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Simaklah essai kritikus sastra William B. Warner ini. Sungguh kritik sastra modern yang membuka mata. Warner merujuk sekian banyak premis yang terkait budaya cetak terhadap sastra novel secara global. Warner juga menyitir sekelumit premis lain dari kritikus kawakan (termasuk yang baru).
Yang menarik, dalam essainya, Warner menafsirkan beberapa lukisan dan gambar cetak yang ditemukan dari periode awal pembaca di Inggris mulai menyenangi membaca novel, yang berguna untuk memperluas pemahaman tentang "abad pertama membaca novel". Dengan mengadopsi strategi ini, Warner melakukan kebalikan dari apa yang dibuat para pelukis modern sejak awal. Seniman modern awal menggunakan gambar "pembaca membaca" untuk merenungkan sifat lukisan. Dalam esai ini, Warner akan membaca lukisan-lukisan itu untuk melihat bagaimana para pelukis menampilkan krisis dalam tradisi awal membaca yang dipicu oleh popularitas membaca sastra untuk tujuan hiburan.
Menurut Warner, dalam kiritknya pada bukunya Licensing Entertainment bahwa gaya klasik Watt pada novel, dalam narasi yang progresif, mengasumsikan bahwa era modern telah menemukan tehnik menulis yang semakin kuat untuk mewakili realitas: disebutkan sebagai "realisme formal" dan hubungan ke fokus lain narasi menandakan kemenangan modernis: borjuis menemukan diri mereka secara kompleks dan mendalam. Munculnya narasi novel, efektif disebabkan fakta pada tujuan utama; untuk melegitimasi novel sebagai bentuk sastra. Jadi, munculnya narasi baru menunjukkan bahwa tehnik narasi pada prosa tentang realisme cinta, dihidupkan oleh sejumlah besar pembaca mulai menjadikan membaca sebagai hiburan, pada paruh kedua abad ke-17. Ini membuat novel menjadi bentuk sastra yang berharga dan penting, yang dilihat sebagai jenis sastra mapan, sebagaimana puisi, epik dan drama.
Penggunaan definite article dalam "kebangkitan novel" sebagai frase novelness yang berganti menjadi esensi setiap bentuk pencarian baru, yang pada sisi tertentu, berusaha untuk disadari. Apa efek dari ini? Warner telah meratifikasi proyek elevasi novel moral dan estetika yang dilakukan oleh novelis Richardson, Fielding, Prevost dan Rousseau untuk Flaubert, (Henry) James, Joyce dan Woolf.
Tetapi juga ada yang kurang dari pengertian kita tentang apa inti novel. Bentuk ini telah mengambil kritik novel ke bentuk perdebatan berkesudahan dan tendensius tentang apa realisme sebenarnya, dan menjadi penjaga batas yang "benar" antara novelistik dan fiksi. Kita perlu konsep yang lebih historis, termasuk apa dan bagaimana budaya novel itu sendiri.
Pada bukunya, Licensing Entertainment, William B. Warner, menyatakan kontribusinya; "Di sana, saya mendokumentasikan perkembangan munculnya narasi baru dalam sejarah tradisi sastra yang panjang yang dimulai dari Clara Reeve (1785) dan John Dunlop (1814), dan kemudian meluas melalui banyak sejarah sastra sebelum Watt (termasuk Scott, Hazlitt, Taine, Saintsbury). Pada saat yang sama, saya telah menyatakan perbedaan pendapat kritis saya dari Watt dan banyak kritikus yang lebih baru yang telah berusaha untuk memperbarui atau merevisi narasi itu." (Licensing Entertainment, hal. 1-44)
Berikut essai William B. Warner yang saya tampilkan sebagaimana aslinya. Belum saya terjemahkan. Nantilah, di lain kesempatan saja, jika ada waktu luang. Demikian.
Staging Readers Reading
by William B. Warner
(UC/Santa Barbara)
The rise of the novel narrative, as perfected by Ian Watt in 1957, and extended by many other literary histories in the years since, is not "wrong," but it is biased and incomplete. Why is this so? First of all, Watt's classic account places the novel within a progressive narrative, which assumes that the modern era has discovered increasingly powerful writing technologies for representing reality: he calls this "formal realism" and links it to another focus of modernist triumphant narratives: the bourgeois invention of a complex and deep self. Secondly, the rise of the novel narrative is vitiated by the fact that its essential aim is to legitimize the novel as a form of literature. Thus the rise of the novel narrative demonstrates that the technology of realism enabled prose narratives about love and adventure, which large numbers of readers had begun to read for entertainment by the second half of the 17th century, to rise into a form of literature every bit as valuable and important as the established literary types of poetry, epic and drama. Thirdly, and this follows from the first two, the use of the definite article in the phrase "rise of the novel" turns novelness into a fugitive essence every particular novel strives to realize. What has been the effect of this narrative? It has ratified the project of the novel's moral and aesthetic elevation undertaken by novelists from Richardson, Fielding, Prevost and Rousseau to Flaubert, (Henry) James, Joyce and Woolf. But it has also impoverished our sense of what the novel is, first by taking novel criticism into interminable and tendentious debates about what realism really is, and second by making it our business to be guardians of the boundary between the "truly" novelistic and the "merely" fictional. We need a more historically rigorous and culturally inclusive conception of what the novel is and has been. My recent book, Licensing Entertainment aims to contribute to such a project. There, I document the development of the rise of the novel narrative within a long literary historical tradition that begins with Clara Reeve (1785) and John Dunlop (1814) and extends through many of the literary histories before Watt (including Scott, Hazlitt, Taine, Saintsbury, ). At the same time I have articulated my critical differences from Watt and many more recent critics who have sought to update or revise that narrative. (Licensing Entertainment, 1-44)
To develop a more inclusive understanding of early modern novel reading and to grasp novels at their highest level of generality, it is useful to compare the novel to that other successful offspring of the cultures of print, the newspaper. A newspaper is not just an unbound folio sheet printed with ads and news. It evolved within a social practice of reading, drinking (usually coffee or tea) and conversation; it required the development of the idea of "the world" as a plenum of more or less remote, more or less strange things–events, disasters, commodities–translated into print and worthy of our daily attention. The idea of the modern may be the effect of this media-assisted mutation in our way of taking in the world. This intricate marriage of print form and social practice has survived to this day as "reading the paper." In an analogous fashion the institution of novel reading requires a distinct mutation of both print forms and reading practices. While the printing of books devoted to prestigious cultural activities (like religion, law, natural philosophy) began in the 15th century and gained momentum in the 16th century, it was not until the later 17th century that short novels helped to shift the practices of reading so that novels could become a mode of entertainment. Several factors helped promote novel reading for entertainment: lower printing costs; an infrastructure of booksellers, printers and means of transport; a critical mass of readers of vernacular writing; and the opportunistic exploitation of the new vogue for reading novels (usually in octavo or duodecimo format) by generations of printers and booksellers. But if there was to be a rise of novel reading, it required a complex shift in reading practices. Historians of reading like Robert Darnton and Roger Chartier have described these changes, changes which are never complete or unidirectional: from intensive reading of a few books (like the Bible) to extensive reading of a series of similar books (like novels); from slow reading as a prod to meditation to an absorptive reading for plot; from reading aloud in groups to reading alone and in silence; from reading the Bible or conduct books as a way of consolidating dominant cultural authority to reading novels as a way to link kindred spirits; from reading what is good for you to reading what you like. Like television watching in the mid 20th century, novel reading took France and England by storm; like television watching, reading novels engendered excitement and resistance in the societies where it first flourished.
In this essay I will interpret some of the paintings and prints of the period that stage readers reading in hopes of broadening our understanding of the first century of novel reading. In adopting this strategy, I will be doing the reverse of what early modern image makers have done. As we shall see, early modern artists use images of readers reading to reflect upon the nature of viewing painting; in this essay, I will read these paintings to see how they reflect the crisis in early modern reading provoked by the popularity of reading novels for entertainment. Anyone surveying the Dutch and French genre paintings and prints of the 17th and 18th century–a type of image making that captures ordinary people in their everyday domestic activities–will quickly discover the currency of images of readers reading. From old men reading grand folios in solitude to young women absorbed in their novels, the paintings and prints of the period stage reading as inviting, compelling, and sometimes dangerous. They document the period's fascination with what was after all still a relatively new activity, one which, with the spread of literacy, was becoming an increasingly important part of everyday life. These images don't merely reflect a struggle around literacy happening elsewhere; instead, these images are themselves part of a critical debate that developed, over the course of the early modern period, as to how reading influences readers. What started as a promotional campaign for the reading of moral and didactic books ends up as a culture war about the pleasures and dangers of novel reading. However these visual texts also meditate upon a cultural problem closely related to book reading, the question of how a viewer should benefit from their encounter with a painting.
I begin with several images that communicate the higher purposes of reading. Rembrandt's "The Prophetess Anne" (figure 1: 1631) suggests the thoughtful solitude of a reader absorbed in her book. Several features of this painting's composition imbue reading with hushed reverence: the old woman bends into the grand folio volume she holds; the hand with which she gently touches the page is painted in high focus; a swirl of color and light–hood, shawl and page–cast her face into the shade of meditation; there is an utter absence of distracting background. This painting, in which Rembrandt used his mother as a model, stages reading as an intimate and delicious encounter with the light of truth. In a painting by Chardin from 1734 (figure 2), reading is imbued with a similar hush and solemnity. However, the different titles given to this celebrated painting suggest the pivotal role of reading in the professions: "The Chemist in his laboratory", "The Alchemist", "A Philosopher occupied with his Reading" (1734; the Salon of 1753), and more recently, "Portrait of the Painter Joseph Aved."
This painting's communication of the cultural centrality of reading is made explicit in the contemporary commentary upon this image by the Abbe Laugier at the Salon of 1753: "This is a truly philosophical reader who is not content merely to read, but who meditates and ponders, and who appears so deeply absorbed in his meditation that is seems one would have a hard time distracting him."(Fried, 11) In Absorption and Theatricality, a broad spectrum of French 18th century genre painting, Michael Fried demonstrates what he calls "the primacy of absorption," in the subjects , who are represented reading, sleeping, playing games, or caught up in a moment of high personal drama. Fried shows how representation of figures deeply absorbed in some activity becomes a strategy for taking painting beyond the arch theatricality and superficial sensuality attributed to the Rococo style by mid century. At the same time various compositional effects are used to produce paintings that will absorb the beholder of the painting: rich painterly surfaces (Chardin), animated brush work (Fragonard), and didactic drama (Greuze). It is no surprise, I think, that figures of readers reading figure so prominently in this elevation of the cultural role of genre painting: by articulating beholding an image with reading a book, images of reading could anchor the greater cultural significance being claimed for painting. It is as though these images are saying, "look at this image with the same seriousness of purpose that these readers accord to reading."
In the 18th century, reading was not always silent and solitary; it was also oral and collective. Reading could offer a means of inculcating religious and family values. In this painting by Greuze, entitled "The Father of the Family reads the Bible to his children", (figure 3; Salon 1755) reading has the power to compose a magic circle in which nearly the whole family is absorbed into the power of Scripture as it is relayed through the father's voice. Like the paintings of Rembrandt and Chardin, this painting grasps a particular moment: when the smallest child's effort to play with a dog fails to distract a family utterly absorbed by the reading. In this way the power of reading to move its auditors is put on visual display. How does this painting earn its claim to broad moral significance? Norman Bryson argues that Greuze's dramatic tableaus of family life arrange a variety of ages and human types out of a single family, so that, hermetically sealed off from the world outside the home, a general "idea of 'humanity' with its powerful emotional and didactic charge, can be generated."(Bryson, 128).
In all three of these paintings—whether reading is oral or silent, part of solitude or social exchange—it is supposed that one reads to improve the self. In The Practices of Everyday Life, Michel DeCerteau suggests that a particular concept of the book lies at the heart of the enlightenment educational project: "The ideology of the Enlightenment claimed that the book was capable of reforming society, that educational popularization could transform manners and customs, that an elite's products could, if they were sufficiently widespread, remodel a whole nation."(166) This enlightenment project is, according to De Certeau, structured around a certain concept of education as mimicry, with a "scriptural system" that assumes that "although the public is more or less resistant, it is molded by (verbal or iconic) writing, that it becomes similar to what it receives, and that it is imprinted by and like the text which is imposed on it."(167)
The disciplinary promise and weight of the book receives their most explicit expression in early modern education. Here are several images that express different aspects of that vast cultural project. In a painting by Reynolds, entitled a "Boy Reading"(figure 4; 1747), the tension between resolute body language and an abstracted gaze communicates the arduous demands of labor with books.
To imprint the knowledge of the book upon one's mind requires all of one's energy, as expressed for example, in Greuze's "A Student who studies his Lesson" (figure 5; 1757), where the posture of the student–he is poised over the book–and the high focus of the fingers crossed over the volume–suggest the concentration required to memorize.
This student, like Rembrandt's Prophetess, and like Chardin's philosopher, is touched into a state of silent thought by the book he touches. In the companion piece of the same child, we can see the exhaustion this sort of intensive reading may entail. ( Greuze, "A Child Who Sleeps on his Book" (figure 6; 1755)).
Finally, in a painting by Chardin, "A young girl reciting her Gospels," (figure 7;1753), one grasps the expected payoff of the enlightenment pedagogical project: a young girl stands before her mother, who is holding a book, and recites what she has learned from her reading. The intimacy of this domestic space does not qualify the solemn importance of what is transpiring. Here truth is given its ideal symbolic resonance as light: it passes from Nature (as sunlight) to the mother ('s dress) to the gospels she holds, to the face and bonnet of the young girl who recites the Word she has learned. While this metaphorical substitution of light for truth has its grounds in the fourth Gospel (John 1:4-5,9), this trope was also of course adapted by secular thinkers of the Eighteenth century to characterize this epoch as an "age of Enlightenment."(Kant) These four paintings describe, celebrate, and promote the proper practice of reading as a way to enlighten readers by educating them. Of course, like all representations of reading or spectatorship, these images don't really tell us what is going on when one reads. But notice the implicit corollary of the enlightenment program of reading as mimicry: by making the reader a passive receptacle for the book's meaning, this theory of reading makes the reading of the wrong kind of writing especially dangerous. By interpreting reading as automatic and uncritical, the enlightenment theory of reading produced as its logical correllary the anxiety triggered by the popularity of novels among the young.
Given the enormous cultural investment in reading for instruction, how did reading for entertainment become an important new form of reading? The market plays a pivotal role in advancing this new kind of reading. In the England of the early 18th century, printed matter became what it is today: a commodity on the market. Rather than requiring subsidy by patrons, print received its ultimate support from that complex collaboration between producers and consumers we call "the market." Eighteenth century observers of these changes were less sanguine and less resigned about the effects of taking culture to the market than we seem to be today. In The Fable of the Bees (1712, 1714) Bernard Mandeville offers an ironic celebration of the surprising effects of markets: many individual decisions produce effects in excess of any single guiding intention. But while the market in books meant increases in both production and wealth, it also entailed the publication of anything that might sell, a relaxation of "standards" and an unprecedented access to print for writers of all levels of quality, in both 18th century senses of that word—value and class. Since the 18th century this new cultural formation—then dubbed "Grub Street", now called "Hollywood"—has been celebrated and condemned for its fecundity and filth, its compelling vulgarity. To conservative critics of the 18th century print market, the trade in books seemed a system dangerously out of control precisely because no one was in control.
Improvements in the production and distribution of printed books allowed booksellers to expand the numbers, kinds and formats of books printed; this allowed booksellers to promote reading for entertainment. However, reading for entertainment set off a debate about the proper functions of reading. Although publishers found that many species of books (from ghost stories to travel narratives to a criminal's Newgate confessions) might gratify this desire for reading pleasure, no genre was more broadly popular than novels. We can glimpse one way novels were used in this painting by Carle Van Loo, entitled "the Spanish Reading" (figure 8; 1754). In this idealized bucolic setting, reading aloud harmonizes a diverse group into a tableau of "the good life." Here a young beau reads to two young women, who appear entirely enraptured by what he reads. An 18th century commentator interprets the painting in terms of the anti-novel discourse which developed to oppose novel reading.
"A young man dressed in Spanish costume is reading aloud from a small book which, on the evidence of his keen attention and that of the company, can be recognized as a novel dealing with love. Two young girls listen to him with a pleasure expressed by everything about them. Their mother (actually their governess), who is on the other side of the reader and behind him, suspends her needlework in order to listen also. But her attention is altogether different from that of the girls; one reads in it the thoughts that she is having, and the mixture of pleasure given to her by the book and the fear she perhaps entertains of the dangerous impression that that book might make on young girl's hearts." [Quoted by Fried, 27]
Print might impress itself upon the (page of an) impressionable heart: this metaphor, which uses the mechanism of printing (the press which makes identical impressions) to elucidate the practice of reading, resonates through Eighteenth century discussions of print media policy. Worry focuses upon a possible reversal of proper agency, by which a weakened subject—the susceptible reader—might come under the control of a smart object—the insinuating novel. Thus "The Whole Duty of Woman" (of 1737) registers this warning to novel readers: "Those amorous Passions, which it is [the novel's] Design to paint to the utmost Life, are apt to insinuate themselves into their unwary Readers, and by an unhappy Inversion a Copy shall produce an Original." In keeping with the latent misogyny of the period's anti-novel discourse, it was widely thought that novel reading could induce a restructuring of the labile emotions of the woman reader.
If collective reading of a novel carried risks, what might be the effect of novel reading upon a solitary woman reader? We can approach this question by looking at what two major French painters of the mid 18th century do with the topic of the woman alone with her novel. Fragonard's painting, "The Reader," (figure 9; 1769-72) does not invest the figure with a specific legible meaning. The painting is one of fourteen paintings art historians call "Figures de Fantaisie," all men and women in half-length portraits of the same dimension, apparently executed very quickly, and dressed in what were known as Spanish costumes…with "expressions lively, their eyes turned away…as if they have been frozen in the middle of an action." (Jean-Pierre Cuzin, 102) Norman Bryson has explained the effect of these paintings of Fragonard's in terms that are useful to understanding the absorptive power of novel reading, especially of the vivid "hallucination" of experiencing Richardson's characters as though they were real persons.(104) To know a character in a novel or the woman in this painting as an "ideal presence, half transmitted by the artwork" requires "for its full existence the imaginative participation of reader or viewer"(Bryson, 104). There are several ways "The Reader" teases its viewer into interpretation: the painting is incomplete (for example in the drawing of the left hand) but the brush-strokes are richly evocative; the blankness of the background withholds any context for this figure; and, and finally, the brilliant foreground lighting of the Reader's gold and white Spanish costume gives this pretty young woman an oddly extravagant aura. She seems to be posed for our gaze, but she looks away. The delicate balance of book, hand and head as seen in profile, and the ease of her body resting against cushion and arm rail, communicates the graceful self-completeness of the solitary reader. Some art historians suppose that "The Reader" is the portrait of an actual young woman (Curzin, 123-125), "The Reader" remains enveloped in mystery, as illusive as the thoughts and feelings of another person's reading. In this painting, reading achieves an allegorical generality.
If Fragonard's painting offers an implicit endorsement of the pleasures of a young girl's reading, Greuze's "Lady reading Eloise and Abelard" (figure 10; 1758-59) seeks to make visible the explicitly erotic dangers of novel reading. In contrast with the self-possession of Fragonard's reader, passion sweeps through this solitary reader: there is a strong contortion to her position, her lips are open, her hands languorous. The title of this painting by Greuze gives the reason for this disorder: "Lady Reading the Letters of Helouise and Abelard." The tokens on her table—a billet-doux, a string of black pearls, a sheet of music, and a book entitled "The Art of Love"—are the details that allow the viewer of the painting to surmise that this reader is involved in an affair of her own. The lighting and contiguity of book, dress and bosom invite the viewer to detect a causal relationship: it is precisely this kind of reading that leads to illicit affairs, it is this novel that has transported this lady into a state of distracted arousal. But the didacticism of this image is fraught with unintended consequences. By linking the animated white leaves of the book to the white morning dress that is slipping off the partially exposed breasts of this aroused reader, by inviting us to survey the erotic effects of novel reading upon the body of this woman, this painting becomes as lush and explicit and arousing as the novel reading it intends to warn us against. The resulting confusion of erotic means and ends is one Greuze's painting will share with Richardson's novels. (Warner, Licensing Entertainment, 212-224)
William Hogarth embeds a warning against novel reading into a non-seductive, broadly comic set of images. In Hogarth's playful pair of erotic prints from 1736, entitled "Before"(figure 11; 1736) and "After" (figure 12; 1736), William Hogarth finds a very different way to encode a warning against novel reading.
The heroine's succumbing to her admirer suggests that the influence of the volume of "Novels", as well as the poems of Rochester, have prevailed over the other book on her night stand, "The Practice of Piety." In this pair of prints, the abrupt movement from the "before" to "after" (sex), prevents precisely the sort of absorptive identification Greuze's painting encourages.
The reader of these two prints is positioned as a bemused observer of a comic deflation in condition: in "Before," the woman is a heroic defender of her virtue, but "After" she is a pathetic petitioner for the man's attentions; and likewise, the man goes from being the robust lover to a condition of confused, and slightly harassed, sexual reticence. While Hogarth's moral rhetoric in this pair obliquely invokes the warning of the epoch's anti-novel discourse—that is, 'purify your reading if you would guard your virtue'—, his more famous Progress Pieces, are much closer in their narrative trajectory and entertainment values of the novels they ostensibly spurn. For most of the 18th century, readers accepted as a truism the proposition that novel reading did one no real good, and that other, more serious reading, should attract our reading energies. For an example of this by then antiquated opinion, one can read Jane Austen's satirical account of Mr. Collins attempted reading of Fordyce's sermons after supper on his first night with the Bennet's in Pride and Prejudice (1812?).
In one pair of paintings, John Opie offers wry social commentary upon this chronic schism in the order of reading. In "A Moral Homily" (figure 13; date), Opie represents the likely effects of improving reading here imposed by a solemn dame upon her comely young auditors—yawns and boredom. However, the structure the governess or teacher has imposed—auditors gathered around one reader with the book—can be adopted to other purposes.
Once the austere matriarch has left, evidently taking her heavy tomes with her, the girls can gather into a rapt circle to hear "A Tale of Romance,"(figure 14; date) the title of this painting. Opie's representations of novel reading and its effects suggest a question for those who want to exploit the improving potential of books.
How is an author to solve the problem posed by adolescent boredom with conduct discourse and fascination with narratives of love? For a writer like Samuel Richardson what was required was above all the development of a hybrid form of writing, one which would use stories of love to attract young readers to the higher purposes of reading, reading as a spur to meditation. The connection between books and mediation is illustrated by the print entitled "Meditation" (figure 15; date) from Ripa's Iconologia (1709). With a book on her lap, and her feet on several grand folios, reading has become a prod to deep thought. In Ripa's gloss on this iconography, dame Meditation's "holding up her head with her hand, denotes the gravity of her thoughts."(Paulowicz, 50).
In this Reynolds portrait, entitled "Theophilia Palmer Reading Clarissa Harlow"(figure 16; date), we find the same tight compositional circle of head, arms and book we have found in other absorbed readers. But here Reynold's use of the iconography of meditation–the touch of the hand to the forehead–gives visual expression to Richardson's program to reconcile novel reading with the weighty purposes of moral reflection. With this painting, Reynolds represents the woman reader Richardson intended Clarissa to win: one immune from erotic appropriation. Thus, Reynolds does not imbue this woman novel reader with any of the mystery of Fragonard's "Reader" or the emotionally labile susceptibility of Greuze's reader. Instead, here we have an ordinary girl, safely ensconced in her sturdy chair, directing her full attentions to Clarissa Harlowe. But the actual readers of Richardson's novels found them rife with erotic potential. (footnote:For the remarkably erotic imagery that develops around the Pamela vogue, see James Turner, Representations. For accounts of the dangous effects of reading Richarson's novels see RC, LE.).
Why are so many images of readers reading so close to the plane of the canvas that they threaten to fall right into the viewer's own space? Norman Bryson's interpretation of the "transformations of rococo space" during the first half of the 18th century offers an account that links one of the chief traits of the rococo–the elimination of classical space established through Renaissance perspective–and the way the subject on the surface of the rococo makes itself available to the fascinated gaze of the beholder.
Within "rococo space" Bryson finds that "the erotic body is not a place of meanings and the erotic gaze does not attend to signification… [instead the painting devotes its painterly resources to] providing a setting for the spectacle…transported to [a] space that is as close as possible to that inhabited by the viewer..[that] of the picture plane [itself]."(Bryson, 91-92).
One can see the erotic potential of this sort of compositional strategy at work, in a rather sublimated form, in a glamorous portrait by Francois Boucher, of his celebrated patron "Mme. Pompador," the mistress to Louis the XVth (figure 17; date). This portrait catches its subject in a momentary pause in the elegant leisure activity of what is most likely novel reading.
Several factors conspire to compose a shimmering surface that invites the spectator's gaze to wander: the oblique gaze of Mme. Pompador releases our eyes from her face; instead the viewer's eye is free to wander over the artful arrangement of her arms and hands, over the richly detailed silk brocade of her dress, to the animated leaves of the book that lies at the center of this composition. Here is painting that addresses its beholder outside of any informing moral purpose, looking that is in danger of becoming its own pleasurable end. The anti-rococo reaction, most evident in the morally programmatic paintings of Greuze, resonates with the anti-novel discourse deployed by Richardson in his morally programmatic narratives.
For critics of early modern novel reading were not just concerned about mimicry of a novel's action; they were also alarmed about the perverse displacement by which the reader, through the repetitive effects of absorptive reading for pleasure, conducted in freedom and solitude, (in other words in the sort of autonomous erotic reverie the rococo encourages) might become a compulsively reading body. In a painting entitled "Reclining Nude" (figure 18; 1751; Cologne, Wallraf-Richartz Museum), Boucher uses another of Louis XV's mistresses, Louise O'Murphy as a model. Here, the open book to the left of the nude woman reclining on the couch suggests that the equivocal potential of reading novels for pleasure arises in part from a shift in location: one may read these books in the intimate undress of the boudoir.
The novel in this setting functions as a stimulant, like tea in the samovar, which has replaced the novel in this rendering of the same model in the same pose in a painting of the same title (figure 19; 1752; Munich, Alte Pinokotk ).
With a small difference in position, and woth a dark haired model, the painting becomes more explicitly salacious, and well on the way to the pornographic image. (figure 20; 1745). 1748, the year of the publication of the third and final installment of Clarissa, is the same year as John Cleland's anonymous publication of "The Memoirs of a Woman of Pleasure", better known to us by the title, "Fanny Hill." The erotic use of novels becomes quite explicit in this Pierre Antoine Baudourin's print of 1770, entitled "Midi" (figure 21). This image suggests that the head or heart were not the only body parts that might be stimulated by reading. In his analysis of this print, Jean Marie Goulemot notes what invites the viewer to enjoy this spectacle of this aroused young lady: the secure enclosure of a stage-like garden setting, the presence of a voyeur in the form of a statue, and the young female body posed to maximize our view of her. The print invites us to note the crucial details: a small book has dropped from her right hand; her left hand had disappeared into her dress. In this print the outcome dreaded within the anti novel discourse, the reader aroused to the point of orgasm, becomes a positive program: solitary reading for entertainment is a preparative to masturbation. The reading body has become a pleasure machine.
Given the range of these images of readers reading, one might well ask "Is reading to serve education, provide entertainment, promote moral improvement, or turn us on?" My study of British print media culture suggests the answer should be, "All of the above." The diverse representation of novel reading in the painting and prints of the 18th century, and the polymorphous uses of painting (for instruction, pleasure, etc.) suggest the struggle going on in the culture at large. Over the arc of the period, educational and moral projects to improve reading collide with market driven efforts to popularize reading in such a way as to expand and deepen the repertoire of reading practices. Thus between 1684 and 1730, Behn, Manley and Haywood wrote short, erotic, plot-centered novels that were accepted as the fashionable new thing in reading. However, the avid reading of these novels, especially by youth, drew a strong critique from those who wished to reserve reading for valuable, elevating, educational practices. In response, novelists like Manley and Haywood blended the anti-novel discourse into their own novels as a way to make novel reading more deliciously transgressive, as well as to protect their own novels from censure. Reformers of the novel –from Defoe and Aubin to Richardson and Fielding—sought to rewrite reading by offering their novels as substitutes and antidotes to the novels of amorous intrigue. But while they sought to purify their narratives of novelistic erotics, they could only guarantee the popularity of their books by incorporating the plot formulas and character types perfected by their antagonists. By my account, the Pamela media event—the outpouring of criticism, sequels, and revisions that followed the 1740 publication of Pamela—marks a turning point in the debate about the pleasures and dangers of novel reading. By winning a large and admiring readership, and by attracting sustained acts of criticism, Pamela changed the terms of the anti- and pro-novel discourse. Now it is not a question of whether one should read novels, but of what kind of novels will be beneficial or dangerous to readers. Richardson's project finds itself overcome by this irony: while he seeks to purge print media culture of corrupting novel reading, he can only do so by inventing new hybrids, like Pamela. While Pamela is supposed to be a non-novel which will end novel reading, in fact, of course, it expands the practices of reading, and the possibilities for novel writing. In order to enter the psychosexual life of its protagonists, the readers of Pamela practice hyper-absorptive reading which achieves new levels of emotional intensity and identification. This provides the pretext for new forms of erotic writing, like John Cleland's Memoirs of a Woman of Pleasure, which stars a heroine-prostitute who has an odd combination of innocence and experience. In later decades Richardson's Clarissa and Rousseau's Richardsonian novel La Nouvelle Heloise invite rewriting as Laclos's Les Liasions Dangereuses and Sade's Justine. Efforts at moral and generic purification breed new hybids and mediators.
I can summarize the literary historical implications of this narrative, and come back to issue of the novel's "rise," in this way: when the market's modernization of reading for entertainment stimulates an ethically motivated anti-modern critique, we get a hybrid of amorous novels and conduct discourse, which subsequent English literary historians dub "the first modern novels in English." Richardson and Fielding are usually given credit for this invention. Why? Because their novels include something central to all subsequent novels: a reader's guide on how to use print media. Thus, at least since Fielding's model Don Quixote, the novel warns readers of the dangers of mindless emulation; the novel teaches the reader the difference between fiction and reality; and the novel interrupts the atavistic absorption of the reader by promoting an ethical reflection upon the self. In this way the early modern struggle around the proper uses of reading sediments itself as thematic concerns and narrative processes within the elevated novel. But such a project of purification can not prevent, it may in fact incite, the development of new hybrids. By 1764, Horace Walpole pronounces himself bored with the limitations of the modern novel's reading protocols and its version of reality. So Walpole offers his "gothic tale," The Castle of Ortranto, as a self-consciously concocted blend of ancient and modern romance.
These comments suggest some of the ways I have sought, in my book Licensing Entertainment, to challenge the distinctions, separations and efforts at purification evident in the canonical account of the novel's acquisition of modern legitimacy, Ian Watt's The Rise of the Novel. By aligning the formal traits of Richardson's writing with reality, Watt countersigns the rough drafts for the 'rise of the novel' thesis Richardson and Fielding penned during and after the Pamela media event. By making a single novel an object and occasion for sustained critical writing, the Pamela media event defined task of much future novel criticism: selected novels are declared to be more than a vehicle of leisure entertainment. They come to be objectified as "the" novel and valued as a new literary genre. In the process, the promiscuous and unclassified mass of romances and novels that remain are cast into limbo as "non-novels." In order to secure the distinction between "the" novel and its others, criticism acquires the gate-keeping function evident in a range of practices developed over the 60 years following the Pamela media event: the emergence of journals reviewing novels (Monthly Review, 1749-; and Critical Review,1756-); literary histories of the novel; the collection of novels into anthologies and multi-volume sets; and the inclusion of novels in pedagogical projects, from those directed at young girls to those of Scottish university professors.(Court, 17-38) Of course, my book and this talk don't escape that academic discursive system for defining novels. The institution of criticism and the pedagogical practice of English professors are shaped to teach informed reading, that is, reading purged of mimicry. Pedagogy becomes the cure prescribed for market based media. Of course, in the process, we may be replacing compulsive novel reading with our own repetitive and obsessional practice: "close" reading. Our institutional practices of teaching literature, and cultural narratives like "the rise of the novel," are deeply implicated in an ongoing effort, which began with the anti-print media discourse of the eighteenth century, to protect readers from market culture. In short, we are the late-modern offspring of early modern media policy. (*)


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No, really, there is a big, huge, massive rotation out of those dangerous, inflationary bonds into safe, predictable equities...
Depth of market, or lack thereof, chart from Nanex.
And, the VWAP strange attractor those GETCO algos love so very much:
How shocking! Nope, not really. From November 13:
We can summarize it as follows: the lame duck congress will posture, prance and pout. And it is a certainty that in the 15 (see calendar below) remaining days it is expected to be session it will get nothing done. Which means, that once again, it will be up to the market, just like last August, just like October of 2008, to implode and to shock Congress into awakening and coming up with a compromise of sorts. Only this time, now that Bernanke has shown he will "get to work" at a moment's notice, the impetus to do anything as a result of even a market plunge will be far less. After all why lose face, and put your career in jeopardy when there is the Fed which, supposedly, can offset a market crash, courtesy of the shining example set by Chuck Schumer.

subset: commoncrawl


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UNIVERSITY PARK, Pa. -- After recording two solid performances in the opening session of the 2014 Winter Cup, sophomore Trevor Howard (Columbus, Ohio) and junior Craig Hernandez (Libertyville, Ill.) have both advanced to the final round of competition. The finals are set to begin Saturday, Feb. 22 at 7:15 p.m. in the Riviera Hotel.
Last night, Howard led the way with a 12-place finish in the all-around, finishing with a total score of 80.900. While he did not capture an individual title, the two-time Big Ten Gymnast of the Week secured a trio of top-10 finishes.
Hernandez continued his standout performance on the pommel horse in the opening session of competition. The junior led all gymnasts with a 14.250 showing on the apparatus, claiming an individual title in the event. The first-place finish marks his second consecutive pommel horse title at the Winter Cup Challenge.
Howard and Hernandez are now two of 42 gymnasts vying for seven open spots on the U.S. Senior National Team. The seven spots will be claimed by the top two all-arounders who are not presently on the U.S. Senior National Team. The other remaining spots will be selected based on the National Team Points Systems, while two more are selected by the Men's Program Committee and one is selected by the national team coordinator.
Fans can follow along with live coverage of the 2014 Winter Cup Challenge finals by visiting www.wintercup.com/live.


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- I'm not overly concerned about Mike Neal. I was excited at the beginning of the season, yes, by the prospect of having Neal fill in for the quality player we lost in Jenkins. But we have barely had a chance to see what Mike Neal can do and because of that – I guess I can't get too worked up about what he is/is not contributing.
- Jarius Wynn, who will take that spot, played well in week 1. He has been an under-the-radar guy now for a couple years and I think he's been waiting for an opportunity. This is it. If there is one thing that can be said about TT/MM led teams, it's that when players get a big-time (starting) opportunity, they seem to be very ready to take it.
- Sure, someday I hope Neal is better and we can get production from him. But for now, I think Wynn will do reasonably well.
- We will likely get a very good look at Wynn this weekend by the way as I expect Carolina to try to run off our right edge – taking it right to him. And they'll be running with 1 of 2 very good RBs. It will be a test for sure.
- Also, if Carolina starts running a bunch, which I'm sort of expecting for some reason, I can see moving Howard Green over there and going with Raji, Pickett and Green up front for a bunch of plays. Then bringing in Wynn for pass plays.
Mike Neal situation
7 Responses to "Mike Neal situation"
56Coop Says:
September 15, 2011 at 9:42 am |
Heard on SIRIUS this morning that Neal haad surgery. Might be 4 weeks or so
Jon in DC Says:
September 15, 2011 at 3:41 pm |
If Neal has a legitimate shot to play after Thanksgiving, I don't have a problem with keeping him on the roster for now. There's still plenty of time to monitor his rehab and, if it's not going well, put him in IR and free up a roster spot mid-season. After all, we did beat [arguably] the NFC's 2nd-best team last week, with fewer than 53 guys.
AZWarrior Says:
September 15, 2011 at 5:17 pm |
I'm worried about the lack of depth. We're one injury away from having a real problem at the D-line.
DaveK Says:
September 16, 2011 at 12:55 am |
I think I read recently that Capers used only 2 dl's for 65% of snaps last year. They play 2-4-5 more then any other sub-package. just maybe one reason being light at DE isn't a huge concern especially when Raji takes so many snaps and you also have Pickett, Green, and Wynn all playing effectively.
56Coop Says:
September 17, 2011 at 10:42 am |
You should expect Carolina to run a lot. They have two very good RB's. Hopefully GB gets up big very quickly and they have to pass more.


text: Home / Rubber Stamps / Eclectica³ Designers / E³ {Kim Dellow} / 035 PA Stencil {by Kim Dellow} 035 PA Stencil {by Kim Dellow} £4.60 Stock Status: In Stock Information PaperArtsy Stencils are 6.5" x 7" in size (16 x18cm) Use with paint, Grunge Paste, paint sprays, crayons, pastells, pens, chalks etc. Wonderful on papers, canvas, chipboard and much more. All our top quality stencils are designed to complement the stamps in the collection perfectly. Designed by Kim Dellow Specifications Product Code: PS035 GTIN: 5060317204824 Reviews Not yet reviewed Write an online review and share your thoughts with other shoppers! Be the first to review this product Related Products Eclectica³ {Kim Dellow} 01 £18.74 Eclectica³ {Kim Dellow} 02 £18.74


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Best of AL/GA Motocross Series
RPM Sports is proud to announce the 2013 Best of Alabama / Georgia Motocross Series schedule. This years schedule will feature a power house of tracks known throughout the Southeast. We have listened to all of our riders concerns and thoughts with regard to class structure, number of events and feel like we have a home run schedule. Riders will enjoy predetermined breaks in the series, perfectly maintained race tracks, consistent event venues and a staff with more years of service in the sport than any other promoting group.
We are also excited to announce the SCCS schedule later in the month. We have some exciting news that will shake the racing community up a bit and we'll share this with you very soon!
Here is YOUR 2013 Best of Alabama / Georgia Motocross Series Schedule:
Series Warm Up
February 9-10 - Mill Creek
Rd 1 March 23-24 Echeconnee MX
Rd 2 April 6-7 Millcreek MX
Rd 3 April 20-21 Paradise Off Road
Rd 4 April 27-28 Hillbilly Hills MX
Rd 5 May 11-12 Bremen Race Park
Rd 6 May 25-26 Silver Dollar MX
More info can be found at
Questions? Email email@example.com
Please like us on facebook at
We're on twitter, are you? We are @rpmsportsonline so give us a follow!


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Governmental Debt Declining Slowly
While people don't like to think about it, debt is not uncommon even for governmental entities. School districts, cities, counties and states all utilize some type of borrowing to operate at times, usually in order to carry out construction projects.
Over the years, outstanding debt in Palo Alto County has gradually decreased, as in the Fiscal Year that ended June 30, 2011, the total outstanding debt of all entities in Palo Alto County totaled some $25 million, according to figures supplied by the State Treasurer's annual report of outstanding obligations.
When talking about debt, there are two ways the governmental entities can pay off those debts – general obligation bonds and revenue obligation bonds. General obligation bonds are generally repaid through property tax levies and general revenues. Revenue obligation bonds are repaid from money generated by a specific facility or project.
In Palo Alto County, four communities have no public debt obligations. Ayrshire, Curlew, Cylinder and Rodman reported no outstanding obligations, while the city of Emmetsburg reported outstanding debt of $7,136,000 in outstanding debt. The City of West Bend currently carries an outstanding debt of $2,071,800, while the community of Ruthven reported $737,997.99 in outstanding debt as of June 30, 2011. The City of Graettinger has an outstanding debt of $510,000 on the books while while the city of Mallard reported obligations totaling $15,000.
Overall, the communities in Palo Alto County reported outstanding debt totaling $10,470,797.99 for Fiscal year 2011.
Palo Alto County, as a governmental entity, reported outstanding debt obligations totaling $8,573,855.66 for fiscal year 2011. That debt was the result of an ambitious bonding project in 2008 that has been utilized for several road re-construction projects, including county roads B14, N60 and B53, as well as the recently completed B63 project east of Mallard.
Of the four school districts located in the county, the Emmetsburg Community School District listed outstanding debt of $6,415,000 million, while the Graettinger-Terril Community School District reported a debt of $234,245.58. All told, Palo Alto County schools have a total of $6,649,245.58 in outstanding obligations for the fiscal year ending June 30, 2011.
The complete report of governmental debt is available in its entirety on the Sate of Iowa's Treasurer's website at www.treasurer.state.ia.us.


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Anti-abortion march in Palatine attracts 400
A Northwest suburban group opposed to abortion held its first "March for Life" on Saturday in Palatine -- three days before the 40th anniversary of the Supreme Court decision that recognized abortion rights.
About 400 people gathered at St. Theresa Parish to listen to anti-abortion speakers before marching about a half mile to a plaza at Northwest Highway and Hicks Road.
Speakers shared stories of how abortion affected their lives and encouraged the crowd not to be discouraged by the 40th anniversary of the Roe v Wade Supreme Court decision, but to allow God to "do something new" by reviving their efforts against abortions.
"We know every life is precious. We've got to save babies every day," said Joe Scheidler, national director of the Pro-Life Action League. "We've been called, and I think that's very important to remember."
Marchers attracted a few beeps as they carried signs with messages such as "Honk if you love babies," or "Pray to end abortion."
Organizers said Northwest Families for Life planned Saturday's event to unite anti-abortion activists of all faiths. They invited speakers Carol Rybacki, who told of the guilt and sorrow she felt after having an abortion 43 years ago, and Jim Sable, who was adopted and found out years later that he was conceived when his biological mother was raped.
Rybacki said since her abortion, she realized life is the right on which all other inalienable rights are based. She encouraged people to view the 40th anniversary of the legalization of abortion as a turning point in the battle to end the practice.
"The number 40 is used by God to represent a period of testing or judgment," Rybacki said, referring to the Christian tradition of Lent, in which believers prepare themselves spiritually for the dying and rising of Jesus Christ.
Planned Parenthood of Illinois' President and CEO Carole Brite reflects differently on the 40th anniversary of the Roe v Wade Supreme Court ruling, saying in a statement it is critical that women continue to have access to abortion.
"The 40th anniversary of Roe reminds us how far we have come: no more risky, back alley abortions and no more dreams shattered by one mistake or contraceptive failure," Brite said in a statement this week. "Safe and legal abortion means that one of the most difficult decisions a woman will ever make is a personal and private matter."
But Rybacki said she always has regretted having an abortion and wants to persuade other women who have unintended pregnancies to "choose life."
"I robbed my baby of the chance to live a life worth living," Rybacki said. "My problem didn't end with an abortion; it was only the beginning."
Tuesday marks 40 years since the U.S. Supreme Court ruling in the Roe v Wade case, which is credited with disallowing many state and federal restrictions on abortion.
The Archdiocese of Chicago has announced a series of events at churches this week to protest the decision and Cardinal George is taking part in a big anti-abortion rally Friday in Washington, D.C.


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Solid Foundation
Building and Assembling a Walton Fabrication F-100 Chassis
We are entering a golden age of classic truck building. Never before has there been more choices available to truck owners, especially regarding how to set-up a chassis. As more and more builders realize the market for early trucks, they are moving beyond the '32 Fords and Tri-Five Chevys and producing aftermarket chassis that are far superior to the well-worn rails currently residing under your truck.
One of the chassis builders at the forefront of this is Todd Walton of Walton Fabrication. Walton produces new frames as well as complete chassis setups for '53-56 F-100s. They are unique in that they maintain the profile of the factory framerails, but that is pretty much where the similarities end. Walton knows that a stiff chassis provides a better-performing suspension, so each framerail is built using .125-inch wall and pickled and oiled steel, and each piece is laser-cut before being welded together in a custom jig. The front crossmember is welded into place 1.25 inches farther forward than stock, so the wheel sits centered in the wheelwell.
Walton has also put thought into how to mount the bumpers. The front frame horns have been shortened 1 1/2 inches for a better-fitting bumper, and two sets of mounting holes have been incorporated for the rear bumper using the stock brackets (one in the stock location and one up higher and closer to the body.) Other cool features include an incorporated C-notch, all bed mounts, billet aluminum cab mount bungs that fit to the stock rubber mounting pads, and welded nuts incorporated into the frame for the running boards, brake lines, etc.
The LS Series chassis we're building for an upcoming project came with a Walton IFS with GM calipers and a new Currie 9+ Hot Rod rearend with Explorer rear disc brakes suspended by parallel leaf springs and controlled by Walton's rear anti-rollbar.
We checked out Walton's HQ to get a first-hand look at how one of these frames goes together, and then proceeded to turn the bare frame into a rolling chassis in one fell swoop in our own Primedia Tech Center. We even decked out our new chassis in new billet rollers from Wheel Vintiques wrapped in speed-rated rubber from Yokohama. Stay tuned, you'll be seeing more from this chassis in the coming months as we start on one of our most ambitious projects ever.


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AlexandAlexa sent this cute little classic car to Israel. I really wanted the white one, color looks so ugly on our even uglier carpets, and by mistake the red one was sent. As soon as I let them know, this beautiful book was sent over as a gift!
We love them both and the car was an instant hit with Israel. He calls it his "new car" or "red car". Thankfully, it's also big enough for him to grow into some so this will last him a while.
Let me just say again how much we love this little car, I am not complaining, I just wanted to explain what happened to express how wonderful AlexandAlexa's customer service is and how prompt they were. It's a lovely car, even the red is wonderful, we are happy with it and thankful for such a fun new toy!
Other Stories
11 comments:
that's a beautiful car, I love the color! I can imagine he was happy to get it :)ReplyDelete
so lovely :)!ReplyDelete
the book looks very nice tooReplyDelete
love the car-think it is great i red!ReplyDelete
That's a cool car, love the color and the book look nice too.ReplyDelete
That's an adorable little car, but why would you complain about a free product?ReplyDelete
Q-I'm not complaining, I'm simply explaining that they sent us the sweet book because of the mistake.ReplyDelete
I'm giving them credit for great customer service.
I love toys with classic looks to them. Lucky guy. :)ReplyDelete
yikes, I took it the same way.ReplyDelete
- AnonymousDecember 06, 2011
aww lucky munkey:) that's a beautiful car. i wanted it for maki but i think he may be too big for it:PReplyDelete
what a merry mishap! you gotta have a classic sports car in red anyway xReplyDelete
Thank you for your comments, I love hearing from you!
Questions, comments or sponsorship inquires, please contact me via the 'contact' link.


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My own sense of gender has never been 100% masculine or feminine, as I have always felt more or less androgynous, especially when I was a little child and at other times of relative freedom from rigid expectations from family, work, or society. I was such a girl when I was growing up! Not a girly girl, but a tomboy girl, as was my sister, Liz. We did everything together: dressing up with my mother's fabulous furs and pearls and makeup and heels, playing army man out on the vast ranch where we grew up, creating doll-houses for GI Joe and Barbie and horses and horny toads and other things to make really cool scenarios, cooking on what I guess would be the precursor to the little light-bulb-powered kids oven, and generally singing and playing and being ourselves, genderless and free. It was a really wonderful childhood.
I really can't pinpoint when it changed. The first jolt was probably going to school in kindergarten, beginning the long, inevitable process of education and socialization. We all have to leave the nest and grow up, of course, but I think I probably felt a deep sense of melancholy at my losses. I remember being very curious about how other girls moved, stood, held their heads. At a time when boys wanted nothing to do with girls, I (not wanting trouble) wanted nothing to do with them; however, I studied them and pictured myself in their company, one of them. Sex was mysterious, as it must be for 7-10 year olds, but I distinctly remember that the bigger mystery for me lay in the riddle of just what it was that made them different from me.
Puberty must have been another jolt. I recall that I willed myself to stop being so chatty, so sissy, so vulnerable around 5th or 6th grade. I would now be the the boy with piercing and solitary silence. I would speak only when spoken to. I pictured myself as standing outside of society, a philosopher and observer of human nature not unlike Cane in Kung Fu, which debuted when I was in 7th grade. I built an immense wall around me, maybe to keep the little girl safe from the outside world, or maybe to prevent her from showing her face. I still maintained a nice balance of gendered activities, playing football and singing in choir and enjoying both equally, keeping equal number of girl and boy friends, but never, never revealed the girl behind the wall.
When I think of the story of my gendered life, it's not so much a tragedy of horrible pain for 30 years, but rather the story of stunted development. Joyce was categorized as an oddity or an aberration who couldn't socialize or even find embodiment, and I think my feminine side became squashed down because of not having any place to be. She was a latch-key child who peeped out of the house from time to time, desperate to become herself, but also increasingly terrified of what's out there in the world. George was encouraged to be the winner, the guy's guy, the competent and masculine firstborn son of the firstborn son of the firstborn son, a position that was both honorable and oppressive. Because of the honor and in spite of the oppression, those expectations sunk in, oozed down into my the dark corners of my emerging personality, penetrated every hallway, landing, and closet of my psyche, so even when I wanted to rebel, my rebellions were largely symbolic. I grew my hair longer to make my father angry. I argued for blood, no matter how absurd the position I took. I was tenacious in all things.
Regardless of these symbolic rebellions, I was also at heart the good kid, the smart kid, the golden child, and that role pushed Joyce into a tinier and tinier room because it would be devastating for such a winner with such high expectations from family, teachers, and society to admit the existence of such a horrible inner self to the world, wouldn't it? Yes, I write "horrible," for that's what the latchkey child eventually becomes, being locked away, unsocialized, unrealized, unkempt and unloved. Bringing her out into the light of society would be mean disappointing all those people, and the golden child is motivated by pleasing others. Giving a life to Joyce would literally mean the death of the main character in the story of my family, the story that has been living me all my life with a script that was written before I was born.
Coming to a place of self acceptance and then disclosing my authentic self to others these past three months involved erasing that role and writing a new one for me, and that process was far more traumatic than being transgendered. A lot of my current joy comes from that feeling that I'm actually living my own life with my own complex body and psyche, perhaps for the first time since those girlish, androgynous childhood days. It's corny, but I feel I've given the wounded inner child a chance to heal, and she's getting stronger and stronger every single day, pointing the way to a fully-realized Joyce, whom I love for the first time since childhood.
This journey of becoming is powerful medicine that operates in my psyche and in my relationships, and is perhaps far more powerful than the hormone medicines that operate on my body. Sometimes it seems as if my existence is so different than it used to be — and that it's continuing to differentiate steadily from what it used to be — that every week is like waking up from a groggy dream. I'm simply amazed at this process — hell, I'd be fascinated by this process even if I weren't going through it myself.
But I am.
Simultaneously frightening and exhilarating, it is process that ties up a bunch of loose ends from the first half of my life and opens up a ton of new possibilities for the second half of my life. It's astounding, really, to have finally broken through the fear and shame to undertake something I've known I needed to do for decades, to look at my body and recognize newness in it, to feel emotions and connections with awe and power. I may have daydreamed this transformation in youthful and melancholy fantasies, but I never, ever, visualized or imagined the power that comes with actually taking these steps, the power of life that follows the little girl who, released from her locked-in state, takes her first steps into a brave new world and becomes human.


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🎧 Song Credits:
Song: Saiyaara
Singers: Mohit Chauhan, Taraannum Mallik
Music: Sohail Sen
Lyrics: Kausar Munir
© Yash Raj Films Pvt. Ltd.
🎬 Movie Credits:
Starring: Salman Khan, Katrina Kaif, Girish Karnad, Ranveer Shorey & Roshan Seth
Director: Kabir Khan
Producer: Aditya Chopra
Screenplay & Dialogues: Kabir Khan and Neelesh Misra
Story: Aditya Chopra
Music: Sohail Sen & Sajid-Wajid
Lyrics: Kausar Munir, Neelesh Misra, Anvita Dutt
Release Date: 15 August 2012
In the dark world of intelligence and espionage… all information is guarded in the name of national security… But some stories escape the fiercely guarded classified files… stories that become legends.
This is one such story… a story that shook the very foundation of this dark world.
In a government employees' neighbourhood in New Delhi, there lived a rugged, handsome and mysterious bachelor about whom his neighbours knew nothing. That was because he was India's top spy, an officer with the Research and Analysis Wing (RAW), India's external intelligence agency. This man was known even in official corridors as TIGER (Salman Khan).
Tiger is sent on a relatively easy and safe mission to Dublin, Ireland to observe a scientist of Indian origin who is suspected of sharing his research findings with the Pakistan defence establishment. Tiger attempts to meet the scientist but is not successful. He tries to befriend the scientist's part time home caretaker, Zoya (Katrina Kaif). As Tiger begins to get closer to Zoya… he begins to discover his human side.
For the first time in his life Tiger falls in love…
What follows is a tumultuous journey that Tiger and Zoya embark upon, battling the dark world of intelligence and espionage that forbids its soldiers from falling in love..


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Treasure Star Overknees
€ 110,00 € 33,00
Star gazing: These opaque overknees made from a heavenly soft velvet material truly sparkle thanks to the pattern of over 1500 rhinestones which are applied by hand.
• Comfortable, soft knitted cuffs
An effortless party look.
Order Today: Estimated Delivery Date 29/09/2020
- main material 96% nylon, 4% elastane


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At the (Huge) Whale - Lázeňská Street, Lesser Town
Lázeňská Street, Lesser Town
The church of Our Lady Below the Chain is well hidden in Lázeňská street, just a few metres away from the Royal Route, close to the place where the Charles Bridge meets the Mostecká street. It is one of Prague's top Romanesque monuments. A Romanesque basilica, the first church of the Lesser Town, was founded in 1169 by king Vladislav I as part of a monastery and a hospital of the Order of St. John of Jerusalem (Johannites, later known as the Maltese Knights), first centre of this Order in Bohemia. This fortified complex stood right next to the bridgehead of the Judith's bridge which was still under construction at that time and also the Judith's tower; hence the somewhat unusual name of the church. This small church building (remainders can be seen on the right wall of the current courtyard) was supposed to be replaced by a majestci early Gothic, triple-naved basilica, however, only a choir, a sacristy and parts of prismatic towers were built in the end. This church had a major significance in the pre-Hussite era as the bodily remains of Charles IV and his son Wenceslas IV were kept there before the burial. In 1420 the monastery and church were burnt down. The presbytery (current church) got a Renaissance vault afterwards and then rebuilt in Baroque style in 1640-50 by C. Lurago; in 1728-31 T. Haffenecker has also adapted the convent building in Baroque style. The church has precious Baroque decorations, most notably the rich stucco decorations, statues by J. J. Bendl, paintings by K. Škréta and numerous decorative lattices from the 17th and 18th century. Fragments of Gothic paintings were preserved too.
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41 Totara StMt Maunganui North Island, 3116
For a full list of stores across Australia and New Zealand click here
Get all the latest product, team and event news from Rip Curl.
Use of the RIP CURL trademarks by Rip Curl. Ltd. under license from Rip Curl International Pty Ltd
Join the Rip Curl Crew and we will keep you up to date with all the latest news, products and promotions.
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Body cameras could transform policing – for the worse
New facial-recognition technology will enable police to justify stops with a mere glance
From ALJAZEERA
The day after video surfaced of a North Charleston, South Carolina, police officer shooting Walter Scott in the back, the town's mayor announced plans to outfit all its police officers with body cameras. The New York Police Department has started to put cameras on officers, and the White House has announced a $263 million program to supply 50,000 body cameras to local police.
Advocates for these cameras hope that they will hold police accountable for their behavior. Skeptics point out that unobstructed video footage did nothing to win an indictment in the police killing of Eric Garner. But this debate has overlooked another possibility. Even if cameras reduce police violence, they could transform how citizens interact with police once facial recognition technology allows officers automatically to identify each individual they lay eyes on.
Facial recognition technology isn't science fiction. Police in the United Kingdom, Dubai and Canada already wear cameras that can recognize faces to identify suspects and missing persons. Apps for Google Glass allow wearers to automatically connect faces to photos, and Taser — the leading seller of police body cameras — is developing cameras that integrate facial recognition with police databases. (more…)


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Back in 2000, a software engineer, Patrick Kolla, created the basis of a tool for dealing with spyware. This tool, later named Spybot Search and Destroy, was one of the first effective freeware apps for the removal of many kinds of adware and malware that were infecting PCs. Since then, millions of people all over the world have used it at one time or another. To this day, many people consider it an essential part of their PC defenses.
Patrick's work on Spybot hasn't stopped, and it's been updated several times over the years. Today Spybot-S&D can repair or remove:
- Bad registry keys
- Winsock LSPs
- ActiveX objects
- Browser Hijackers
- BHOs (Browser Helper Objects)
- Tracking cookies
- Trackerware
- Homepage hijackers
- Keyloggers
- Trojans
- Adware
- Spyware
- Rootkits
- other kinds of malware
Here's a screenshot of Spybot as it scanned my laptop yesterday.
Typically, I use Spybot as a secondary scanner, to catch things that my antivirus and other defenses have missed. However, the TeaTimer portion of Spybot can be installed to watch over your computer continuously in the background.
Another great feature of Spybot, is it's ability to add immunizationsagainst some common weaknesses in Internet Explorer and other areas of your PC.
Spybot can be updated every time you use it, by clicking the update icon. Always check for new updates before running a scan.
I prefer to have most of the programs on my PC, set up as portable applications. I was happy to find that Spybot is also available as a portable app.
Spybot S&D Home Page (full installed version)
Techie Buzz Verdict:
Spybot is one of those apps that have proved themselves over years and years of use. It's always been free, and it's probably saved millions of people headaches from re-installing their OS after an infection. It deserves to be highly recommended.
Techie Buzz Rating: 4/5 (Excellent)


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Nobody calls Nancy Pelosi a cheerleader.
Not if they want to keep on living.
But last night, the House minority leader, clad in a teal suit with matching stilettos, sat in the front row behind home plate noshing on a ball park dog topped with relish as she cheered the Democrats to a landslide victory in the annual congressional baseball game.
After months of morning practices, the Democrats pulverized the Republicans, 22-0, in the 52nd annual charity game at Nationals Park and cementing a five-year winning streak. Hopes were high for a GOP victory with freshman Rep. Rep. Ron DeSantis of Florida – who was captain of the Yale baseball team in his college heyday – at the helm of the Republican team, which is managed and coached by Texans. But even though the Republicans boasted 37 players — nearly double that of the Democratic team – the Democrats brought home the trophy as fans waved blue foam fingers in the stands.
"We didn't mean to be quite that friendly tonight, to be quite honest," said Rep. Joe Barton of Ennis, manager of the Republican team. "When my son came down tonight, he said, 'Daddy, I wish the game had been rained out."
Barton and his son wore twin blue Rangers jerseys emblazoned with "Texas" and red hats embroidered with R's.
Second baseman Rep. Kevin Brady of The Woodlands sported an orange T-shirt with his name to match his staffers, who shouted encouragements as he turned a double play. They were seated behind the Republican dugout, where House Majority Leader Rep. Eric Cantor mingled with Rep. Pete Sessions of Dallas.
Meanwhile, first baseman Rep. Mike Conaway of Midland made the first out in the third inning. But Republican prospects were bleak by just the top of the fifth inning when the Democrats were up 12 to nothing.
Pelosi — who is not used to winning many battles against congressional Republicans, at least over the past three years — joined jubilant Democrats on the field as they hoisted up the trophy to display to cheering fans.
As members of congress and their families sampled traditional ball park fare at the after-party, Barton named Arizona Sen. Ted Flake the Republican MVP.
Democratic co-MVPs included Rep. Cedric Richmond of Louisiana, regarded as the Democrats' longtime secret weapon as their semi-pro pitcher, and Rep. Tim Bishop of New York, who team manager Rep. Mike Doyle of Pennsylvania said "played like Brooks Robinson at third base."
After an absence of many years, Texas Democrats had a player in the line-up — the youthful freshman congressman from El Paso, Beto O'Rourke, who contributed to the rout with an RBI shot of his own.
The event drew 8,000 spectators — many of which had yet to change out of Capitol-appropriate attire — and raised over $300,000 for The Washington Literacy Center, The Boys and Girls Club of Greater Washington and The Washington Nationals Dream Foundation.
One conservative Texas Republican was so stunned by the results that he demanded a congressional investigation:
Congress should investigate the Democrats for performance-enhancing drugs. http://t.co/T3AsYZIQVm
— Rep. Steve Stockman (@SteveWorks4You) June 14, 2013


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For her contribution to the ongoing online exhibition "Brushes," presented by Rhizome and the New Museum as part of the First Look series, artist Petra Cortright presents two versions of a Photoshop composition titled all_gold_everything.psd: a GIF that cycles through all of its layers, and a video that uses wipes and dissolves to offer a slowly shifting view of the same imagery.
New digital paintings by Petra Cortright
Index of Rhizome Today for August
Rhizome Today is an experiment in ephemeral blogging: posts written and published each morning, and unpublished within a day. The latest post can always be found at http://www.rhizome.org/today.
After some discussion about the best way to wrap up each month's posts, we've decided to publish a list of topics and people covered on Today during the preceding month. Here is the index for Rhizome Today in August, 2014.
- Amazon (8-Aug, 11-Aug, 26-Aug)
- ARE.NA (20-Aug)
YouTube Censors Petra Cortright, But 'VVEBCAM' Lives on in the Rhizome ArtBase
RIP 2007-2011 – 65,403 views
On Saturday December 10th 2011, Petra Cortright received an email stating that a video of hers had been flagged by a member of the YouTube Community. The automatically generated email said that upon review it was verified that the video did indeed violate the terms of the YouTube Community Guidelines and has thus been removed. The video in question, titled "VVEBCAM" was uploaded to YouTube in 2007. It has exhibited internationally, is discussed in several new media and contemporary art texts, and is taught in academic curricula.
The video, likely known to most readers, features Cortright mundanely clicking through the stock effects of a $20 webcam, gazing bored into the screen of her computer, trance playing in the background. Far from offensive content. The violation lies in Cortright's use of keywords. The video description contained 733 keywords, ranging from "tits, vagina, sex, nude, boobs" to "san francisco, diego, jose, puto, taco bell, border patrol, mcdonalds, KFC, kentucky fried chicken, trans fat".
Cortright told us over email that she appealed the decision. She explained to YouTube that the video and its contents were part of an original artwork. She referenced interviews that have explained the importance of the use of "spam" in the video's description. Four hours later her appeal was denied, and the video now has ceased to exist on YouTube. The work is also defunct on the artists website, where the video was embedded via YouTube.
Thankfully Rhizome has recently archived VVEBCAM in the ArtBase. We worked with Cortright to create an archival representation of the work as it existed on her site. We have replaced the broken YouTube video with an HTML5 player that references local files and emulates (at least approximately) the look and feel of the original YouTube player.
Artist Profile: Petra Cortright
So Wet (2011), installation shot at Preteen Gallery
Nearly every video piece of yours seems to have the distinct aesthetic of webcam footage, from the fluttery movements to the unusual compression artifacts and use built-in filters and effects. Is there something in these particular 'defaults' that you're drawn to?
i like webcam bcause the vid files are a small size and i can make many tests because most of my outtakes are stupid. they arent filling up the harddrive and slowing down the computer. also it renders faster. and its not high def so its not a magnifying glass its a veil. also the effects on the webcam softwares are very beautiful and fun to work with. also i can see myself and i dont need any help to film the webcam video, i can see myself an what i am doing so then i can see what is failing / working.
A great deal of your video work is posted on Youtube, often practically right alongside the videos that seem to inspire some of your performances (from random vloggers to the ubiquitous home videos of people dancing and lip-syncing). Do you think it's important that your work is presented in the same environment? Do you consider the 'baggage' of youtube (aggressive commenters, a somewhat intrusive user interface) when making the work?
i just use youtube as a tool, i cant say i am like "philosophically" into it. its convenient. but i have to say though that the comments are a special gift. always a highlight to get them because they are really real. also they are very funny. theyre all over the board, its more much intersting and more reflective of the internet and what its about and its more constructive and useful. and entertaining.
In an interview ...
Yamil Orlando
Edwin VanGorder
Edwin VanGorder
invitation to contribute a short text on art education


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Orange is set to expand its "HD Voice" technology early in the new year, which is great news for those mobile users who are sick of crackling voices and dropped calls on their phones.
Finally, the UK will get a decent alternative to standard definition calls via the the new 3G service, which is going to be introduced to work with a "range of handsets" later in 2010.
Like caller is in same room
HD voice will apparently make it "sound as if callers are actually in the same room," says Orange UK chief executive Tom Alexander, who adds:
"HD voice really does inject a level of innovation into mobile phone calls," and that "once people have tried it, they won't want to go back."
It really is about time that mobile phone operators all started to focus more on providing better quality phone calls, so this is a welcome move indeed from Orange.


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MIDDLEBORO — Before a crowd of more than 100 family members, friends and dignitaries, longtime Rotarian Daniel Medeiros was presented with the Middleboro Rotary Club's Vocational Service Award during a dinner meeting at the Fireside Grill Friday night.
MIDDLEBORO — Before a crowd of more than 100 family members, friends and dignitaries, longtime Rotarian Daniel Medeiros was presented with the Middleboro Rotary Club's Vocational Service Award during a dinner meeting at the Fireside Grill Friday night.
The award has been presented for the past 24 years to a non-Rotarian who exemplifies the work ethic and community service that are among those qualities that Rotarians strive to achieve and encourage in others. Each year since its inception, the award dinner has been planned by Mr. Medeiros as vocational services chairman for the club. He has also planned the club's Employee Excellence Award program and other vocational service programs. For the 25th anniversary of the Vocational Service Award, the club decided to present the award to Mr. Medeiros himself.
Rep. Keiko Orrall, representing the town's legislative delegation, began the evening's program by presenting Mr. Medeiros with citations from the state House and Senate. Selectman Stephen McKinnon, representing the Board of Selectmen, presented a proclamation.
Past recipients of the Vocational Service Award who were in attendance were introduced, including Richard Fickert, Bill Macleod, Bill Warner, Darlene Donnelly, Joe Simas, Sarah Jigergian, Ted Dellarocco, Lorna Brunelle, Harold and Donald Atkins, and last year's recipient, Bruce Atwood. Jane Reed, whose late husband David Reed was a recipient of this award, is also with us tonight.
Past recipients who could not attend included Steve Stanley, Mary Jigerjian, Lorenzo Grosso, Dave Fisher, John Marando and Harry Pickering,
Prior recipients also include the late Alton and Eunice Kramer, Dave Reed, John Scanlon, Joe Masi, Tiger Nichols, Dr. Lincoln Lynch, Bessie Boyle And Dimi Williams, and Judge Robert Anderson.
Born in Middleboro to the late Mary and Dan Medeiros and a lifelong resident of Middleboro and Lakeville until he became a resident of Florida and Buzzards Bay in recent years, Mr. Medeiros' family includes his wife Mary Ann, a sister, Janice "Cookie" Sylvia, two children, his son Daniel and daughter Dana Raposo, a step-daughter, Jennifer MacLeod, five grandchildren and a great-grandchild. He is also the brother of the late Mary Anderson.
Mr. Medeiros attended Middleboro High School for two years and graduated from Apponequet Regional High School in 1961. He received a bachelor's degree in business administration from what is now UMass Dartmouth in 1966 and that same year began a 34-year career with the Internal Revenue Service as an agent and group manager. A supervisor for 17 years, he received several outstanding performance awards, at one time receiving an award every year for five years. In 1994, as part of the "Excellence in Government" awards that were presented by the Boston Federal Executive Board of the IRS, he was recognized for "Outstanding Community Service" for non-job related activities. On his retirement in 2001, he was presented with the Department of the Treasury's Albert Gallatin Award, a commendation for exemplary public service, along with a citation from the White House signed by President George W. Bush.
His community service includes a great deal of involvement in Rotary Club projects. In addition, he coached Little League in Lakeville for four years in the '70s and went on to coach girls' softball four years. Several of his players were later on the Apponequet Regional High School team that won their divisional state championship. From 1965-1970 he also organized and served as player/manager for a Middleboro fast pitch softball team and in the 1960s he ran a men's industrial basketball league for the YMCA.
In 1973 he and former selectman Dick Fickert and other Lakeville residents formed the Lakeville Playground Association, with our honoree volunteering to prepare the paperwork necessary to create a non-profit organization. He did the same for the Lakeville Community Foundation, which he formed along with fellow Rotarian Peter Regas and eight other Lakeville residents in order to provide financial assistance to the town. He served as treasurer of that organization and was also a donor to the foundation. In 2006 he assisted in obtaining charitable tax exempt status for the Middleboro Century Fund, an entity established by Steve Stanley many years before to benefit the town.
Mr. Medeiros was one of five people who created the Middleboro Tennis Association, which has just completed its 39th year. Once again, he volunteered to complete the paperwork for the group's non-profit status. He served as treasurer and then became president of the association for 10 years. The MTA retains an active membership of 130 people and in addition to participating in a variety of tournaments each year the organization presents four scholarships to students graduating from Middleboro and Apponequet high schools. He continues to be active in the MTA and serves on its executive board.
Other community activity includes 45 years as a member of the Middleboro Lodge of Elks, an organization that serves the community through benevolent programs and charitable works and donations. He is also a life member of the Mitchell Memorial Club, a local non-profit organization dedicated to the perpeptuation of athletics, good sportsmanship and active citizenship in the community.


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However, while I might like nothing more than to slather my palate in sweetened eggy goodness, something more substantive (and savory) seemed in order. And so, we whipped up a batch of egg salad today. Hubs came across a suggestion on local greenhouse Eagledove's Facebook page recently suggesting the inclusion of baking soda when making hard-boiled eggs.
As an egg ages, the albumen in it shrinks, making it easier to separate the white from the shell after boiling. The longer you allow the eggs to age (typically at least one week, two being preferable), the easier they are to peel. Eagledove's suggestion helps to expedite this process. So, if you don't have the time to wait, or older eggs on hand when the urge (dare I say need!) to make egg salad strikes, you can still satisfy your craving without swearing at every bit of egg shell that just won't give up the ghost as you futilely attempt to peel them.
We gave the method a go. While it didn't completely make the shells slip off unencumbered, it definitely did help. We added in sweet relish (I've got a recipe in my book that was destined to go with egg salad), mayonnaise, olive oil, Dijon mustard, salt, pepper, lemon juice, capers, and my all-time, hands-down favorite herb blend, Herbs de Provence (we grabbed a jar when we were at the Lavender Festival).
Generously dolloped onto toasted wheat bread, crowned with lettuce from the garden (we like chopping lettuce finely and tossing it with a bit of vinaigrette or mayonnaise when we use it in sandwiches) & slivers of dill pickle, and nestled in with some pickled okra (you can find a recipe for that in my book, too), we decided being flush with eggs is not such a bad problem to have. Not bad at all.
Best Yet Hard-boiled Eggs
The Goods:
-One dozen eggs
The Deal:
1) Place a dozen eggs in a medium-sized pan.
2) Fill with cold water, at least an inch higher than the eggs.
3) Add a pinch of salt and a half teaspoon of baking soda.
4) Heat covered, over medium-high heat until the water comes to a boil.
5) Turn the burner off, and set a timer for 13 minutes.
6) About 2 minutes before the timer goes off, prep an ice water bath by filling a large bowl with ice cubes and cold water.
6) When the timer goes off, remove the eggs with a slotted spoon and gently place them in the ice water bath.
7) After a few minutes, when they have cooled, take them out of the water.
8) Gently crack each egg before peeling it carefully, submerging the egg in the bowl of ice water as you go, which makes it easier to remove the shell and get the last little bits off.
Herbs de Provence Egg Salad
The Goods:
-1 dozen boiled eggs, diced
-3 Tablespoons mayonnaise
-2 Tablespoons olive oil
-2 Tablespoons Dijon mustard
-2-3 Tablespoons sweet relish, to taste
-1 Tablespoon capers
-1 Tablespoon Herbs de Provence
-1 Tablespoon lemon juice
-1 teaspoon sea salt
-Several grinds black pepper
The Deal:
1) Combine the ingredients in a medium/large mixing bowl, stirring well to make it a bit creamy.
2) Let it sit for a few minutes before serving to give the flavors a chance to meld.


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Waiting by Ha Jin: 11/8/07
– A Novel by Ha Jin
17 of us met to talk about Ha Jin's book, and most comments were very positive. I was not so enthusiastic about it, however, which may explain the ridiculously long time it's taken me to post this summary!
Many in the group were fascinated to read about life in China during the Cultural Revolution. In Never Let Me Go the protagonist's passivity drove people crazy, but in the case of Lin Kong, it seemed to make sense, given the power of centralized political, economic and social control in China at the time. We struggle to imagine living in a place with strict rules governing every aspect of our existence, from our job assignment to which people we are allowed to walk with and where.
Our group generally empathized with Lin's disappointment with his situation and with himself. We noted that his gentlemanly behavior poorly hides his fear and selfishness. At the same time that he is trying to get along well with everyone, he is causing great pain to the most important women in his life.
J told us about the interview with Ha Jin she heard on the radio that very morning, and talked about the culture of shame to which Lin belongs, where the power of other people's opinions can be crushing.
JS pointed out that the story can be seen as a tale of urban versus rural cultures. To be from the country seems so shameful to the urban educated Lin. But his ex-wife Shuyu – illiterate, with tiny bound feet – is the one who is able to adapt well to life in the city when she finally gets there, and she's the one who knows how to treat his new wife's seriously ill babies. In the end, Shuyu strikes us as the strongest character, even though she also seems the most subservient.
Shuyu went through years of pain to have her feet bound, creating perfection to be shown only to her husband, only to have him refuse to look at them. She gathered the courage to offer herself to him so that she could give him a son, only to have him send her back to her own bed.
Speaking of beds, TL wondered about the brick beds they slept on. Turns out they're known as Kang, and they are heated from underneath!
As CS said, the book raises many questions. For us these include: What does it mean that the one violent and ruthless character is the one who achieves fame and riches? How could Lin have so little insight into himself? Does he really learn to appreciate Shuyu or is he just in love with waiting and yearning for the greener grass on the other side of the fence? Are we also sometimes in love with waiting? Why wasn't Lin able to try bringing Shuyu along with him, teaching her to read and to live in the city? And JW wants to know what about all the insects flapping around the characters in this story?
|Ha Jin
|Interview with Ha Jin
|Review of Waiting
|For more articles on Ha Jin and his books, tryInfotrac Onefile, available at the library,or from home (with a Minuteman Library Network card).
|*Wikipedia on Ha Jin
|*Other Books by Ha Jin
|*New book released October 30, 2007: A Free Life


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One Direction Hang With Big Bird at 'Sesame Street' [PHOTO]
Can you tell me how to get, how to get to Sesame Street? Well, if you're Niall and Zayn and Liam and Louis and Harry of One Direction, you follow that big yellow bird!
One Direction will appear on next fall's 45th season of 'Sesame Street.' So put that in your hard drive, Directioners. It's going to be a great ep of the popular kids show when 1D appear.
While that's a long time to wait and see the boys interacting with Oscar the Grouch, Cookie Monster, Elmo, Snuffleupagus and crew, a photo of their hang sesh with Big Bird has been released. That should tide Directioners over...for now.
The boys look quite at home hanging on a stoop with Big Bird. A Big Bird is beyond storked, er, stoked to hang with 1D. We think Big Bird is a Directioner. Look at that smile on his big yellow face.
Too. Much. Cuteness. For. One. Pic.
We think it's high time that 1D open the ranks of the band and allow another member to join. Big Bird fits the bill.


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Podcast: Play in new window | Download
Subscribe: Apple Podcasts | Android | RSS
Heavy Metal Historian
Episode 54:
In our 3rd part of this series, we continue examining album cover art with a different kind of episode in which we interview artist Felipe Machado Franco; who does amazing work for the likes of Blind Guardian, Rage, Iron Savior, Rhapsody of Fire, and more. In the discussion, we explore how cover art is important to heavy metal overall.
Hosted by Greg Davies, the Heavy Metal Historian Podcast delivers to you snippets of tales from years gone by in the world of Metal, one episode at a time.
Clips and Sources
Metal News Links
CONVERGE Release New Song: "Reptilian"
DAVE GROHL has a sweet CHRISTOPHER WALKEN impression
GUNS N' ROSES, SLIPKNOT Members, Others React To Mass Shooting At Las Vegas Concert
GHOST Reveal Creepy "PAPA EMERITUS ZERO" Who Warns "The Middle Ages Have Begun"
KISS, POISON, SEPULTURA Members, Others React To Reports Of TOM PETTY's Death
MARILYN MANSON Crushed by Stage Prop at NYC Show, Gig Stopped Mid-Set
METAL CHURCH Drummer STET HOWLAND Diagnosed With Diffuse Large B-Cell Lymphoma
Understanding the DECAPITATED Case: An Interview with Attorney JEFFREY EINHORN
VINNIE VINCENT makes first public appearance in promo video
WHITECHAPEL are Working on a New Album
Recqommended Listening:
- "Twilight of the Gods" by Blind Guardan from Beyond the Red Mirror
- "A Kind of Magic" by Queen from A Kind Of Magic
- "Twenty-One" by Rage from 21
- "Rogue One" by Michael Giacchino from Rogue One: A Star Wars Story
- "Beyond the Horizon" by Dissection from Reinkaos
- "Flirtin' with Disaster" by Molly Hatchet from Flirtin' with Disaster
- "Victim of Changes" by Judas Priest from Sad Wings of Destiny
- "Peace Sells" by Megadeth from Peace Sells… but Who's Buying?
- "Trick or Betrayed" by Deicide from Once Upon the Cross
- "Shock Me" by Baroness from Purple
- "Soul Collector" by Destruction from Inventor of Evil
- "Breathing Lightning" by Anthrax from For All Kings
- "The Last Stand" by Sabaton from The Last Stand
- "Kingdom" by Devin Townsend from Epicloud
- "Stand Up and Shout" by Dio from Holy Diver
- "The Ninth Wave" by Blind Guardan from Beyond the Red Mirror
- "Heavy Metal Never Dies" by Iron Savior from The Landing
- "Riding the Storm" by Running Wild from Death or Glory
- "Kings and Glory" by Power Quest from Sixth Dimension
- "Sabbra Cadabra" by Black Sabbath from Sabbath Bloody Sabbath
- "Domination" by Pantera from Cowboys from Hell
- "Hollow" by Pantera from Vulgar Display of Power
was performed and written by AGAINST 72 – used with permission


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Satin Touch 20 Knee-Highs
€ 15,00
The glamorous brilliance transforms these transparent knee-highs from a daily addition into a sophisticated accessory that lends an individual tone to any outfit. Beautiful when combined with trousers and long skirts.
- Wide, soft comfort band
- Barely visible shadow toe reinforcement
Order Today: Estimated Delivery Date 02/10/2020
- main material 92% nylon, 8% elastane


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Jim Shook
Lecturer, Industrial Design
Jim Shook has a broad career in industrial design including automotive design for General Motors, mass transit design for Bombardier, industrial and consumer products for FMC, and technology products for Tandem Computers (now HP). He and his design teams have received 35 international design awards including IDEA gold, Hannover Fair Gute Industrieform Gold, and the Japanese best foreign product design award. As the founder and principle of Shook Design (a full service Industrial Design Firm established in 1998) his group has designed and prototyped many transportation and consumer products. For the San Francisco Bay Area his most significant contribution is the design of the Cal Train (Baby Bullet) and Altimont Commuter Express (ACE) train as well as the San Jose Light Rail Vehicles.
He has been teaching since 1981 at a variety of Bay Area institutions including Stanford
University, San Jose State University, and the Academy of Art University. He has been
a Vice President and National Board member of the Industrial Designers Society of
America (IDSA). As an entrepreneur he has founded Zebra Motors (an electric car company)
and has produced and marketed his own products. Currently Jim teaches our Foundation
drawing course (DSID 22) and also teaches Advanced Industrial Design (DSID 125).
Company website: http://www.shook-design.com/
Education: BSID Industrial Design San Jose State University. MBA courses at Wayne State University and Cal Tech Pomona.