTSAt7kvEOqHvL0qb_CGUrtVUGc8q82cmj0Pxik19qTvX3lxOifJD-0UJQEgwF23pK_3bNh7rd2Cb/s1600/Frank+Gehry+cardboard+Bubbles+Lounge+Chair%252C+1987.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSogx_pM0gov815uzDVkDhv7K0QsWnHeSJlSEcrl-dt2TgjXzT6BPrIg4JyfHhosciTSAt7kvEOqHvL0qb_CGUrtVUGc8q82cmj0Pxik19qTvX3lxOifJD-0UJQEgwF23pK_3bNh7rd2Cb/s320/Frank+Gehry+cardboard+Bubbles+Lounge+Chair%252C+1987.jpg" width="320" /></a></div>
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Examples of Gehry's corrugated cardboard furniture.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyM5zvQEK4yeUpkiR_ikmkB14X4GAK4YCFRdoRg-7SEEl6fm-DuDLwjRXthdqeZxnSgxS4JwS3nVsJ5gStx7uOIgO-rZPQSrJ01l_ireDfvnfJEcBiyeEpBsnwSMGewNNQE6jVDG9oO-f1/s1600/Frank+Gehry+Fondation+Louis+Vuitton+.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyM5zvQEK4yeUpkiR_ikmkB14X4GAK4YCFRdoRg-7SEEl6fm-DuDLwjRXthdqeZxnSgxS4JwS3nVsJ5gStx7uOIgO-rZPQSrJ01l_ireDfvnfJEcBiyeEpBsnwSMGewNNQE6jVDG9oO-f1/s640/Frank+Gehry+Fondation+Louis+Vuitton+.jpeg" width="640" /></a></div>
Pictured above is Gehry's Fondation Louis Vuitton,</div>
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a contemporary art museum in Paris.<br />
Read about it <a href="http://www.fondationlouisvuitton.fr/en.html">here.</a></div>
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<b><span style="font-size: large;">WRITING and READING about ARCHITECTURE</span></b></div>
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<a href="http://opinionator.blogs.nytimes.com/2012/03/02/why-dont-we-read-about-architecture/">"Why Don't We Read about Architecture?"</a> by Allison Arieff, <i>The New York Times</i>, March 2, 2012</div>
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<b>***</b><a href="https://placesjournal.org/article/how-to-be-an-architecture-critic/">"How to be an Architecture Critic"</a> by Alexandra Lange, <i>Places</i>, March 2012<b>***</b></div>
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<a href="http://dcrit.sva.edu/wp-content/uploads/2010/06/Sometimes-We-Do-It-Right-Ada-Louise-Huxtable.pdf">"Sometimes We Do it Right"</a> by Ada Louise Huxtable, <i>The New York Times</i>, 31 March 1968</div>
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<a href="http://www.architectsjournal.co.uk/home/events/writing-prize/why-does-writing-matter-to-architects/8650909.article">"Why Does Writing Matter to Architects?"</a><br />
by Alan Berman, <i>The Architects' Journal</i>, July 17, 2013<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEed1Gunx45L2Gl8IQMu6cyBfWpjcl4pCEtYp_kr51PAOUvuk54f-LlcspY50jsqZ9nJaFMPcOQe0E4YU05l9YgdRVQXaaSnT1G46rHmx2RS1t486u8Xbiwufx_QlYGbdEiU_ckooN2EOB/s1600/gehry+on+simpsons.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEed1Gunx45L2Gl8IQMu6cyBfWpjcl4pCEtYp_kr51PAOUvuk54f-LlcspY50jsqZ9nJaFMPcOQe0E4YU05l9YgdRVQXaaSnT1G46rHmx2RS1t486u8Xbiwufx_QlYGbdEiU_ckooN2EOB/s640/gehry+on+simpsons.jpg" width="640" /></a></div>
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If you're so inclined, watch <a href="http://facedl.com/fvideo=axqixiokewaew" title="Frank Gehry as featured in The Simpsons">Frank Gehry as featured on The Simpsons</a>.</div>
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You might also wish <a href="http://library.fora.tv/2012/09/18/Architect_Frank_Gehry_Recounts_Cameo_on_The_Simpsons">to watch this</a>, too. (with regret, not closed caption.)</div>
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Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com0tag:blogger.com,1999:blog-8990023221550141932.post-81975773094236737602015-10-14T21:26:00.000-07:002015-10-14T21:25:47.850-07:001B: Junot Diaz (b. Dec. 31, 1968)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPtZnwbe3L0MaYTN5uRXc9dG1armjMLoHXmgpFcnOX4vGUlNg5Hpvd60Dyqb0MCi6zd7lzyHNnhzpf_TZPoBSOW_tG4j_OBvY0cuQMVWGIVP3OwzwbeC5bNmuDHABxR_Rm2W3MWGO-6fVm/s1600/Junot-Diaz-300x219.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPtZnwbe3L0MaYTN5uRXc9dG1armjMLoHXmgpFcnOX4vGUlNg5Hpvd60Dyqb0MCi6zd7lzyHNnhzpf_TZPoBSOW_tG4j_OBvY0cuQMVWGIVP3OwzwbeC5bNmuDHABxR_Rm2W3MWGO-6fVm/s400/Junot-Diaz-300x219.jpg" width="400" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Do you see the photograph, above? Of course you do. It's of Junot Diaz, born December 31, 1968, and it accompanies an interview with him called "Junot Díaz: Growing the Hell Up" that ran in <i>Rablè International</i>. It is a <a href="http://www.rable.it/?p=4814" style="color: blue; font-weight: bold;">good interview</a><span style="color: blue; font-weight: bold;"> </span>as he talks about his writing, reading, the Dominican Republic where he was born, New Jersey where he grew up, and how his mother motivated him. He recalls, "Mom was like, 'Either you’re taking college classes, even though you’re working full time, or you can live on the street.' And it was a smart thing for her to do. Because if I hadn’t been kept busy, I would have definitely just lost my way. I was one of those kids who, I gotta tell you, man, I was not one of the smartest kids growing up. But who is?"</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="text-align: justify;">Díaz is critically acclaimed, best known for his novel <i>The Brief Wondrous Life of Oscar Wao. </i>Published in 2007, it won the National Book Critics Circle Award and Pulitzer Prize for fiction. It has been translated for readers around the world; translator <span style="color: blue;"><a href="http://articles.chicagotribune.com/2012-09-14/features/ct-prj-0916-book-of-the-month-20120914_1_dominican-republic-oscar-wao-spanglish"><span style="color: blue;"><b>Achy Obejas</b></span></a> </span>describes the process from English to Spanish/Dominican. (If you do get around to reading the novel, you may want to keep the <a href="http://www.annotated-oscar-wao.com/index.html"><span style="color: blue;"><b>annotated Oscar Wao</b></span></a> nearby; thanks to a mysterious Kim for her hard work and creating the website.) In 2012 </span><span style="text-align: justify;">Díaz</span><span style="text-align: justify;"> was awarded a <span style="color: blue;"><b><a href="http://www.npr.org/2012/10/04/162304923/genius-grant-helps-junot-diaz-focus-on-his-art"><span style="color: blue;">MacArthur "genius grant,"</span></a> </b></span>a $500,000 prize. To learn about his life and career, y</span>ou can take a look at <span style="color: blue; font-weight: bold;"><a href="http://www.junotdiaz.com/"><span style="color: blue;">his website</span></a></span>, which also discusses his publications.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQJabQuuF_C6Sdd3nHh4GuHTiQGUallZS1MXOyKHFuA9uYwVkVXycPc4vg20Eds6_DDDDD8z6Wl1FTZre7KAWLiIE-L2wBIfhvYBRcnIBAFpWwCSUTkeDRkPkfKHhBEobMs5Ivt9OlwXYm/s1600/Junot+Diaz+book_f_drown.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQJabQuuF_C6Sdd3nHh4GuHTiQGUallZS1MXOyKHFuA9uYwVkVXycPc4vg20Eds6_DDDDD8z6Wl1FTZre7KAWLiIE-L2wBIfhvYBRcnIBAFpWwCSUTkeDRkPkfKHhBEobMs5Ivt9OlwXYm/s1600/Junot+Diaz+book_f_drown.jpg" width="133" /></a><span style="text-align: center;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil0ZB9ksP5zOUsbJB0re4YMuLNkT7RmIq86tDjrZy2QF9oN6nnNWRonUnKPeo_DdgUaDhSpoS9w_OkDUPmyM4cfgtwFbV1F065-a4gvvESRNZ2Pe0j_dqAGwscNyGku6VQIC9ncBleAa-v/s1600/Junot+Diaz+book_f_oscarwao.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil0ZB9ksP5zOUsbJB0re4YMuLNkT7RmIq86tDjrZy2QF9oN6nnNWRonUnKPeo_DdgUaDhSpoS9w_OkDUPmyM4cfgtwFbV1F065-a4gvvESRNZ2Pe0j_dqAGwscNyGku6VQIC9ncBleAa-v/s1600/Junot+Diaz+book_f_oscarwao.jpg" width="133" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0fkYKvcWuA2IVcJKVstUquFSLD609LW5Yc1IezcLUCydkSSskd7gqPFa5OnaHCbYD_wJAGQRfle8MZBGfc5UfXCmCItqKbqwnvFMq6Rp7W1xNMndGy20vxRJLCYvynxy8zXQCLw1z9hBl/s1600/Junot+Diaz+English+THYL1.jpg" imageanchor="1" style="clear: right; display: inline !important; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0fkYKvcWuA2IVcJKVstUquFSLD609LW5Yc1IezcLUCydkSSskd7gqPFa5OnaHCbYD_wJAGQRfle8MZBGfc5UfXCmCItqKbqwnvFMq6Rp7W1xNMndGy20vxRJLCYvynxy8zXQCLw1z9hBl/s1600/Junot+Diaz+English+THYL1.jpg" width="132" /></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">At <a href="http://www.nationalbook.org/nba2012_f_diaz.html#.UnH_15TEozs"><b><span style="color: blue;">the National Book Foundation website</span></b></a> you can learn more about Diaz. You'll find biographical material about him and a video of him reading a story from his 2012 collection of short stories, <i style="color: black;">This is How You Lose Here</i>, a finalist for the National Book Award for fiction. There is also a video at the <a href="http://www.nationalbook.org/nba2012_f_diaz.html#.U3Nat61dU7y"><b><span style="color: blue;">website</span></b></a> of Diaz and Toni Morrison <a href="http://www.nationalbook.org/nba2012_f_diaz.html#.U3NV-a1dU7x"><b><span style="color: blue;">in discussion</span></b></a> at a New York Public Library program.</span><br />
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<tr><td class="tr-caption" style="font-size: 13.3333339691162px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">An Indonesian edition of <i>The Brief Wondrous Life of Oscar Wao</i></span></td></tr>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>Interview with <span style="background-color: white; text-align: start;">Junot Díaz</span></b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>by Mary Beth Keane</b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>Mary Beth Keane:</b> Congratulations on <i>This Is How You Lose Her</i> being named a Fiction Finalist for the 2012 National Book Award. I know this must be a busy time for you, so many thanks in advance for doing this. How did you learn you’d been named a Finalist and what was your first response?</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>Junot Díaz:</b> I was of course in a bookstore buying books—which seems to be where I always am—in Kinokuniya to be precise—when Harold Augenbraum rang me up on my cell. I first thought he was going to hit me up again to be on a jury and then he told me the good news and I have to say I was frankly floored. I put my back against Naruto and just breathed a while.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>MBK:</b> Of the five Finalists this year, <i>This Is How You Lose Her</i> is the only collection of short stories. What, in your opinion, is the state of the short story today?</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>JD:</b> Yup, the only short story collection amongst all these wonderful heavy-hitting novels—let's just say it leaves one feeling a little like the Red Shirts in an old Star Trek episode. But anyway, as for the short story itself I believe the form is having a golden age. Sure, some publishers and some readers are biased against it but right now the form has so many extraordinary practitioners, from Pam Houston to Edward P. Jones, from Chris Lee to Jennine Capo Crucet, from Thomas Glave to Tania James to Maureen F. McHugh—if you love to read short stories like I do you can read a perfect tale nearly every day and never be without.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="http://www.nationalbook.org/nba2012_f_diaz_interv.html#.Ungnt5TEozs">Click here</a> to read the rest of this interview.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A Croation edition of <i>The Brief Wondrous Life of Oscar Wao</i></span></td></tr>
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<b style="font-size: x-large;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Interview with <span style="background-color: white; text-align: start;">Junot Díaz</span></span></b><br />
<b style="font-size: x-large;"><span style="background-color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; text-align: start;">by Bill Moyers</span></b><br />
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<span style="background-color: white; line-height: 14.666666984558105px;"><span style="color: #373737;">From</span><b><span style="color: blue;"> <a href="http://billmoyers.com/episode/full-show-rewriting-the-story-of-america/">the Bill Moyers television show webpage</a>. </span></b><span style="color: #373737;">The interview was conducted December 28, 2012.</span></span></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="line-height: 14.666666984558105px;">"Díaz joins Bill [Moyers] to discuss the evolution of the great American story. Along the way he offers funny and perceptive insights into his own work, as well as </span><em style="line-height: 14.6666669845581px;">Star Wars</em><span style="line-height: 14.666666984558105px;">, </span><em style="line-height: 14.6666669845581px;">Moby Dick</em><span style="line-height: 14.666666984558105px;">, and America’s inevitable shift to a majority minority country.</span></span><br />
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<span style="line-height: 14.666666984558105px;">"There is an enormous gap between the way the country presents itself and imagines itself and projects itself and the reality of this country,” Díaz tells Bill. “Whether we’re talking about the Latino community in North Carolina. Whether we’re talking about a very active and I think in some ways very out queer community across the United States. Or whether we’re talking about an enormous body of young voters who are either ignored or sort of pandered to or in some ways, I think that what we’re having is a new country emerging that’s been in the making for a long time.”</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #373737;">Watch the full Bill Moyers interview with </span><span style="color: #373737; line-height: 14.666666984558105px;">Díaz</span><b style="line-height: 14.6666669845581px;"><span style="color: blue;"> <a href="http://billmoyers.com/episode/full-show-rewriting-the-story-of-america/">here.</a></span></b></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A Brazilian edition of <i>The Brief Wondrous Life of Oscar Wao</i></span><br />
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<b style="font-size: x-large;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; text-align: start;">Junot Díaz & Stephen Colbert & Others</span></b><br />
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<span style="text-align: start;">Díaz is a man of strong character. He appeared on the <i>Colbert Report</i>, twice. You can watch the <a href="http://thecolbertreport.cc.com/guests/junot-diaz/ir7gne/junot-diaz"><span style="color: blue;">June 19, 2008</span></a> and the <a href="http://thecolbertreport.cc.com/guests/junot-diaz/bwz16t/junot-diaz"><span style="color: blue;">March 26, 2013</span></a> interviews by clicking on the date for each.</span></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; text-align: start;">"Geeking Out with Junot Diaz."</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; text-align: start;"> Does he like comic books? He loves comic books.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Watch the video.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiod5nlbqwcmYZJKa2Uhrh6ZSOj79G3FUfrmf1nzXsVVlX4jFWqFXJOziA3WnnJDyzoV33z8S744qYYZtII6SehEFzb-YPEdfdO0pQR_eMyRfDSGnOj54M951GOMo2PvR8l0VXpWIVKFM2i/s1600/JUNOT+DIAZ+Deluxe+cover+Jaime+Hernandez.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiod5nlbqwcmYZJKa2Uhrh6ZSOj79G3FUfrmf1nzXsVVlX4jFWqFXJOziA3WnnJDyzoV33z8S744qYYZtII6SehEFzb-YPEdfdO0pQR_eMyRfDSGnOj54M951GOMo2PvR8l0VXpWIVKFM2i/s1600/JUNOT+DIAZ+Deluxe+cover+Jaime+Hernandez.jpg" width="304" /></span></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; text-align: start;">This is the deluxe edition of Junat Diaz's <i>This is How You Lose Her</i>.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="text-align: start;">Jaime Hernandez </span>contributed the art to this edition. <a href="http://www.fantagraphics.com/artist-bios/artist-bio-the-hernandez-brothers.html"><span style="color: blue;">His bio appears here</span>.</a> </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; text-align: start;">Its deluxe edition was named one of the <a href="http://www.washingtonpost.com/blogs/comic-riffs/post/best-books-of-2013-junot-diaz-and-jaime-hernandez-team-up-deftly-on-deluxe-illustrated-this-is-how-you-lose-her/2013/10/24/b374ffa2-3cd7-11e3-a94f-b58017bfee6c_blog.html">best books of 2013</a> by <i>The Washington Post.</i></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: small;">Art by Jaime Hernandez for the deluxe edition of Diaz's <i>This is How You Lose Her.</i></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: small;"><i></i>More examples of Hernandez's illustrations for Diaz's collection <a href="http://www.huffingtonpost.com/2013/10/28/this-is-how-you-lose-her-_n_4169671.html">can be found here.</a></span></td></tr>
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<b style="font-size: x-large;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">More Interviews & Talks with <span style="text-align: start;">Junot Díaz</span></span></b><br />
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<span style="font-family: Times, 'Times New Roman', serif; text-align: start;">Díaz also did interviews with <a href="http://www.literalmagazine.com/bilingual/the-ethos-of-writing-alexander-parsons-talks-to-junot-diaz/"><span style="color: blue;"><b>Literal Magazine: Latin American Voices</b></span></a>, <a href="http://www.thedailybeast.com/articles/2013/08/21/junot-d-az-how-i-write.html"><i><span style="color: blue;"><b>The Daily Beast</b></span></i></a></span>, <a href="http://grantland.com/features/barhopping-pulitzer-prize-winner-junot-diaz/"><i><span style="color: blue;"><b>Grantland</b></span></i></a>, <a href="http://www.latinpost.com/articles/10659/20140417/bilingualism-immigration-assimilation-junot-d%C3%ADaz-thoughts-status-culture-latinos-interview-part-ii.htm"><i><span style="color: blue;"><b>Latin Post</b></span></i></a>, and <a href="http://www.guernicamag.com/interviews/nerdsmith/" style="font-style: italic;"><span style="color: blue;"><b>Nerdsmith</b></span></a>. The great Haitian-American writer Edwidge Danticat spoke with D<span style="font-family: Times, 'Times New Roman', serif; text-align: start;">íaz for <a href="http://bombmagazine.org/article/2948/junot-d-az"><span style="color: blue;"><b>BOMB Magazine</b></span></a>. </span><span style="font-family: Times, 'Times New Roman', serif; text-align: start;">Díaz</span><span style="font-family: Times, 'Times New Roman', serif; text-align: start;"> gave</span><span style="font-family: Times, 'Times New Roman', serif; text-align: start;"> a talk</span><span style="font-family: Times, 'Times New Roman', serif; text-align: start;"> at </span><span style="font-family: Times, 'Times New Roman', serif; text-align: start;">Harvard's <a href="http://www.niemanstoryboard.org/2012/10/12/junot-diaz-on-imagination-language-success-the-role-of-the-teacher-the-health-of-american-literature-and-star-wars-as-a-narrative-teaching-tool/"><span style="color: blue;"><b>Nieman Foundation</b></span></a>, a program devoted to narrative nonfiction writing. You can listen to two NPR interviews with </span>D<span style="font-family: Times, 'Times New Roman', serif; text-align: start;">íaz, broadcast on <a href="http://www.npr.org/2012/09/11/160252399/fidelity-in-fiction-junot-diaz-deconstructs-a-cheater"><span style="color: blue;"><b>September 11, 2012</b></span></a> and</span><span style="font-family: Times, 'Times New Roman', serif; text-align: start;"> <a href="http://www.npr.org/2012/10/05/162379322/interview-macarthur-genius-junot-diaz"><span style="color: blue;"><b>October 5, 2012</b></span></a>. <i>The New York Times</i> published a profile of Diaz in its magazine, September 27, 2012; it's called <a href="http://www.nytimes.com/2012/09/30/magazine/junot-diaz-hates-writing-short-stories.html?pagewanted=all&_r=0"><b>"Junot Diaz Hates Writing Short Stories"</b></a>.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A Netherlands edition of <i>The Brief Wondrous Life of Oscar Wao</i></span></td></tr>
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<b style="font-size: x-large;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; text-align: start;">Junot Díaz, Octavia Butler and PCC</span></b></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Here's a bit of trivia about Díaz and Pasadena City College. <a href="http://www.nytimes.com/2006/03/01/books/01butler.html"><span style="color: blue;"><b>Octavia Butler</b></span></a>, the late science fiction writer (June 22, 1947 – February 24, 2006) and PCC alum, A.A. 1968, is Díaz's "personal hero," something he revealed in an interview with <i style="font-weight: normal;"><b><span style="color: blue;"><a href="http://www.nytimes.com/2012/09/02/books/review/junot-diaz-by-the-book.html?pagewanted=2&ref=books"><span style="color: blue;">The New York Times</span></a><span style="color: black;"> </span></span></b></i>of August 30, 2012. When asked which three writers, living or dead, he would invite to dinner, he picked Butler "because she’s my personal hero, helped give the African Diaspora a future (albeit a future nearly as dark as our past) and because I’d love to see her again." Here is a <a href="http://www.nytimes.com/2000/01/01/books/visions-identity-we-tend-to-do-the-right-thing-when-we-get-scared.html?action=click&module=Search&region=searchResults&mabReward=relbias%3As&url=http%3A%2F%2Fquery.nytimes.com%2Fsearch%2Fsitesearch%2F%23%2Foctavia%2Bbutler%2F" style="color: black; font-weight: normal;"><span style="color: blue;"><b>brief interview</b></span></a> with Butler, a video interview with Charlie Rose (<a href="https://www.youtube.com/watch?v=66pu-Miq4tk">Part I</a> and <a href="https://www.youtube.com/watch?v=W1W9CNwl2e8">Part II</a>), and her<b style="color: black;"><span style="color: blue;"><span style="font-weight: normal;"> </span><a href="http://www.nytimes.com/2006/03/01/books/01butler.html?action=click&module=Search&region=searchResults&mabReward=relbias%3As&url=http%3A%2F%2Fquery.nytimes.com%2Fsearch%2Fsitesearch%2F%23%2Foctavia%2Bbutler%2F"><span style="color: blue;">obituary</span></a><span style="font-weight: normal;">.</span></span></b></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A Turkish edition of <i>The Brief Wondrous Life of Oscar Wao</i></span></td></tr>
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<b style="font-size: x-large;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; text-align: start;">Essays by Junot Díaz</span></b><br />
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<b><span style="text-align: start;"><a href="http://www.newyorker.com/archive/2004/06/14/040614fa_fact1"><span style="color: blue;">Homecoming, With Turtle</span></a></span></b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">by Junot D<span style="font-family: Times, 'Times New Roman', serif; text-align: start;">íaz</span></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; text-align: start;"><i>The New Yorker</i>, June 14, 2004</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">That summer! Eleven years ago, and I still remember every bit of it. Me and the girlfriend had decided to spend our vacation in Santo Domingo, a big milestone for me, one of the biggest, really: my first time “home” in nearly twenty years. (Blame it on certain “irregularities” in paperwork, blame it on my threadbare finances, blame it on me.) The trip was to accomplish many things. It would end my exile—what Salman Rushdie has famously called one’s dreams of glorious return; it would plug me back into that island world, which I’d almost forgotten, closing a circle that had opened with my family’s immigration to New Jersey, when I was six years old; and it would improve my Spanish. As in Tom Waits’s song “Step Right Up,” this trip would be and would fix everything.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Maybe if I hadn’t had such high expectations everything would have turned out better. Who knows? What I can say is that the bad luck started early. Two weeks before the departure date, my novia found out that I’d cheated on her a couple of months earlier. Apparently, my ex-sucia<i> </i>had heard about our planned trip from a mutual friend and decided in a fit of vengeance, jealousy, justice, cruelty, transparency (please pick one) to give us an early bon-voyage gift: an “anonymous” letter to my novia that revealed my infidelities in excruciating detail (where do women get these memories?). I won’t describe the lío me and the novia got into over that letter, or the crusade I had to launch to keep her from dumping me and the trip altogether. In brief, I begged and promised and wheedled, and two weeks later we were touching down on the island of Hispaniola. What do I remember? Holding hands awkwardly while everybody else clapped and the fields outside La Capital burned. How did I feel? All I will say is that if you fused the instant when heartbreak occurs to the instant when one falls in love and shot that concoction straight into your brain stem you might have a sense of what it felt like for me to be back “home."</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">To read all of Diaz's essay on Santo Domingo <a href="http://www.newyorker.com/archive/2004/06/14/040614fa_fact1"><span style="color: blue;"><b>click here.</b></span></a></span></div>
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<a href="http://www.gourmet.com/magazine/2000s/2007/09/elalto"><span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>He'll Take El Alto</b></span></a><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Dominican Food in Northern Manhattan</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">by Junot D<span style="font-family: Times, 'Times New Roman', serif; text-align: start;">íaz</span></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In those early days of our immigration (so the story goes), we Dominicans had no restaurants. There were no Caridads, no Malecons, no chimichurri trucks anywhere in sight. The first of us survived primarily on other people’s larders. On NY street food, on Puerto Rican fritura, on Cuban black beans. The street stuff—the hot dogs, the hamburgers, the pizza—was worth bragging about on visits to the Island, but nothing you could hang a life on. As for the Cuban and Puerto Rican grub—familiar, yes, but when you’re a thousand miles from home, cut off from your cultural and ancestral ley lines—and dying for a taste of mangú—not familiar enough.</span><br />
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Been 40 years since those bad old days, and much has changed for us Dominicans, especially in New York. Where before we were a couple thousand souls scattered throughout the five boroughs, today we’re nearly a million strong in the greater metropolitan area, the majority concentrated in upper Manhattan (or El Alto, as it is known in Spanish). Starting at 135th Street on the west side and running all the way into Washington Heights and Inwood, Alto Manhattan is to the Dominican community what Miami is to Cubans, what the LES and El Barrio used to be to Puerto Ricans—the Ground Zero of our New Jerusalem, the place we settled most successfully in the wake of our diaspora. It’s here where we achieved the condition that must have seemed unimaginable to our first sojourners: density. Density: not great for childhood or privacy, but wonderful for community and of course for the appetite. The “forefathers” might have lived off other people’s larders, but that’s not something their children have to worry about. We actually have the opposite problem. If you’re in upper Manhattan and can’t score a decent taste of Dominican cooking, either you’re trying real hard to screw up, or something’s very wrong with your luck. The trouble is not finding good spots but simply trying to decide which ones to choose. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">To read all of Diaz's essay on Dominican food <span style="color: blue;"><b><a href="http://www.gourmet.com/magazine/2000s/2007/09/elalto"><span style="color: blue;">click here.</span></a> </b></span></span></div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">For Dominican food recipes, see <a href="http://www.dominicancooking.com/12535-10-must-try-dominican-foods-and-dishes.html"><span style="color: blue;">Aunt Clara's Kitchen.</span></a></span><br />
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<a href="http://www.bostonreview.net/junot-diaz-apocalypse-haiti-earthquake"><span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>Apocalypse</b></span></a><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">What Disasters Reveal</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">by Junot D<span style="font-family: Times, 'Times New Roman', serif; text-align: start;">íaz</span></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; text-align: start;"><i>Boston Review</i>, May 1, 2011</span><br />
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<b><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">ONE</span></b></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">On January 12, 2010 an earthquake struck Haiti. The epicenter of the quake, which registered a moment magnitude of 7.0, was only fifteen miles from the capital, Port-au-Prince. By the time the initial shocks subsided, Port-au-Prince and surrounding urbanizations were in ruins. Schools, hospitals, clinics, prisons collapsed. The electrical and communication grids imploded. The Presidential Palace, the Cathedral, and the National Assembly building—historic symbols of the Haitian patrimony—were severely damaged or destroyed. The headquarters of the UN aid mission was reduced to rubble, killing peacekeepers, aid workers, and the mission chief, Hédi Annabi.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The figures vary, but an estimated 220,000 people were killed in the aftermath of the quake, with hundreds of thousands injured and at least a million—one-tenth of Haiti’s population—rendered homeless. According to the Red Cross, three million Haitians were affected. It was the single greatest catastrophe in Haiti’s modern history. It was for all intents and purposes an apocalypse.</span></div>
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<strong style="color: #494949; letter-spacing: 0.41999998688697815px; line-height: 21px; margin: 0px; padding: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-weight: normal;">Apocalypse comes to us from the Greek </span><i style="font-weight: normal; margin: 0px; padding: 0px;">apocalypsis</i><span style="font-weight: normal;">, meaning to uncover and unveil. Now, as James Berger reminds us in </span><i style="font-weight: normal; margin: 0px; padding: 0px;">After the End</i><span style="font-weight: normal;">, apocalypse has three meanings. First, it is the actual imagined end of the world, whether in </span><i style="font-weight: normal; margin: 0px; padding: 0px;">Revelations</i><span style="font-weight: normal;"> or in Hollywood blockbusters. Second, it comprises the catastrophes, personal or historical, that are said to resemble that imagined final ending—the Chernobyl meltdown or the Holocaust or the March 11 earthquake and tsunami in Japan that killed thousands and critically damaged a nuclear power plant in Fukushima. Finally, it is a disruptive event that provokes revelation. The apocalyptic event, Berger explains, in order to be truly apocalyptic, must in its disruptive moment clarify and illuminate “the true nature of what has been brought to end.” It must be revelatory.</span></span></strong></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><strong style="letter-spacing: 0.41999998688697815px; line-height: 21px; margin: 0px; padding: 0px;"><span style="color: #494949; font-weight: normal;">To read all of </span></strong>D<span style="text-align: start;">íaz's </span><strong style="letter-spacing: 0.41999998688697815px; line-height: 21px; margin: 0px; padding: 0px;"><span style="color: #494949; font-weight: normal;">essay on Haiti</span></strong><span style="letter-spacing: 0.41999998688697815px; line-height: 21px; margin: 0px; padding: 0px;"><span style="color: #494949;"> </span><span style="color: blue;"><a href="http://www.bostonreview.net/junot-diaz-apocalypse-haiti-earthquake"><span style="color: blue;"><b>click here</b></span><b>.</b></a></span></span></span></div>
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<tr><td class="tr-caption" style="text-align: justify;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Edwidge Danticat, author of the memoir <i>Brother, I'm Dying,</i> pictured at left, above, and Díaz share much in common as immigrants, writers, and political activists. Danticat was born in Port-au-Prince, Haiti, on January 19, 1969; Díaz in Santo Domingo, Dominican Republic on December 31, 1968. Danticat and Díaz both won the National Book Critics Award in 2008 for <i>Brother, I'm Dying </i>and <i>The Brief Wondrous Life of Oscar Wao</i>, respectively. They co-authored <a href="http://www.nytimes.com/1999/11/20/opinion/the-dominican-republic-s-war-on-haitian-workers.html" style="color: blue; font-weight: bold;"><span style="color: blue;">"The Dominican Republic's War On Haitian Workers,"</span></a><span style="color: blue; font-weight: bold;"> </span>an op-ed piece which ran in <i>The New York Times</i>, November 20, 1999, Danticat and Diaz have also appeared on programs together; they can be heard on a <a href="http://podcast.lannan.org/2006/04/14/edwidge-danticat-with-junot-daz/"><span style="color: blue;"><b>Lannan Foundation podcast</b></span></a>, from November 30, 2005.</span></td></tr>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-size: large; line-height: 1.467em;"><b><span style="line-height: 1.467em;">A Letter re: the Dominican Republic and Haiti by </span><span style="text-align: justify;"><span style="text-align: start;">Junot Díaz, Edwidge Danticat et al</span></span></b></span><span style="line-height: 1.467em;"> (in response to <a href="http://www.nytimes.com/2013/10/24/world/americas/dominicans-of-haitian-descent-cast-into-legal-limbo-by-court.html" style="color: blue; font-weight: bold;">"Dominicans of Haitian Descent Cast Into Legal Limbo By Court"</a>, <i>The New York Times</i>, October 24, 2013; the letter can be found below and on <i>The New York Times</i> <b><a href="http://www.nytimes.com/2013/11/01/opinion/two-versions-of-a-dominican-tale.html"><span style="color: blue;">editorial page</span></a></b></span><span style="line-height: 1.467em;">, published October 31, 2013.)</span></span></div>
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<strong><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">To the Editor:</span></strong></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">For any who thought that there was a new Dominican Republic, a modern state leaving behind the abuse and racism of the past, the highest court in the country has taken a huge step backward with Ruling 0168-13.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">According to this ruling, the Dominicans born to undocumented parents are to have their citizenship revoked. The ruling, retroactive to 1929, affects an estimated 200,000 Dominican people of Haitian descent, including many who have had no personal connection with Haiti for several generations.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Such appalling racism is a continuation of a history of constant abuse, including the infamous Dominican massacre, under the dictator Rafael Trujillo, of an estimated 20,000 Haitians in five days in October 1937.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">One of the important lessons of the Holocaust is that the first step to genocide is to strip a people of their right to citizenship.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">What will happen now to these 200,000 people — stateless with no other country to go to?</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The ruling will make it challenging for them to study; to work in the formal sector of the economy; to get insurance; to pay into their pension fund; to get married legally; to open bank accounts; and even to leave the country that now rejects them if they cannot obtain or renew their passport. It is an instantly created underclass set up for abuse.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">How should the world react? Haven’t we learned after Germany, the Balkans and South Africa that we cannot accept institutionalized racism?</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Mark Kurlansky</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Junot Díaz</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">New York, Oct. 29, 2013</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="line-height: 1.467em;">The four writers, </span><span style="line-height: 1.467em;">Díaz, Danticat, </span><span style="line-height: 1.467em;">Kurlansky, and Alvarez, also co-authored <a href="http://articles.latimes.com/2013/nov/10/opinion/la-oe-kurlansky-haiti-dominican-republic-citizensh-20131110" style="color: blue; font-weight: bold;">"In the Dominican Republic, Suddenly Stateless,"</a><span style="color: blue; font-weight: bold;"> </span>which ran in the <i>Los Angeles Times</i>, November 10, 2013. They examined how "</span><span style="line-height: 23.472000122070313px;">Dominicans of Haitian descent are losing their citizenship as their nation reinstates an old form of racism."</span></span></div>
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Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com0tag:blogger.com,1999:blog-8990023221550141932.post-34083834685092481792015-10-14T21:24:00.000-07:002015-10-14T21:25:07.268-07:001B: Chimamanda Ngozi Adichie (b. September 15, 1977--)<div class="separator" style="clear: both; text-align: center;">
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Adichie's novel, <i>Americanah</i>, published in 2013, <a href="http://chimamanda.com/books/americanah/">was widely praised</a>.<br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">You can learn about </span><span style="background-color: white; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; line-height: 18px; text-align: justify;">Chimamanda Ngozi Adichie at her official <a href="http://chimamanda.com/about-chimamanda/">website</a> and at <i>The New York Times'</i> <a href="http://topics.nytimes.com/top/reference/timestopics/people/a/chimamanda_ngozi_adichie/index.html">"Times Topics"</a> page about her. <a href="http://www.l3.ulg.ac.be/adichie/index.html">The Chimamanda Ngozi Adichie website</a> has links to interviews and other sources about her. Listen to this <a href="http://www.lapl.org/collections-resources/e-media/podcasts/aloud/americanah-novel">Los Angeles Public Library podcast</a> with her from June 6, 2013 and another with <a href="http://www.npr.org/2013/06/27/195598496/americanah-author-explains-learning-to-be-black-in-the-u-s">NPR's Terry Gross</a>, June 27, 2013. You can also find her</span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> </span><a href="http://www.l3.ulg.ac.be/adichie/cnabio.html" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">biography</a> <span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">on the </span><a href="http://www.l3.ulg.ac.be/adichie/index.html" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">website</a><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> about her. I have posted it here:</span><br />
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<span style="background-color: white; line-height: 18px; text-align: justify;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Chimamanda Ngozi Adichie was born on 15 September 1977 in Enugu, Nigeria, the fifth of six children to Igbo parents, Grace Ifeoma and James Nwoye Adichie. While the family's ancestral hometown is Abba in Anambra State, Chimamanda grew up in Nsukka, in the house formerly occupied by Nigerian writer Chinua Achebe. Chimamanda's father, who is now retired, worked at the University of Nigeria, located in Nsukka. He was Nigeria's first professor of statistics, and later became Deputy Vice-Chancellor of the University. Her mother was the first female registrar at the same institution.</span></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Chimamanda completed her secondary education at the University's school, receiving several academic prizes. She went on to study medicine and pharmacy at the University of Nigeria for a year and a half. During this period, she edited <i>The Compass</i>, a magazine run by the University's Catholic medical students.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"At the age of nineteen, Chimamanda left for the United States. She gained a scholarship to study communication at Drexel University in Philadelphia for two years, and she went on to pursue a degree in communication and political science at Eastern Connecticut State University. While in Connecticut, she stayed with her sister Ijeoma, who runs a medical practice close to the university.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', Times, serif; font-size: 12px;"></span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Chimamanda graduated summa cum laude from Eastern in 2001, and then completed a master's degree in creative writing at Johns Hopkins University, Baltimore.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"It is during her senior year at Eastern that she started working on her first novel, <i>Purple Hibiscus</i>, which was released in October 2003. The book has received wide critical acclaim: it was shortlisted for the Orange Fiction Prize (2004) and was awarded the Commonwealth Writers' Prize for Best First Book (2005).</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Her second novel, <i>Half of a Yellow Sun</i> (also the title of one of her short stories), is set before and during the Biafran War. It was published in August 2006 in the United Kingdom and in September 2006 in the United States. Like <i>Purple Hibiscus</i>, it has also been released in Nigeria.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Chimamanda was a Hodder fellow at Princeton University during the 2005-2006 academic year, and earned an MA in African Studies from Yale University in 2008.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Her collection of short stories, <i>The Thing around Your Neck</i>, was published in 2009.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In 2011-2012, Chimamanda was awarded a fellowship by the Radcliffe Institute for Advanced Study, Harvard University, which allowed her to finalize her third novel, <i>Americanah</i>. The book was released to great critical acclaim in 2013.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Chimamanda is now married and divides her time between Nigeria, where she regularly teaches writing workshops, and the United States."</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="line-height: 18px;"><iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" scrolling="no" src="https://embed-ssl.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story.html" webkitallowfullscreen="" width="640"></iframe></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 18px;">You can also watch </span><span style="background-color: transparent; line-height: 18px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Adichie's talk, "The Danger of a Single Story," <a href="http://www.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story?language=en">here.</a></span></span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; line-height: 18px;">A transcript of this talk can be </span><a href="http://ssw.unc.edu/files/TheDangerofaSingleStoryTranscript.pdf" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; line-height: 18px;">found here.</a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">You can also watch Adichie's talk, "We Should All be Feminists," <a href="https://www.youtube.com/watch?v=hg3umXU_qWc">here.</a> A transcript of this talk can be <a href="https://vialogue.wordpress.com/2013/12/30/ted-we-should-all-be-feminists-chimamanda-ngozi-adichie-at-tedxeuston-transcript/">found here.</a></span></div>
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<a href="http://www.nytimes.com/2015/05/31/opinion/sunday/chimamanda-ngozi-adichie-my-fathers-kidnapping.html" style="line-height: 2.25rem;">My Father's Kidnapping</a></h1>
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<span style="font-size: large;"><i>The New York Times,</i> May 30, 2015</span></div>
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<span style="font-size: large;">by Chimamanda Ngozi Adichie</span></div>
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MY father was kidnapped in <a class="meta-loc" href="http://topics.nytimes.com/top/news/international/countriesandterritories/nigeria/index.html?inline=nyt-geo" style="color: #326891;" title="More news and information about Nigeria.">Nigeria</a> on a Saturday morning in early May. My brother called to tell me, and suddenly there was not enough breathable air in the world. My father is 83 years old. A small, calm, contented man, with a quietly mischievous humor and a luminous faith in God, his beautiful dark skin unlined, his hair in sparse silvery tufts, his life shaped by that stoic, dignified responsibility of being an Igbo first son.</div>
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He got his doctoral degree at Berkeley in the 1960s, on a scholarship from the United States Agency for International Development; became Nigeria’s first professor of statistics; raised six children and many relatives; and taught at the University of Nigeria for 50 years. Now he makes fun of himself, at how slowly he climbs the stairs, how he forgets his cellphone. He talks often of his childhood, endearing and rambling stories, his words tender with wisdom.</div>
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Sometimes I record his Igbo proverbs, his turns of phrase. A disciplined diabetic, he takes daily walks and is to be found, after each meal, meticulously recording his carbohydrate grams in a notebook. He spends hours bent over Sudoku. He swallows a handful of pills everyday. His is a generation at dusk.</div>
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On the morning he was kidnapped, he had a bag of okpa, apples and bottled water that my mother had packed for him. He was in the back seat of his car, his driver at the wheel, on a lonely stretch between Nsukka, the university town where he lives, and Abba, our ancestral hometown. He was going to attend a traditional meeting of men from his age group. A two-hour drive. My mother was planning their late lunch upon his return: pounded yam and a fresh soup. They always called each other when either traveled alone. This time, he didn’t call. She called him and his phone was switched off. They never switched off their phones. Hour after hour, she called and it remained off. Later, her phone rang, and although it was my father’s number calling, a stranger said, “We have your husband.”</div>
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To read the rest of Adichie's story of her father's kidnapping <a href="http://www.nytimes.com/2015/05/31/opinion/sunday/chimamanda-ngozi-adichie-my-fathers-kidnapping.html">find it here.</a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZb5kWma8a-ysKJmXoJ1BQzdp_wOwdrTa94ht8P79RXGRsOGqAgxehG_xq06SRSUHNMrShvNU-1bBWD2UlYQkq7UJ4a8hldcB_maymze8Arf7gvZ8IgVtsmWDDt0WVotgzkKQtrCpmVrcT/s1600/adichie+serious.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZb5kWma8a-ysKJmXoJ1BQzdp_wOwdrTa94ht8P79RXGRsOGqAgxehG_xq06SRSUHNMrShvNU-1bBWD2UlYQkq7UJ4a8hldcB_maymze8Arf7gvZ8IgVtsmWDDt0WVotgzkKQtrCpmVrcT/s640/adichie+serious.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chimamanda Ngozi Adichie (b. September 15, 1977--)</td></tr>
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Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com0tag:blogger.com,1999:blog-8990023221550141932.post-79514569833239810862015-10-13T18:45:00.000-07:002015-10-13T18:46:27.002-07:001A Revision Questions<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Write these questions and reminders down on the back of your essay. Then apply these to your draft. Find pages in your handbook that correlate with these topics.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Introduction</span></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Offer an Anecdote</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Provide an Example</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Raise An Engaging Question</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">State your promise to the reader</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The Introduction is The Porch</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The Introduction is a Handshake</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">No need to name both essays in your Introduction</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Thesis</span></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">You are presenting a reasonable argument</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This is your opinion</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This is your claim</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This is what your essay is about</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Not something like: Authors x and y show the same connection between compassion & politics</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Instead, assert that there is a relationship between compassion (or outsider, if that is your topic) & politics. What is that feature? Is there a feature of compassion, etc., that is often overlooked or is more important than normally thought to be?</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">No need to name both essays in your thesis</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Background</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Demonstrates your authority</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Name the authors and the essays that you will examine</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">You have read the essays--carefully, closely--that you will examine.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Provide a brief summary of the essays</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">You might define a define a term </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Opposing View(s)</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Shows you have thought through the issue</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Shows you consider another point of view</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Allows you to raise questions that you can respond to </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Body Paragraphs</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> (RENNS: Reasons, Examples, Names, Numbers,</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">d Sensory Details)</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-size: large;">PARAPHRASE EXAMPLE from the text:</span></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b> IDENTIFY SPECIFIC WORDS, PHRASES & SENTENCES</b> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Topic Sentences (connect to Thesis)</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Provide Transitions between paragraphs and sentences</span><br />
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Provide Evidence from the Readings</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-size: large;">FOLLOW EXAMPLES AND EVIDENCE WITH ANALYSIS:</span> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>IT IS NOT ENOUGH TO LET THE EXAMPLE SPEAK FOR ITSELF. YOU MUST EXPLAIN IT.</b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Why is this example important?</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">How does this example connect to my Thesis?</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Opposing View, again (?)</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">It might be worthwhile to return to the other side of the argument or perspective on the issue, and then respond before you get to your conclusion</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Conclusion</span></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Don't state "In conclusion..." or "Finally, ..."</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Try a "call back" to introduction</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Try looking ahead: what's next?</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">What might follow our understanding of the issue?</span>Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com0tag:blogger.com,1999:blog-8990023221550141932.post-53322804394205425592015-10-03T20:35:00.000-07:002015-10-06T22:29:33.789-07:001B: John Updike (1932-2009)<br />
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<i><span style="font-size: large;">When I write, I aim in my mind </span></i><i><span style="font-size: large;">not toward New York</span></i><br />
<i><span style="font-size: large;"> but toward a vague spot </span></i><i style="font-size: x-large;">a little </i><i style="font-size: x-large;">to the east of Kansas.</i><br />
<i><span style="font-size: large;">-- John Updike</span></i></div>
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There must be, then, a library just a little east of Kansas that is well-stocked in author aisle "U." Because as a young man John Updike made it a goal of his that he would publish a book a year. It turns out that he did miss a year or two, but made up for the misses with many more hits, to the admiration of enthusiasts, bewilderment of observers, and irritation of detractors, as he published 75 books from 1958-2013. It is true that some of those 75 titles were collections of stories, essays and poems that had appeared in earlier editions. Still, it is quite a number, like a career sports record no other athlete will ever surpass or, even when blessed by Olympian gods and goddesses, match. Addressing Updike's publishing record, Louis Menand in <i>The New Yorker</i>, April 28, 2014, recalled, "David Foster Wallace once asked, quoting, he said, a friend, 'Has the son of a bitch ever had one unpublished thought?' Not, apparently, if he could help it."<br />
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<tr><td class="tr-caption" style="text-align: center;">Tonight's reading assignment? Tomorrow's?<br />
Well, for someone, somewhere, in Updike's<br />
imaginary place, "a little to the east of Kansas." </td></tr>
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<b><span style="font-size: large;">Biographies </span></b><br />
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<a href="http://www.achievement.org/autodoc/page/upd0bio-1"><b>American Academy of Achievement</b></a><br />
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<a href="http://blogs.iwu.edu/johnupdikesociety/"><b>John Updike Society</b></a><br />
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<a href="http://www.neh.gov/about/awards/jefferson-lecture/john-updike-biography"><b>National Endowment for the Humanities</b></a><br />
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<a href="http://www.poetryfoundation.org/bio/john-updike"><b>The Poetry Foundation</b></a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj35ea50x0K1LRg7murScpMhPAHVuHef383cW8E9-Hb_O-EwUrNnweWljiLFqqgNPZQNG4w0wjJbvzn8K_MdyrKuOfcpJo8f-ieIJVcjqE1gtrRO6iAu4wDPW_Cjjx9Gdl35j-RqIV-D6a8/s1600/Chief+Updike+Photo+on+5-28-14+at+9.54+PM.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj35ea50x0K1LRg7murScpMhPAHVuHef383cW8E9-Hb_O-EwUrNnweWljiLFqqgNPZQNG4w0wjJbvzn8K_MdyrKuOfcpJo8f-ieIJVcjqE1gtrRO6iAu4wDPW_Cjjx9Gdl35j-RqIV-D6a8/s1600/Chief+Updike+Photo+on+5-28-14+at+9.54+PM.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Chief claims he wears a Large. Not true.</span><br />
<span style="font-size: small;"> All his friends know he is an XXL.</span><br />
<span style="font-size: small;">His other unsuccessful deceptions:</span><br />
<span style="font-size: small;"> he has never met, nor read John Updike. </span></td></tr>
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<b><span style="font-size: large;">Videos with John Updike</span></b><br />
<span style="font-family: Times, Times New Roman, serif;"><b>[<span style="color: red;">Highly Recommended.] </span></b></span><b style="color: blue; font-family: Times, 'Times New Roman', serif;"><a href="https://www.youtube.com/watch?v=3TvEa-CzBK8"><span style="color: blue;">John Updike talks with Jeffrey Brown of the PBS NewsHour (10 mins.)</span></a></b><br />
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<b style="font-family: Times, 'Times New Roman', serif;"><span style="color: blue;"><a href="https://www.youtube.com/watch?v=aZhBomrm-Og&feature=youtu.be"><span style="color: blue;">Updike talks about his 'Rabbit' novels with Charlie Rose (3 mins.)</span></a></span></b></div>
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<b><span style="color: blue;"><a href="https://www.youtube.com/watch?v=cpnSiCJCxPE&feature=youtu.be"><span style="color: blue;">Updike talks with <i>The New York Times</i> (1 hour 25 mins.)</span></a></span></b></div>
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<span style="color: blue; font-family: Times, Times New Roman, serif;"><b><a href="https://www.youtube.com/watch?v=W4cbFODoDH4"><span style="color: blue;">Updike interview with <i>The New York Times</i> shortly before his death (8 mins.)</span></a></b></span></div>
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<span style="color: blue; font-family: Times, Times New Roman, serif;"><b><a href="https://www.youtube.com/watch?v=R9w-y0UsJ6A"><span style="color: blue;">Updike is interviewed by CSPAN2 (1 hr. 30 mins.)</span></a></b></span></div>
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<span style="color: blue;"><span style="font-family: Times, Times New Roman, serif;"><a href="https://www.youtube.com/watch?v=e6QnYZ9KDgs&feature=youtu.be"><b><span style="color: blue;">Updike is interviewed by CSPAN2 (10 mins.)</span></b></a></span></span></div>
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<b><span style="font-size: large;">Updike's "A & P"</span></b><br />
<b>[<span style="color: red;">Highly Recommended.</span>]<span style="font-size: large;"> </span></b><a href="https://www.youtube.com/watch?v=t3ZLhZacwF0"><b><span style="color: blue;">Read Aloud</span></b></a></div>
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<b><span style="font-size: large;">Interview </span></b><br />
<b>[<span style="color: red;">Highly Recommended.</span>] </b><a href="http://www.theparisreview.org/interviews/4219/the-art-of-fiction-no-43-john-updike"><b><span style="color: blue;">The Paris Review: The Art of Fiction, number 43 (Winter 1968)</span></b></a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCerAQQUsmITif3FcGWJUWSCmyuRn68JQLLZeL6uARZfIaPzhXPFtyxXRc2G4dHCh2x3rF7eFwZi6-vFTCwsP45peLMvQVelNb0wdg20u5af-Ao-A_i2Ftocs4-mRyWjNv3r38Nt7gY0lT/s1600/Updike+.01+check+autograph.gif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCerAQQUsmITif3FcGWJUWSCmyuRn68JQLLZeL6uARZfIaPzhXPFtyxXRc2G4dHCh2x3rF7eFwZi6-vFTCwsP45peLMvQVelNb0wdg20u5af-Ao-A_i2Ftocs4-mRyWjNv3r38Nt7gY0lT/s1600/Updike+.01+check+autograph.gif" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photograph of check discovered at <a href="http://famous-celebrity-autographs.com/john-updike-autograph-p-457.html"><b>Famous Celebrity Autographs dot Com</b></a></td></tr>
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<b><span style="font-size: large;">Articles About</span></b><br />
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[<span style="color: red;"><b>Highly Recommended.</b></span>] <b><span style="color: blue;"><a href="http://www.nytimes.com/2009/01/28/books/28updike.html?pagewanted=all"><span style="color: blue;">John Updike, a Lyrical Writer of the Middle-Class Man, Dies at 76</span></a></span></b> (<i>The New York Times</i>, January 28, 2009)<br />
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<a href="http://www.nytimes.com/2009/01/28/books/28appr.html?ref=books"><span style="color: blue;"><b>AN APPRAISAL: A Relentless Updike Mapped America’s Mysteries</b></span></a> (<i>The New York Times</i>, January 27, 2009)<br />
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[<span style="color: red;"><b>Highly Recommended.</b></span>] <span style="color: blue; font-weight: bold;"><a href="http://www.theguardian.com/books/2004/mar/20/fiction.johnupdike"><span style="color: blue;">John Updike's Animated Ambitions</span></a> </span>(Updike's interest in drawing is discussed.) (<i>The Guardian</i>, March 19, 2004)<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlXIU9LvOUfYfwzXN4wFb-xNTOqB5Wsa0MW55UIHc2VO2APOYeyTLgvlIaPtM8b7aaXs3kBTqVFt3wpYUegWtUZlTGf22ILpKZzYUpuLuen3EayV2Ws2_UpBkGPBbHqGONitjsWxKzSzXg/s1600/Updike+Self+Portrait.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlXIU9LvOUfYfwzXN4wFb-xNTOqB5Wsa0MW55UIHc2VO2APOYeyTLgvlIaPtM8b7aaXs3kBTqVFt3wpYUegWtUZlTGf22ILpKZzYUpuLuen3EayV2Ws2_UpBkGPBbHqGONitjsWxKzSzXg/s1600/Updike+Self+Portrait.jpg" width="275" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Updike self-portrait from the mid-1990s. <br />Details about it appear in an <a href="http://autographmagazine.com/john-updike-autographs-lawrence-grobel/"><span style="color: blue;">article</span></a> by Lawrence Grobel.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaKkzBJf2IqSsrxSVH7zaS8Zk9HP918Q4CUImo9HbXRDwZD8ETeb5LQByvH_T84m67c6Fpeypd24H6cfHieeoRr6CZ6qgTagUoUB1sHHB4DTu6qh-rty4sUPENQ4_5Jw4QQFI7aW_O5ALD/s1600/updike+2+cover+harvard+lampoon.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaKkzBJf2IqSsrxSVH7zaS8Zk9HP918Q4CUImo9HbXRDwZD8ETeb5LQByvH_T84m67c6Fpeypd24H6cfHieeoRr6CZ6qgTagUoUB1sHHB4DTu6qh-rty4sUPENQ4_5Jw4QQFI7aW_O5ALD/s1600/updike+2+cover+harvard+lampoon.jpg" width="310" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Updike drew the above illustration for <i>The Lampoon</i>, a student publication at Harvard,</span><br />
<span style="font-size: small;"> where he graduated in 1954. The </span><span style="font-size: small;"><i>Harvard Gazette</i> </span><a href="http://news.harvard.edu/gazette/1998/04.30/TheEarlyDaysofJ.html" style="font-size: medium;"><span style="color: blue;">recalls</span></a><span style="font-size: small;"> Updike's student days.</span><br />
<span style="font-size: small;">More examples of Updike's drawings can be found <a href="http://potrzebie.blogspot.com/2010/07/john-updike-cartoonist.html">here.</a></span></td></tr>
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<b><span style="color: blue;"><a href="http://www.nytimes.com/2009/02/01/weekinreview/01mcgrath.html">John Updike’s Mighty Pen</a></span></b> (<i>The New York Times</i>, January 31, 2009)<br />
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<a href="http://topics.nytimes.com/top/reference/timestopics/people/u/john_updike/index.html?inline=nyt-per" style="color: #666699;" title="More articles about John Updike.">John Updike</a>, who died on Tuesday at 76, was our Trollope and our <a href="http://topics.nytimes.com/top/reference/timestopics/people/p/marcel_proust/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Marcel Proust.">Proust</a> both. Though a brilliant man, he was not a novelist of ideas. His best character, Rabbit Angstrom, had trouble making sense of his own life, let alone the lives of those around him. Nor did Mr. Updike have a reformer’s zeal or a dreamer’s vision. His gifts were his eye and his sensibility, which enabled him to describe, with an exactitude bordering on love, how the world looked and what it felt like to make your way in it.</div>
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He was the great chronicler of middle-class America, and hundreds of years from now, if people still read, they will read the Rabbit books to learn what that perplexing age, the 20th century, was really like.</div>
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Mr. Updike was also America’s last true man of letters, an all-purpose writer and a custodian of literary culture. He wrote more, and in more different genres — stories, novels, poems, essays, reviews, occasional journalism — than anyone since <a href="http://topics.nytimes.com/top/reference/timestopics/people/j/henry_james/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Henry James.">Henry James</a>, and it’s hard to imagine how he can be replaced. Who has the energy, or the eyeballs, for that much reading?</div>
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In many ways, though, Mr. Updike was an unlikely man of letters. He lived a quiet, burgherly life in a seaside Boston suburb and seldom went to literary parties. He dropped by New York now and then to visit museums and see relatives, but he never stayed long. He didn’t teach; he almost never gave blurbs; he belonged to no literary school or faction. His idea of a reward after a morning’s work was not lunch or drinks with other writers but a round of golf with his buddies.<br />
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Mr. Updike kept in touch with the literary world mostly by mail. He was a regular at the post office and eagerly awaited the arrival every day of the FedEx truck. He was old-fashioned in promptly and politely answering letters, and his correspondence was like the man himself: stylish, charming, gently self-deprecatory. Starting when he was in his late 50’s, it sometimes amused him to pretend to be a fogey and a valetudinarian. His submissions to <a href="http://topics.nytimes.com/top/reference/timestopics/organizations/n/the_new_yorker/index.html?inline=nyt-org" style="color: #666699;" title="More articles about The New Yorker.">The New Yorker</a>, where I used to edit him sometimes, were often accompanied by a little note declaring that the enclosed was not very good and would probably be his last, because the well was going dry, the tank was empty, the field was fallow. In fact, until the very end of his life Mr. Updike was remarkably youthful, and he filed his last piece with the magazine just weeks before he died.<br />
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If, like me, you were lucky enough to share Mr. Updike’s enthusiasm for golf, you got periodic reports on the woeful state of his game and his hope, never diminished, of turning it around. He was a tireless sharer of “tips” — the little swing thoughts golfers use to trick their bodies into temporary compliance.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlh3dq4wtFCzIW0Ev_-l7WrgOjjdDUl5swr68R5ONlWwxrw0QtGlu-wAStBHt8Msdvmv8T1kynJCb1YGrBl9cGd-Ic0UzQ1kkMG0MuAAxkxk0AtyGVU8f3wr9J6FEAOJX-MMT0jcIvSpMN/s1600/Updike+self+portrait1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlh3dq4wtFCzIW0Ev_-l7WrgOjjdDUl5swr68R5ONlWwxrw0QtGlu-wAStBHt8Msdvmv8T1kynJCb1YGrBl9cGd-Ic0UzQ1kkMG0MuAAxkxk0AtyGVU8f3wr9J6FEAOJX-MMT0jcIvSpMN/s1600/Updike+self+portrait1.jpg" width="262" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Updike self-portrait, date unknown.</td></tr>
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But despite his distance from the literary center — the scrums, the parties, the gossip — or maybe because of it, Mr. Updike cast an enormous shadow. He was a father figure to generations of other writers — an “influence” not in the baleful <a href="http://topics.nytimes.com/top/reference/timestopics/people/b/harold_bloom/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Harold Bloom.">Harold Bloom</a> sense but in a more benign, encouraging way. On The New Yorker’s Web site and elsewhere last week spontaneous tributes popped up from writers as various as <a href="http://topics.nytimes.com/top/reference/timestopics/people/j/gish_jen/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Gish Jen.">Gish Jen</a>, <a href="http://topics.nytimes.com/top/reference/timestopics/people/b/julian_barnes/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Julian Barnes.">Julian Barnes</a>, <a href="http://topics.nytimes.com/top/reference/timestopics/people/i/john_irving/index.html?inline=nyt-per" style="color: #666699;" title="More articles about John Irving.">John Irving</a>, <a href="http://topics.nytimes.com/top/reference/timestopics/people/e/jeffrey_eugenides/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Jeffrey Eugenides.">Jeffrey Eugenides</a>, <a href="http://topics.nytimes.com/top/reference/timestopics/people/f/richard_ford/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Richard Ford.">Richard Ford</a>, <a href="http://topics.nytimes.com/top/reference/timestopics/people/t/paul_theroux/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Paul Theroux.">Paul Theroux</a>, <a href="http://topics.nytimes.com/top/reference/timestopics/people/b/t_coraghessan_boyle/index.html?inline=nyt-per" style="color: #666699;" title="More articles about T. Coraghessan Boyle.">T. C. Boyle</a>, Antonya Nelson, George Saunders, ZZ Packer, Thomas McGuane, <a href="http://topics.nytimes.com/top/reference/timestopics/people/m/lorrie_moore/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Lorrie Moore.">Lorrie Moore</a> and <a href="http://topics.nytimes.com/top/reference/timestopics/people/o/joyce_carol_oates/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Joyce Carol Oates.">Joyce Carol Oates</a>, most of whom knew Mr. Updike barely, if it all. Toward the end of his life, there were a few naysayers, like <a href="http://topics.nytimes.com/top/reference/timestopics/people/w/david_foster_wallace/index.html?inline=nyt-per" style="color: #666699;" title="More articles about David Foster Wallace.">David Foster Wallace</a> and Sven Birkerts, who complained that Mr. Updike, along with <a href="http://topics.nytimes.com/top/reference/timestopics/people/m/norman_mailer/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Norman Mailer.">Norman Mailer</a> and <a href="http://topics.nytimes.com/top/reference/timestopics/people/r/philip_roth/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Philip Roth.">Philip Roth</a> — other aging “phallocrats” — had been hogging the stage too long and needed to shuffle off to the assisted-living facility and make room for younger, more vital talents. But many young writers felt no rivalry, only admiration. Two of them, <a href="http://topics.nytimes.com/top/reference/timestopics/people/l/jonathan_lethem/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Jonathan Lethem.">Jonathan Lethem</a> and <a href="http://topics.nytimes.com/top/reference/timestopics/people/o/joseph_oneill/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Joseph O'Neill.">Joseph O’Neill</a>, novelists as different from each other as they were from Mr. Updike, got together on Tuesday evening for a drink in his memory, and doubtless there were others — in bars, lofts, living rooms in Brooklyn, the Upper West Side and Iowa City.</div>
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What other writers, young and old, prized most about Mr. Updike was his prose — that amazing instrument, like a jeweler’s loupe; so precise, exquisitely attentive and seemingly effortless. If there were a pill you could take to write like that, who wouldn’t swallow a handful? Equally inspiring was his faith in the writing itself. He toyed once or twice with magic realism, but the experiment never really worked and he gave it up. Though he loved <a href="http://topics.nytimes.com/top/reference/timestopics/people/b/jorge_luis_borges/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Jorge Luis Borges.">Jorge Luis Borges</a>, he didn’t in his own work go in for Borgesian mirror games, and he was free from the postmodern anxiety about the fictiveness of fiction, the unreliability of language. He was an old-fashioned realist, with an unswerving belief in the power of words to faithfully record experience and to enhance it. If other writers, younger ones especially, couldn’t quite subscribe to that belief, still it was reassuring to know that there was someone who did.</div>
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And other writers surely admired — and maybe envied a little — Mr. Updike’s success, his ability to make a living just from the fashioning of sentences, without selling out himself or others. He seldom took an advance and he never tailored his work to suit the fashion. The literary life as he led it seemed a higher calling, not a grubby one. Charmed as it sometimes seemed, though, his career had its ups and downs. Not all his efforts were successful, and he took his share of lumps from the critics, especially in the later years. But he got up every day uncomplaining and went to his desk with joyful industriousness. He had a faith in the literary enterprise that was noble and touching.</div>
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Secretly, what almost every writer wanted was Mr. Updike’s attention and good opinion. He was a prodigious reader, and communicated to the world at large mostly by means of his essays and reviews — generous, judicious, thoughtful. Praise from Mr. Updike meant something, and not just abstractly. Favorable notices from him gave huge boosts to the careers, for example, of <a href="http://topics.nytimes.com/top/reference/timestopics/people/j/erica_jong/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Erica Jong.">Erica Jong</a>, <a href="http://topics.nytimes.com/top/reference/timestopics/people/m/thomas_mallon/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Thomas Mallon.">Thomas Mallon</a> and <a href="http://topics.nytimes.com/top/reference/timestopics/people/f/jonathan_safran_foer/index.html?inline=nyt-per" style="color: #666699;" title="More articles about Jonathan Safran Foer.">Jonathan Safran Foer</a>. Mr. Updike couldn’t read everyone, of course. He was a father figure with far too many children all craving his notice, and yet he awarded his favors so evenly that it was hard to complain. A writer could always daydream: Maybe he’s reading my book this very minute. I wonder what he thinks.</div>
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Every now and then, if something in a magazine caught Mr. Updike’s eye, he would send the author a little fan note, often typed on a postcard with his name and address hand-stamped in blue ink. He also had a stamp he used to address all his correspondence to Alfred A. Knopf, his publisher. There was something endearingly quaint about these little inky imprints — a legacy perhaps of a Depression boyhood and a lifetime habit of efficiency — but they also reflected his enduring fascination with the magic of print.<br />
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<b style="background-color: transparent; text-align: left;">to read the above article on its website, go to <span style="color: blue;">"<a href="http://www.nytimes.com/2009/02/01/weekinreview/01mcgrath.html"><span style="color: blue;">John Updike’s Mighty Pen</span></a>"</span></b><span style="background-color: transparent; text-align: left;"> (</span><i style="background-color: transparent; text-align: left;">The New York Times</i><span style="background-color: transparent; text-align: left;">, January 31, 2009)</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiirpmP1npdJxaYuKGwnY3bgtu16KCLI4Y6N7eQHyTqiGkjSdXH5ijVrEoSJG419-eav0L-FTLkik8z-EtGBB9Hgm0KiM3Mt7q-sQC0Sq39GICKvRvJ5IxlWVezq8wLVBDsvjD-FKp5OmP0/s1600/Updike+manuscript+edits+Harvard+Library.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiirpmP1npdJxaYuKGwnY3bgtu16KCLI4Y6N7eQHyTqiGkjSdXH5ijVrEoSJG419-eav0L-FTLkik8z-EtGBB9Hgm0KiM3Mt7q-sQC0Sq39GICKvRvJ5IxlWVezq8wLVBDsvjD-FKp5OmP0/s1600/Updike+manuscript+edits+Harvard+Library.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Pictured above is an example of Updike's own careful edits to what would become</span><br />
<span style="font-size: small;">the first page of</span><span style="font-size: small;"> his novel <i>Rabbit at Rest</i>, </span><span style="font-size: small;">the fourth volume in his 'Rabbit' tetralogy.</span><br />
<span style="font-size: small;"> To read more about his working manuscripts, books and other papers</span><br />
<span style="font-size: small;"> related to his life and writing</span><span style="font-size: small;"> career now held at Harvard, </span><span style="font-size: small;">his alma mater,</span><br />
<span style="font-size: small;"> </span><a href="http://news.harvard.edu/gazette/story/2012/06/updikes-roots-and-evolution/" style="font-size: medium;"><span style="color: blue;"><b>visit this site</b></span>.</a><br />
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<b><a href="http://topics.nytimes.com/top/reference/timestopics/people/u/john_updike/index.html"><span style="color: blue;">Times Topics</span></a> </b>(Extensive coverage, articles and videos, of Updike by <i>The New York Times</i>)<br />
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<b>"Remembering Updike" by Joyce Carol Oates</b><br />
<i>The New Yorker</i><br />
January 28, 2009<br />
Posted by Joyce Carol Oates<br />
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John Updike was a slightly-older classmate in a vast high school populated by not-prosperous rural youths in some netherland of the nineteen-fifties. Of course, John was president of this class; no doubt I was secretary. I’ve been reading John’s work since I became an adult and can only content myself with the prospect of rereading his work through the remainder of my life. I think there must be a story or two, and even one of his more slender novels, which, unaccountably, I have not yet read. My students love “Friends from Philadelphia,” which was John’s first published story in The New Yorker. What a seemingly artless little gem! My students are stunned by it and by the fact that John wrote it when he was hardly older than they are.<br />
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We’d met a number of times—my (late) husband, Raymond Smith, and I visited John and Martha in Beverly Farms, Massachusetts, on several very nice occasions. John was always gracious, warmly funny, kind, and bemused—and of course very bright, and ardent, when it came to literature. When he gave a brilliant talk and reading at Princeton some years ago, I was pleased to introduce him to a large, packed auditorium. I teach his lovely short stories all the time—his language is luminous, sparkling, and glinting, with a steely sort of humor. I never knew how serious John was about his Christian faith—or, rather, the Christian faith—though some sense of the sacred seems to suffuse his work like that sort of sourceless sunshine which illuminates an overcast day. I will miss him terribly, as we all will.<br />
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Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com0tag:blogger.com,1999:blog-8990023221550141932.post-74912104057589269432015-10-03T18:25:00.000-07:002015-10-06T22:22:46.261-07:001B: T.C. Boyle (b. Dec. 2, 1948)<br />
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<tr><td class="tr-caption" style="text-align: center;">Boyle in Santa Barbara, 2003. Photograph by Spencer Boyle</td></tr>
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<b><span style="font-size: large;">T.C. Boyle biography</span></b><br />
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Where to start to learn about T.C. Boyle? First, let's see what the T.C. stands for. His full name: Tom Coraghessan Boyle. (His middle name is pronounced cor-RAG-a-sen) ) He grew up in upstate New York, earned his B.A. at State University of New York at Potsdam (1968), an M.F.A. in Creative Writing (1974) and Ph.D. in English (1977), both at the University of Iowa. He has published over a dozen novels and about ten short story collections. His work has been very well-received (granted over 40 awards and honors), and he has <a href="http://dornsife.usc.edu/cf/faculty-and-staff/faculty.cfm?pid=1003124"><span style="color: blue;"><b>taught creative writing</b></span></a> at the University of Southern California since 1978. You can learn more about him at his <a href="http://www.tcboyle.com/"><span style="color: blue;"><b>official website.</b></span></a> There is the usual stuff like a biography, list of his books, and photographs of book jackets and him. <br />
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A unexpected treat can be found at his <a href="http://www.tcboyle.com/page2.html?6"><span style="color: blue;"><b>multimedia page</b></span></a> with him and his former bandmates covering classic songs by Chuck Berry, Screamin' Jay Hawkins and others. His band, called The Ventilators (not to be confused with the ska/reggae group of the same name), played in the 1980s. <i>The New York Times</i>, "Sometimes, alone and stone drunk, Boyle cranks Bruce Springsteen or plays his saxophone at neighbor-vexing volume, recalling the glory days a few years ago when he sang for a band called the Ventilators, his voice vaguely reminiscent of the Animals' Eric Burdon. Very vaguely." A favorite for me, his version of The Animals' "I'm Crying." Is it punk rock? Garage rock? You decide. You tell me. I don't trust my "friends" on Facebook. More information about Boyle--his life as a writer, can be found at <b><a href="http://www.tcboyle.net/"><span style="color: blue;">All About T. Coraghessan Boyle Resource Center</span></a></b>. At this site he also talks about his <a href="http://www.tcboyle.net/faq2.html#5."><span style="color: blue;"><b>love of music</b></span>.</a> Here's what he had to say:<br />
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"I always listen to music while working, and that working music is either classical or jazz. When I'm not working I listen to rock and roll, which has been the most informative music of my life. Classical: my heroes are Puccini, J.S. Bach, Borodin, Wagner, Shostakovich, Copland, et al. (there are so many). I'm not a great lover of symphonic music--I prefer chamber music, moody cello concerti, etc. As for jazz, it's primarily Coltrane, the first great artist I was able to recognize as consciousness began to arise in my feeble brain. As for rock: I love current bands, as well as the Blues and rock of the sixties, seventies, eighties, nineties and oughts. Many are referenced in my various stories and novels [Lou Reed, Springsteen, Robert Johnson., etc]."<br />
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<tr><td class="tr-caption" style="text-align: center;">Boyle with an unidentified young lady in 1973.<br />
Photograph by Alan Arkawy in Garrison, New York.</td></tr>
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<b><span style="font-size: large;">T.C. Boyle influences</span></b><br />
Boyle ranks Flannery O'Connor and Gabriel García Márquez among the most influential writers on his work. Regarding O'Connor: <span style="background-color: white;"><span style="font-family: Times, Times New Roman, serif;">"[L]et us not forget Flannery O'Connor. I discovered her as an undergraduate (for an adjective-rich description of your not-so-humble narrator at the time, see above). I was in a literature class--the Contemporary Short Story or some such. And she, the most remarkable American writer of the '50s, was where she so assuredly deserved to be--enshrined in a fat anthology. The story was 'A Good Man is Hard to Find', and it remains my favorite of all time, though certain pieces by the Three Cs (Cheever, Carver, and Coover) give it a run for the money. This story seems to me perfect in its radical synthesis of the horrific and the hilarious. I've read it a hundred times and I still laugh aloud at the scheming and senile grandmother, the howling brats, and the henpecked Bailey, and find the scene in which the grandmother's cat (Pitty Sing) attaches itself to the back of Bailey's neck, thus fomenting the accident, both chilling and (yes) wickedly funny. What ensues is a morality play that chills me right down to the black pit of my black heart. Accident rules the world, accident and depravity, and I don't have O'Connor's faith to save me from all that. " (Source: <b><a href="http://www.englisch.schule.de/boyle/boyleaut.htm#Boyle"><span style="color: blue;">Reinhard Donat's webpage</span></a></b></span></span>.)<br />
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<span style="font-family: Times, Times New Roman, serif;">A visit with Boyle. He talks about his books, readers,</span></div>
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<span style="font-family: Times, Times New Roman, serif;"> and living in a Frank Lloyd Wright home.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">He had this to say about Gabriel García Márquez: "<span style="background-color: white;">The book that spoke to me then was imagined by my enduring hero, Gabriel García Márquez, and it is <i>One Hundred Years of Solitude</i>. Many before me have spoken of its magisterial blend of magic, humor, and history, so I will let all that slide and address one of García Márquez's short stories that appeared around that time in the <i>New American Review</i>, "A Very Old Man With Enormous Wings." This is the story of a decrepit angel coming for a sick child in a storm on the Caribbean coast of Cólombia. The storm drives him down out of the sky to land in a very unangelic heap in the backyard of the child's parents, where he is confined in a chicken house, amongst the other winged and feathered creatures. The story is a sly (and yes, wicked) satire of the forms and strictures of the Catholic church, and it places the miraculous in the context of the ordinary--again, just as in real life. And oh yes, when I think of that story and that book, I can't help recalling the doggy smell of the stone gatehouse--we had three magnificent and magnificently stinking dogs at the time--and of the great leaping blazes we would build nightly in the old fireplace to keep the frost at bay." (Source: </span><span style="background-color: white;"> <a href="http://www.englisch.schule.de/boyle/boyleaut.htm#Boyle"><b><span style="color: blue;">Reinhard Donat's webpage</span></b></a>.)</span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; font-size: large;"><b>Boyle, his "Balto," and the Balto</b></span></span><br />
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<tr><td class="tr-caption" style="font-size: 13.3333339691162px;">Balto, celebrity Husky<br />
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<span style="font-family: Times, Times New Roman, serif;"><b>from <i>Nature</i> on PBS</b></span><br />
<span style="font-family: Times, Times New Roman, serif;"><b>Sled Dogs: An Alaskan Epic</b></span><br />
<span style="font-family: Times, Times New Roman, serif;"><b>Balto</b></span><br />
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<span style="font-family: Times, Times New Roman, serif;">"In 1925, a life-or-death race to rescue the children of Nome, AK, from disease made an international hero of one sled dog — and eventually led to the creation of Alaska’s Iditarod sled dog race, the subject of <i>Nature's Sled Dogs: An Alaskan Epic.</i> </span></div>
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<span style="font-family: Times, 'Times New Roman', serif; text-align: justify;">"In January 1925, doctors realized that a potentially deadly diphtheria epidemic was poised to sweep through Nome’s young people. The only serum that could stop the outbreak was in Anchorage, nearly a thousand miles away. But the lone aircraft that could quickly deliver the medicine had been dismantled for the winter. In desperation, officials turned to a much lower-tech solution: moving the medicine by sled dog."</span><br />
<span style="font-family: Times, Times New Roman, serif;"><b><br /></b></span>You can learn more about Balto <a href="http://www.pbs.org/wnet/nature/episodes/sled-dogs-an-alaskan-epic/balto/3145/">at the episode's site.</a><br />
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<span style="font-family: Times, 'Times New Roman', serif; text-align: justify;">The </span><a href="https://www.cmnh.org/CMNH/media/CMNH_Media/Balto/Balto__CMNH_update2013_02.pdf" style="font-family: Times, 'Times New Roman', serif; text-align: justify;">Cleveland Museum of Natural History</a><span style="font-family: Times, 'Times New Roman', serif; text-align: justify;"> has a brochure about Balto and the serum run. </span></div>
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<span style="font-family: Times, Times New Roman, serif; text-align: justify;">Binh Nguyen of our Summer 2014 English 1B made a great find.</span></div>
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<span style="font-family: Times, Times New Roman, serif; text-align: justify;"> It's a History Channel video called "Four Legged Heroes: Togo & Balto,"</span></div>
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<span style="font-family: Times, Times New Roman, serif; text-align: justify;"> all </span><span style="font-family: Times, 'Times New Roman', serif; text-align: justify;">about the heroic Husky. What a pleasure it is to watch! Thanks, Binh, for sharing this with us. </span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white;">There is also a documentary, "The Making of 'Balto',"that came out in 1995 in conjunction with the animated film. The documentary, which appears above, includes selected animation from the film, interviews with the animators, and remembrances of those who knew of the epidemic or Balto, the lead dog of the dog sled that delivered the serum. One musher working today, Joe Garnie, describes in the documentary (at 20:35) the necessary characteristics of a lead dog. The most important trait for the dog to have, he believes, "is honesty. . . . Your life depends on your lead dog and for that it is having that connection with the animal. It is having that love for each other, and you trust each other. And it is just being honest."</span></span></div>
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<tr><td class="tr-caption" style="font-size: 13.3333339691162px;">Boyle in Santa Barbara, 2000. Photograph by Michael Montfort.<br />
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<span style="font-family: Times, Times New Roman, serif; font-size: large;"><span style="background-color: white;"><b>T.C. Boyle interview with the <i>Paris Review</i></b></span></span><br />
Boyle was interviewed by <i>The Paris Review</i> for their<a href="http://www.theparisreview.org/interviews/651/the-art-of-fiction-no-161-t-coraghessan-boyle"> <b><span style="color: blue;">Art of Fiction</span></b></a> series, Number 161, Summer 2000. In it he repeats his affection for García Márquez. He, Boyle asserts, "is one of the best writers alive." Here's an excerpt from the interview with Boyle's thoughts about his family and the autobiographical in his writing:<br />
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INTERVIEWER: Was your family supportive of your writing?<br />
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BOYLE: My father and mother were both working class, my mother educated through high school, my father through the eighth grade. I went to school in Westchester County, New York, with people whose parents were educated and wealthy in comparison to us, but my parents always gave me all the advantages the wealthier students had. My parents made me feel the equal of anyone; they were very supportive no matter what I wanted to do. I will say that my mother never understood, I don’t think, really, what I wrote—she was very bright, well-read, but it’s just that parents have a difficult time understanding their children’s art. I read her the Lassie story, which I think is one of the funniest stories I’ve ever written, and she never cracked a smile. When I finished, she said, That was very moving.<br />
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INTERVIEWER: What about your father? You dedicated <i>World’s End</i> “in memory of my own lost father.” Can you talk about that?<br />
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BOYLE: My father died at fifty-four of alcoholism. A suicide, actually. A slow suicide. He had been raised in an orphanage. I never really knew him very well, although he lived with us until he died. He was very morose. My mother tells me that his personality had been a lot like mine—that is, antic and playful, with a rich appreciation for the absurd—but something happened to him during the war (he drove a tank in the Seventh Armored Division during the Normandy Invasion) that made him very depressed. I was an extremely rebellious and disaffected adolescent, and I never really had a chance to come to that rapprochement with your parents that you can have when you get a little older. He was dead before anything like that could happen. So I dedicated the novel (which involves a search for a father, not in an autobiographical sense, but in a metaphorical sense) to him.<br />
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INTERVIEWER: How old were you when your father died?<br />
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BOYLE: Twenty-five.<br />
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INTERVIEWER: Is your mother still alive?<br />
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BOYLE: No, she’s dead too. Alcohol also claimed her.<br />
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INTERVIEWER: How autobiographical is your writing? And in what way?<br />
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BOYLE: To me, a story is an exercise of the imagination, and most of my work comes out of that spirit of game-playing or puzzle-solving, as I said earlier. I was and still am very taken with the playful work of writers like Borges, Nabokov, Calvino. So the short answer is, very little is autobiographical. But because I try to keep myself open to all the possibilities, I exclude no form or mode. Some of my best-known stories have autobiographical elements—“Greasy Lake,” “If the River Was Whisky,” “Back in the Eocene”—but they are inventions in which the autobiographical elements have been radically transformed.<br />
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INTERVIEWER: How does having a family affect your writing habits?<br />
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BOYLE: Having a family has been very good for me (and I hope good for them too). It gave me the stability I needed to begin and pursue a career as a writer. People tend to romanticize the picture of a writer—they want it to be easy, something a genius can just knock off between debauches, because if it is, if it doesn’t require talent, discipline and a lifelong commitment, then maybe there’s a hope that they, too, someday can knock out their own great and stirring work. We have the devastating example before us of the overwhelming numbers of American writers destroyed by dope and booze—Tom Dardis’s <i>The Thirsty Muse</i> is a real eye-opener—and people tend to think that chemically altering one’s mind is the way to inspiration. Maybe it is. But for me it seems counterproductive. I have never written a sentence—or even thought of writing a sentence—without being in the clearest state of mind. This is my life’s work. This is what I’m meant to do, and why screw with it? I think the way to be a writer is to experience things, certainly, and be open to things, but at some point to become dedicated to the craft of writing and to create a stable environment for that writing to occur in. At least in my case that’s true. So having a family and leading a stable life is absolutely essential to any writing I’ve ever done. When I did my earliest writing, I led a pretty wild life, and the writing was fairly spotty. I would write occasionally. Now I write every day, seven days a week, all year long. And it is my life.<br />
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To read all of the Boyle interview <a href="http://www.theparisreview.org/interviews/651/the-art-of-fiction-no-161-t-coraghessan-boyle"><span style="color: blue;"><b>click here.</b></span></a><br />
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A Boyle interview: "I Don't Give Talks, I Give Perfomances." </div>
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Published by <i>The Guardian</i>, Aug. 17, 2011 </div>
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<b><span style="font-size: large;">T. C. Boyle in <i>The New York Times</i></span></b><br />
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<i>The New York Times</i> has written extensively about Boyle. <a href="http://www.nytimes.com/books/98/02/08/home/boyle.html"><span style="color: blue;"><b>Click this </b></span></a> to find your way to the many reviews and articles published about Boyle in the <i>Times</i>. They also<span style="color: blue;"><b style="color: blue;"> </b><a href="http://www.nytimes.com/books/98/02/08/home/boyle-rolling.html"><b><span style="color: blue;">published a magazine article</span></b></a><b style="color: blue;"> </b></span>about him in 1990. It is laudatory of his talents, claiming that "Boyle [has] finally yoked his arrogance of talent and his wintry outlook to characters who weren't mere toys but men and women bouncing with emotional depth and ferment. Critics' comparisons of Boyle to his polestars William Faulkner and Gabriel García Márquez, formerly hyperbolic, suddenly tiptoed into the outskirts of plausibility."<br />
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The profile mentions one of his his awards. "<i>World's End</i>, which considered the ill-omened strivings of three Dutch and American Indian families across 300 years, was an ambitious attempt to do for Boyle's native Hudson River Valley in one novel what Faulkner did for his fictional Yoknapatawpha County in 14, and it won the PEN/Faulkner award for American Fiction in 1988. Says the novelist Russell Banks, one of the PEN/ Faulkner-prize judges: "'What knocked me out was the book's ambition. It took him out of the category of witty, clever social satire and put him in another league. He reached for the moon, and maybe he didn't get it all, but he risked the talent, and that's a scary thing to do.'"<br />
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<b><span style="font-size: large;">Boyle and Frank Lloyd Wright</span></b><br />
Boyle and his family live in a home designed by the celebrated architect Frank Lloyd Wright (1867-1959) and built near Santa Barbara in 1909. <a href="http://www.cbsnews.com/news/living-with-frank-lloyd-wright/"><span style="color: blue;"><b>CBS Sunday Morning</b></span></a> reported on Boyle and his house, as have <b><span style="color: blue;"><a href="http://blog.archpaper.com/wordpress/archives/1354"><span style="color: blue;">Architect's Newspaper</span></a> </span></b>and the <b><a href="http://www.latimes.com/home/la-hm-wright17apr17-story.html#page=1"><span style="color: blue;">Los Angeles Times</span></a></b>. Boyle's home also inspired him to learn more about Wright and make the architect central to his novel, <i>The Women</i>, which was published in 2009. A reporter for <span style="color: blue; font-style: italic; font-weight: bold;"><a href="http://www.theguardian.com/culture/2009/feb/28/tc-boyle-interview"><span style="color: blue;">The Guardian</span></a> </span>visited Boyle at his home in Montecito, just outside of Santa Barbara. More about Boyle and his Wright home, with pictures, at <a href="http://online.wsj.com/articles/SB123932717020007499">The Wall Street Journal</a>.<br />
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<tr><td class="tr-caption" style="text-align: center;">Boyle's Frank Lloyd Wright home. Photo by S. Micke</td></tr>
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The reporter's article describes Boyle's house as "a low, spreading, cruciform structure of redwood and glass, built in the prairie style with a Japanese influence, and Boyle's latest novel, <i>The Women</i>, is about its architect. 'I really didn't know much about Frank Lloyd Wright when we bought the house in '93. Living here, I got curious and started reading about him and found out what a bizarre, outlandish character he was, with all this incredible turmoil in his personal life, and I knew I had to write about him.'"<br />
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<tr><td class="tr-caption" style="text-align: center;">Interior of Boyle's Wright home. Photo: Los Angeles Times</td></tr>
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"Architecture is touched on in <i>The Women</i>, but the novel's main concern is Wright's scandal-racked love life and how it was experienced by the four women involved. 'All the events in the book are taken from the newspaper accounts and biographies, and I really put my soul into trying to keep the details accurate,' Boyle says. 'Where the fictional process is at work is when I enter the heads of the characters and imagine what they were thinking, and why they did what they did.' He based his main narrator, a Japanese apprentice called Tadashi Sato, on the many international architecture students that Wright charged for the privilege of doing his cooking and cleaning, and who were required to obey all his commands without question."<br />
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<b style="background-color: transparent; font-family: Times, 'Times New Roman', serif; font-size: x-large;">T.C. Boyle nonfiction</b></div>
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<b><a href="http://www.smithsonianmag.com/travel/the-wildlife-of-tc-boyles-santa-barbara-27234/?no-ist"><span style="color: blue;">The Wildlife of T.C. Boyle's Santa Barbara</span></a></b><br />
<span style="background-color: white;"><span style="font-family: Times, Times New Roman, serif;">Inspiration at the doorstep of his Frank Lloyd Wright-designed house</span></span><br />
<span style="font-family: Times, Times New Roman, serif;">by T.C. Boyle</span><br />
<span style="font-family: Times, Times New Roman, serif;"><i>Smithonsian Magazine</i>, February 2011</span><br />
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://www.newyorker.com/online/blogs/books/2013/10/t-coraghessan-boyle-apologia.html"><b><span style="color: blue;">Apologia</span></b></a></span><br />
from the preface to <i>T. C. Boyle Stories II</i><br />
by T.C. Boyle<br />
<i>The New Yorker</i>, Oct. 3, 2013<br />
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<a href="http://www.nytimes.com/2003/10/29/opinion/29BOYL.html?pagewanted=print&position="><span style="color: blue;"><b>Waiting for the Apocalypse</b></span></a><br />
Fire Season in California<br />
by T.C. Boyle<br />
<i>The New York Times</i>, October 29, 2003<br />
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<tr><td class="tr-caption" style="text-align: center;">Boyle in Santa Barbara, 2013. Photograph by Jamieson Fry.</td></tr>
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Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com0tag:blogger.com,1999:blog-8990023221550141932.post-78732017234959089872015-10-02T12:03:00.000-07:002015-10-02T13:24:36.923-07:001A: Martin Luther King (1929-1968) & "Letter from Birmingham Jail"<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Times, Times New Roman, serif;">"Rev. Ralph Abernathy, left, and Rev. Martin Luther King Jr., are removed by a policeman as they led a line of demonstrators into the business section of Birmingham, Alabama, on April 12, 1963."(AP Photo). -- <i>The Atlantic</i>, 2/15/63. web.</span><br />
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;"><span style="color: red;">1A Students:</span> Before you read--and read again--Martin Luther King's <a href="http://okra.stanford.edu/transcription/document_images/undecided/630416-019.pdf">"Letter from Birmingham Jail"</a> of April 16, 1963, take a moment and read the </span><a href="http://www.massresistance.org/docs/gen/09a/mlk_day/statement.html"><span style="color: blue; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Statement by Eight Alabama Clergymen</span></a><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">, sometimes known as the Good Friday Statement of April 12, 1963. King's "Letter" was a response to it. You can find some historical background on the "Letter" <a href="http://www.encyclopediaofalabama.org/face/Article.jsp?id=h-1389"><span class="Apple-style-span" style="color: blue;">here</span></a><span style="color: #3d85c6;">. </span></span><br />
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">There is also a post on <span style="color: blue;"><a href="http://englishwithmccabe.blogspot.com/2014/09/martin-luther-king-and-march-on.html"><span style="color: blue;">King and the March on Washington</span></a>, </span>which occurred on August 28, 1963, here at English with McCabe. It is the day and place where King gave his famous "I Have a Dream Speech." <a href="http://englishwithmccabe.blogspot.com/2014/09/martin-luther-king-and-march-on.html"><span style="color: blue;">Check it out.</span></a></span></div>
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"A 17-year-old civil rights demonstrator, defying an anti-parade ordinance in Birmingham, Alabama, is attacked by a police dog on May 3, 1963. On the afternoon of May 4, 1963, during a meeting at the White House with members of a political group, President Kennedy discussed this photo, which had appeared on the front page of that day's New York Times" (AP Photo/Bill Hudson). -- from <i>The Atlantic</i>, 2/15/13. web.<br />
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"A young black woman, soaked by a fireman's hose as an anti-segregation march is broken up by police, in Birmingham, Alabama, on May 8, 1963. In the background is a police riot wagon" (AP Photo). <i>The Atlantic</i>, 2/15/13. web.<br />
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;"><a href="http://www.newyorker.com/news/news-desk/fifty-years-after-the-birmingham-childrens-crusade">"Fifty Years After the Birmingham Children’s Crusade"</a> from <i>The New Yorker</i>, May 2, 2013, is a worthwhile article to read for those interested in learning more about what life was like in Birmingham in 1963, including the Birmingham church bombing.</span><br />
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">In conjunction with King's "Letter," we may watch Spike Lee's documentary <i><a href="http://movies.nytimes.com/movie/156949/4-Little-Girls/overview"><span style="color: blue;">Four Little Girls</span></a></i>, which</span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;"> tells the story of the Birmingham church bombing that took place on September 15, 1963. Here is a brief interview with Lee about his documentary:</span><br />
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Read the <a href="http://www.rogerebert.com/reviews/4-little-girls-1997">review</a> of <i>4 Little Girls</i> by Roger Ebert, a documentary by Spike Lee who appears in the interview, above.</span><br />
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">At </span><a href="http://www.english.illinois.edu/maps/poets/m_r/randall/birmingham.htm"><span style="color: blue; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Modern American Poetry</span></a><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;"> you can find out more about the church bombing. I encourage you, at the very least, to review it.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_LffOtgmEBFI_X9pA00bdwSUJvfXtrQEn7wlh67fcnnlasDQF_V9jlVnn8_B9NaREVWCrQQde2U-NkTuT-OFlAr3dzFXgCHu87yAmF7e87BEfhCLZwceyxOxnQk70FibgQR9EFJdak7Bq/s1600/Birmingham+Church+Bombing+s_f38_30915099.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_LffOtgmEBFI_X9pA00bdwSUJvfXtrQEn7wlh67fcnnlasDQF_V9jlVnn8_B9NaREVWCrQQde2U-NkTuT-OFlAr3dzFXgCHu87yAmF7e87BEfhCLZwceyxOxnQk70FibgQR9EFJdak7Bq/s640/Birmingham+Church+Bombing+s_f38_30915099.jpg" width="640" /></a></div>
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<span class="Apple-style-span" style="font-size: small;">A bomb that exploded during services at the 16th Street Baptist Church </span></div>
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<span class="Apple-style-span" style="font-size: small;">in Birmingham, Ala., killed four young girls in September 15, 1963.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>MUSIC And The CIVIL RIGHTS MOVEMENT</b></span><br />
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Here's a<span style="color: blue;"> <a href="http://www.npr.org/2013/06/21/194238559/shake-rattle-and-rally-code-songs-spurred-activism-in-birmingham?sc=fb&cc=fmp"><span style="color: blue;">report from NPR</span></a> </span>re: music as code for what was happening in Birmingham at this time. The report includes a clip of "Big" Joe Turner singing "Shake, Rattle and Roll," which was recorded in 1954.</span><br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/YhELpSeeipg?feature=player_embedded' frameborder='0'></iframe></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Later, Sam Cooke wrote and recorded "A Change is Going to Come," considered an important song of the Civil Rights Movement. An audio recording appears below:</span><br />
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<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/gbO2_077ixs/0.jpg" height="266" width="320"><param name="movie" value="https://youtube.googleapis.com/v/gbO2_077ixs&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://youtube.googleapis.com/v/gbO2_077ixs&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
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Sam Cooke sings <a href="http://en.wikipedia.org/wiki/A_Change_Is_Gonna_Come"><span style="color: blue;">"A Change is Gonna Come,"</span></a></div>
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a Civil Rights anthem from 1964, the year of his death.<br />
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"A Change is Gonna Come"<br />
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I was born by the river in a little tent<br />
And just like that river I've been running ever since<br />
It's been a long time coming<br />
But I know a change is gonna come, oh yes it will<br />
<br />
It's been too hard living, but I'm afraid to die<br />
'Cause I don't know what's out there beyond the sky<br />
It's been a long, a long time coming<br />
But I know a change is gonna come, oh yes it will<br />
<br />
I go to the movie<br />
And I go down town<br />
somebody keep telling me don't hang around<br />
It's been a long time coming<br />
But I know a change is gonna come, oh yes it will<br />
<br />
Then I go to my brother<br />
And I say brother help me please<br />
But he winds up knockin' me<br />
Back down on my knees<br />
<br />
There were times when I thought I couldn't last for long<br />
But now I think I'm able to carry on<br />
It's been a long, a long time coming<br />
But I know a change gone come, oh yes it will<br />
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More information can be found about Sam Cooke and his recording of "A Change is Gonna Come" at this NPR page <a href="http://www.npr.org/2014/02/01/268995033/sam-cooke-and-the-song-that-almost-scared-him?utm_content=socialflow&utm_campaign=nprfacebook&utm_source=npr&utm_medium=facebook"><span style="color: blue;"><b>"Sam Cooke and the Song that Almost Scared Him"</b></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfA61VMq99v8hTzKwd7sSaB4Ny_wdDqZxuyCqcHaEb6iTzXkPQNjk8RC7hHdiFcaB3a_vpmcizD-rvzhzkE1TsJMg2aLYzrGlTH8H2gkfv6DvJG6OiuasoEwKyVbLVWPs-q7XjpzJNNsdV/s1600/Mavis+Staples+We'll%2BNever%2BTurn%2BBack.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfA61VMq99v8hTzKwd7sSaB4Ny_wdDqZxuyCqcHaEb6iTzXkPQNjk8RC7hHdiFcaB3a_vpmcizD-rvzhzkE1TsJMg2aLYzrGlTH8H2gkfv6DvJG6OiuasoEwKyVbLVWPs-q7XjpzJNNsdV/s1600/Mavis+Staples+We'll%2BNever%2BTurn%2BBack.jpg" width="400" /></a></div>
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Mavis Staples sings <a href="http://en.wikipedia.org/wiki/Keep_Your_Eyes_on_the_Prize"><span style="color: blue;">"Keep Your Eyes on the Prize (Hold On)"</span></a></div>
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From her 2007 album "We'll Never Turn Back," it was an </div>
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important song during the Civil Rights Movement and it </div>
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continues to be performed today by many artists.<br />
Listen to her version, below.<br />
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"Keep Your Eyes on the Prize (Hold On)"<br />
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Paul and Silas, bound in jail</div>
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Had no money for to go their bail</div>
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Keep your eyes on the prize, hold on</div>
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Hold on (hold on), hold on (hold on)</div>
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Keep your eyes on the prize, hold on</div>
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Hold on (hold on), hold on (hold on)</div>
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Keep your eyes on the prize, hold on</div>
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Paul and Silas began to shout</div>
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Doors popped open, and all walked out</div>
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Keep your eyes on the prize, hold on</div>
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Hold on (hold on), hold on (hold on)</div>
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Keep your eyes on the prize, hold on</div>
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Well, the only chains we can stand</div>
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Are the chains of hand in hand</div>
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Keep your eyes on the prize, hold on</div>
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<br /></div>
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Got my hand on the freedom plow</div>
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Wouldn't take nothing for my journey now</div>
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Keep your eyes on the prize, hold on</div>
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<br /></div>
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Hold on (hold on), hold on (hold on)</div>
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Keep your eyes on the prize, hold on</div>
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Hold on (hold on), hold on (hold on)</div>
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Keep your eyes on the prize, darling</div>
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<br /></div>
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Hold on (hold on), hold on (hold on)</div>
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Keep your eyes on the prize, hold on</div>
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Hold on (hold on), hold on (hold on)</div>
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Keep your eyes on the prize, hold on</div>
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<br /></div>
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(Hold on)</div>
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Yeah</div>
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(Hold on)</div>
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Oh</div>
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(Hold on)</div>
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Hold on</div>
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<br /></div>
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(Hold on, hold on, hold on, hold on)</div>
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(Hold on, hold on, hold on, hold on)</div>
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(Hold on, hold on, hold on, hold on)<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje6rAOgU2kRwKUKLaP-yUZYgBR2uFufMMfPQ4kYiqe-_gRt5hC-J3MRBY5EAIcGw7wJbTTYsJQLG7kvqrCEtRwC59gWgPxgUkFuIythiVLhFqpcg8owZVtrateHYj-6YXkwLVZbJqVxV0g/s1600/Martin+Luther+King+speaks.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje6rAOgU2kRwKUKLaP-yUZYgBR2uFufMMfPQ4kYiqe-_gRt5hC-J3MRBY5EAIcGw7wJbTTYsJQLG7kvqrCEtRwC59gWgPxgUkFuIythiVLhFqpcg8owZVtrateHYj-6YXkwLVZbJqVxV0g/s1600/Martin+Luther+King+speaks.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Born on January 15, 1929, Martin Luther King, Jr. was assassinated on April 4, 1968 in Memphis, Tennessee.<br />
Watch an excerpt of King's <a href="https://www.youtube.com/watch?v=Oehry1JC9Rk">"I Have Been to the Mountaintop" speech</a> that he delivered the evening before he was killed.</td></tr>
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Christopher McCabehttp://www.blogger.com/profile/08060209784396520743noreply@blogger.com2