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|Yale-New Haven Teachers Institute
Jane K. Marshall
Students are often not aware of the existence of levels of understanding since they do not experience comparable extended analysis in everyday life. This unit will introduce a method of analysis in which students participate actively from the beginning. They will be encouraged to express ideas of their own from the start. They will also be encouraged to explore additional ideas which will build upon their first discoveries. This will enable them to realize the existence of levels of meaning through their own creative mental processes.
A method which takes one beyond superficial engagement with material does in fact already exist. Professor Jules Prown, of Yale University, has developed a method of object study which engages the student in a stepbystep approach to learning. As a member of his ōTime Machinesö seminar, I have learned much about various cultures through the application of his method to artifacts. I believe that the method can be applied to mentifacts as well; that is, a comparable methodology can be used effectively as a means for better understanding short stories and poetry and the cultures which produced these art forms.
The material culture methodology allows the student a comfortable approach to objects. The student learns to see more, and thus is better able to appreciate the art form. Ultimately, he is led to consider the culture behind the work. The student moves from the specific to the general, and in the process becomes a historian of sorts. He learns to recognize details, and to appreciate the significance of details. Finally, he is able to place the knowledge in its proper cultural perspective. The study of culture becomes an active experience for students. They do not learn about cultural beliefs in a passive lecture-hall setting, but rather discover meanings actively on their own.
In this unit my students and I will study twentieth century British culture through short stories, poetry, and paintings. I believe this broadbased approach will enable students to understand better the particular place and period. In addition, such an approach may serve to delineate more fully the allimportant learning process. I believe the methodology will be accepted quickly by students if it is introduced initially as a visualthinking skill. We will begin our study of twentieth century Britain by learning how to read/decipher the meanings of paintings. An explanation of Professor PrownÆs methodology follows:
The second stage, deduction, enables the viewer to relate to the painting; that is, he becomes empathetically involved with what is depicted. It is at this stage that students will be encouraged to voice their own initial ideas about the painting. Deduction involves three steps: sensory engagement, intellectual engagement, and emotional response. Sensory engagement asks that the viewer project himself into the picture to imagine what he would see, hear, smell, taste, and feel. Such an activity provides a nonthreatening beginning for student articulation. Intellectual engagement poses various questions such as ōWhat is the time of day?ö and ōIn the relationship between ourselves and the depicted world, where are we positioned?ö The third step calls for the viewerÆs emotional response. Reactions may vary, but often it is found that this subjective response is shared by many. This shared response is significant and says something important about the painting at hand. At this point students will take part in a discussion of their responses which will promote deeper involvement with the process of studying.
The final stage is speculation. The viewer attempts to speculate about the culture which produced the work. One develops theories and hypotheses to explain the ōeffects observed and felt.ö This stage will enable students to discover what it is that makes up a culture. I believe that important questions will naturally arise at this point, and that students can provide answers to these questions. Such answers will reflect the artistÆs articulation of beliefs. Students themselves will have discovered unique cultural phenomena, and their awareness of this discovery should be very much in evidence.
The threelevel approach described above does not end the study of the painting. The viewer is slated to move to external evidence which will support the internal evidence uncovered through description, deduction, and speculation. I will discuss this more fully later in the unit.
Just as a quick glance at a painting affords the viewer little in the way of intellectual or emotional stimulation, so too does a quick reading of a poem or short story engage and/or enlighten the reader only in a very minimal sense. Paintings, poetry, and short stories compact experience by way of their imagery and structure. In order to ōunpackö a poem or short story and experience it, one must provide time. (Now to convince the student to slow down and smell the roses.)
Students can transfer the stance learned in the visual process to their encounters with literature. As Cleanth Brooks and Robert Penn Warren suggest in Understanding Poetry, ōpoetry is concerned with the world as responded to sensorially, emotionally, and intellectually.ö Thus the material culture methodology can be neatly, albeit partially, transplanted to the study of (some) poetry; this approach will provide a ōbridgeö of sorts for students. An explanatory lesson for the analysis of poetry follows. (The particular poem was chosen for its brevity; the method seems to work with some other poetry as well.)
(given to students untitled)
The first stage involves description or a listing of all objects mentioned through the imagery of the poem. (Nouns come first in the structure of the English language; students should follow a natural thinking progression in describing what is articulated in the poem.)
- He clasps the crag with crooked hands;
- Close to the sun in lonely lands,
- RingÆd with the azure world, he stands.
- The wrinkled sea beneath him crawls;
- He watches from his mountain walls,
- And like a thunderbolt he falls.
One would exclude, at this point, any emotional authorial comment, for such sophisticated ideas belong to a later stage, deduction. Action verbs will be omitted as well; this allows students an uninterrupted focus on specific details (nouns). In the second step of this stage students are deliberately ōslowed downö as with paintings. They are asked to focus their attention on one poetic device. This enables them to give maximum attention to detail.
A. Listing 1. crag 2. crooked hands 3. sun 4. lonely lands 5. azure world 6. wrinkled sea 7. mountain walls 8. thunderbolt
Stage Two Allows the reader to take a deductive stance. (Verbs may now be noted. Students are now asked to make note of another poetic device, personification.)
B. Simile like a thunderbolt
At this point the reader experiences sensory imagery by noting and imagining the various projections of the senses.
A. Listing 1. clasps 5.watches 2. ringÆd 6.falls 3. stands 4. crawls B. Personification -wrinkled sea beneath him crawls
Intellectual queries follow.
C. Sensory Imagery (some examples) 1. claspsŚtouch 3.ringÆd with azure worldŚsight 2. crooked handsŚsight 4.wrinkled sea crawlsŚsight
The next step calls for emotional response. (How does what is being described make you feel?) Presumably there will be some shared response; if so, both the teacher and the students will feelconfident that they are on the right track.
D. Intellectual queries 1. Where is this? (mountain top) 2. What is described? (eagleŚsee metaphor/ōcrooked handsö)
The third stage, speculation, may not give definitive answers as to the culture which gave rise to the poem. Certainly, though, the student can develop theories about the poetÆs relationship with his world. These may remain theories, but should serve to enhance the studentsÆs engagement with the work and with his/her own mental processes.
E. Emotional Response 1. lonely 2. powerful
(Note: Answers to questions/responses in Stage Two (D&E) were provided above, and questions in Stage Three were made ōleadingö in nature in order to expedite the explanation of the methodology. Teachers should be restrained in asking students leading questions or providing answers. Given time, and through discussion, students will work into an appropriate analysis of their own.)
A. Why did the poet choose to describe the eagle? (Interested in qualities of?) B. Is the poet making a statement about power? Is it lonely? Note verbs again. When one is connected with power, must one watch? clasp?
At the very least, this method of approaching poetry which is related to traditional ōnew criticismö will slow students down and give them a scheme of sorts which might serve to reduce the anxiety associated with studying poetry. More importantly, I believe it will allow new insights to emerge, and that is the point of study in the classic sense of the word.
A variant methodology for approaching the short story is also possible. Such methodology would necessarily involve multiple readings of the story. The first reading would require a literal response to the work. ōWho? What? Where? When? Why?ö type questions might be asked of students. Together students and teacher would write a summary of the basic plot of the story. (This summary describes the story.) Students would then be encouraged to take note of figurative language and/or recurrent images employed by the writer. A second full reading of the story would lead to sensory, intellectual, and emotional deductions. At this point students would be familiar enough with the work to be able to articulate its theme(s). Finally, students would be asked to speculate as to the culture behind the work. An appropriate question to ask students would be ōHow does the author see his world?ö
Reprinted by permission from The Centruy of Change: British Painting Since 1900, by Oxford, England: Paidon Press Limited, 1977.
I believe that students would benefit by studying specific pairings of paintings and works of literature, for this dual analysis of the visual and written would enable them to understand the learning process better. Paired study would also provide students with varying experiences or two ōkeysö which would facilitate their discoveries of the cultural beliefs (of twentieth century Britain). Therefore my students will compare and contrast visual and written works of thematic similarity. (Students might be encouraged to think about what impact each medium, in its own way, affords the astute student of literature and the arts. Also, they might consider what a painting can say that literature cannot, and vice versa.)
This unit includes two examples of particular comparisons which follow the methodology heretofore explained. However, the unit also provides suggested pairings which I have not studied. It is important that students and teacher have the experience of studying together; such an approach might yield an important element of freshness or excitement in learning.
(Note: The pairings which directly follow provide the teacher with extensive analyses of four works. Such analyses serve as particular examples of the methodology at work. They also provide the timeconstrained teacher with ready material for the classroom. However, the methodology is most enjoyable when applied to ōnewö material; I hope that teachers as well as students will be ōturnedonö by the method and will want to try it out for themselves.)
Painting: The MerryGORoundŚMark GertlerD.H. Lawrence wrote of GertlerÆs The MerryGoRoundö(with its) violent mechanized rotation and complex involution, and ghastly, utterly mindless human intensity of sensational extremity, you have made a real and ultimate revelation. I think this picture is your arrivalŚit marks a great arrival.ö2 Having now spent some time studying both The MerryGoRound and LawrenceÆs own ōThe RockingHorse Winnerö, I have concluded that the insight stated above is in fact expressed distinctly, albeit differently, in both works of art. Studying the painting, which was completed some years prior to the writing of the story, enabled me to see ōThe RockingHorse Winnerö more clearly. As I concluded my study, I couldnÆt help but wonder whether GertlerÆs masterpiece was the impetus forŚor in some way gave rise toŚLawrenceÆs story.
Short Story: ōThe RockingHorse WinneröŚD.H. Lawrence
The following section is divided into the three steps alluded to in the previously discussed methodology: description, deduction, and speculation. The description stage of studying a painting requires much time. Each detail that I noted will not be listed here. Rather, I will make mention of the specific descriptions which proved to be relevant to the experience of the entire process of the method. However, it is important that users of this unit not take a ōshort cutö or ignore the process of listing all that can be seen. To do so would be to undermine the process of the study of the painting.
Descriptions The viewer notes that virtually the entire canvas is filled. Sixteen men and women are depicted on horseback within a carousel. All but one man are shown in groupings of three, and all but the single rider face the viewer frontally or in profile. The elongated funnelshaped top of the carousel hides the tops of some ridersÆ heads. Near the bottom of the painting a crescentshaped frame continues around and in back of the horses and riders, encircling them. Seven vertical poles appear to be attached to the top; they are visible behind the horses and riders and meet the bottom crescentshaped piece. The trios of figures are situated in such a manner that all are visible; they lean forwards or backwards alternately, allowing this visibility, while the horses are more nearly parallel. All of the visible figures are openmouthed as are the horses. The costumes of the riders vary. Many wear hats, and some of the men are dressed in military uniform. At least one of the groups of riders is composed of clonelike figures. Riders in other groupings are not identical, but are similar. All of the figures look stiff or dummylike, and they appear to be gazing straight ahead. Strange banana shapes can be seen above and behind the top of the carousel; the poles previously mentioned do not appear to be connected to the horses.
Twodimensionally, the painting contains conflicting horizontal and vertical lines. The horses themselves project horizontal lines, and the horse grouping creates an oval shape; the vertical riders form another overlapping oval shape. The crescentshaped bottom and the top provide additional horizontal lines which are met by the vertical poles. Threedimensionally the carousel forms a cylinder. All of the riders and horses are enclosed within this structure. Bright primary colors, blue and red, dominate in this painting. The texture of the canvas is smooth.
Deductions This painting elicits an intense sensory reaction. One can imagine hearing the screams of the openmouthed riders, repetitive music, and the mechanical sound of the carousel at work. One can also imagine what it would feel like to be on this carousel. It would be like being pulled into a vortex. It seems to be only a matter of time before the centripedal force of the mechanism will pull top and bottom together crushing the inhabitants of the merrygoround.
Intellectual deductions focus on the experience of the riders. The patterned positions of the people depict a total surrender of movement to the carouselÆs mechanism, The expressions of the riders, the openmouthed smilelike grimaces, seem to indicate that the experience of riding on this carousel is one of agitation.
My emotional response to The MerryGoRound is quite unpleasant. When I imagine myself as a rider on the carousel, I feel dominated by the machine. I have little or no freedom of movement. My response to the experience is one of excitement, but not one of pleasure. I cannot leave the carousel when I wish; essentially my experience is totally reactive (though I might not be aware even of this). As an observer of the scene I am troubled by the movement of the carousel. Watching the participants causes me to respond with a feeling of dizziness or a loss of equilibrium. One could be mesmerized by this mechanized ride. The individuals on the carousel become a blur. The dominant colors of blue and red retain their conflicting values because they are intensely oppositional.
Speculation The MerryGoRound seems to depict the horror of a society dominated by machinery or a mechanistic condition. The subjects of the painting are mindless people caught in and controlled by a mechanized environment. They retain little individuality. The varying clothing seems to underscore the power of the mechanistic experience by implying that these people were individuals before they were homogenized by this experience. Their clonelike quality is more a matter of expression and position than of dress or physical description.
The entire mechanism of the carousel is sinister. The riders are caught between the heavy top which appears to be moving downward in a crushing movement, while they experience a disorienting repetitive motion. The horsesÆ openmouthed expressions seem to reflect some evil intent. Even the bananashaped clouds conform to the shape of the carousel, creating an aura of claustrophobia and/or destruction.
The painting in its essence emphasizes sensational experience. The participants are not, however, engaged intellectually with this experience. The ride is a seemingly neverending climactic eventŚharsh in its denial of individual response. The very colors used in the creation of the painting echo this harshness. They are not natural, but rather are garish, oppositional, and unnerving. The horizontal and vertical configuration underscores the harsh quality of the painting; one can almost hear the sound of the grinding gears of the ultimate machine. The MerryGoRound thus depicts the conflict and pain of a mechanism given complete freedom. The human participants appear to have lost intellect, heart, and soul; they have become more extensions of the machinery itself, and all seems hopeless.
Does the artist intend to warn us of manÆs ultimate surrender to machine? Are we fast becoming rats on a turning wheel? Does the world feel more manmade and less natural? People are in hot pursuit of marketable pleasures. Perhaps Gertler wished to warn twentieth century man of the ōdownsideö of scientific progress. The MerryGoRound seems to portend the demise of individuality and humanity.
(Note: Students may need to go through several levels of speculation before linking the metaphor of the carousel to the grinding mechanism of society.)
ōThe RockingHorse Winnerö
Description Basic Plot
The story opens with a fairytalelike description of a mother who cannot feel love for anybody. Though she overcompensates in loving actions toward her children, they too are aware of her lack of true feeling. We soon learn that the family endures yet another lackŚa lack of money. An unspoken phrase, ōThere must be more money!ö haunts the household as an incessant whisper. Early on, Paul, the oldest child, asks his mother why there isnÆt enough money and is told that the family has no luck. Determined to please his mother, he announces that he is lucky, but is not readily believed. In response Paul commands his rockinghorse to ōtake him where there is luck.ö His ride is described as a ōmad little journey.ö
On another day PaulÆs uncle observes PaulÆs ride and learns that Paul ōhas gone where he wanted to go.ö The rides provide Paul with the names of winners in various horse races, and Paul has been betting and winning regularly. The uncle becomes a partner with Paul and Bassett, the young gardener who places bets for Paul, because Paul views the uncle as also lucky. PaulÆs first winner occurred with a tenshilling note given to him by his uncle. Paul also insists that no one else become aware of the partnership. The uncle, skeptical at first, soon realizes that PaulÆs intuition for calling a winner is uncanny.
When the uncle asks Paul what heÆs going to do with his money, Paul replies that the money is for his mother, and that he wishes to stop ōthe whisperingö. As Paul does not want his mother to know what he has been doing, the uncle arranges with the family lawyer for the money to come to her from an ōunknownö relative every year on her birthday. On the day that his mother is to receive the first installment of the money, Paul anxiously awaits her happy response. He is disappointed, however; the gift is described by her as ōquite moderately nice.ö The mother also confers with the lawyer, for she wants all of the money at once. This Paul agrees to.
Soon the voices in the house go ōmad.ö The money is spent lavishly and ōthere must be more money!Śmore than ever!ö Paul becomes frightened and is unable to call the next two races. His mother notices that he is overwrought and suggests that he go to the seaside, but Paul is adamant that he remain in the house until after the Derby. In the meantime Paul has had his rockinghorse moved up to his room.
On a particular night the mother is more than usually anxious about Paul and returns home from a party to find him madly riding his rockinghorse. In a strange and powerful voice, Paul screams, ōItÆs Malabar!ö, and then falls unconscious from the horse. Paul is described as having brainfever. After he is told that Malabar has won the Derby, Paul tells his mother that he is lucky, and dies. The story ends with the uncleÆs statement: .ö .heÆs best gone out of a life where he rides his rockinghorse to find a winner.ö
The second step in the first stage of the short story description requires the student to list recurrent descriptions. It is important, as well, to take note of the authorÆs use of figurative language such as simile or personification. Perhaps the most important of the recurrent descriptions in ōThe RockingHorse Winnerö are PaulÆs repeated ōmad journeysö on the rockinghorse. We experience no less than four of these descriptions, which become more detailed as the story progresses. PaulÆs eyes are repeatedly described as well. Again, the descriptions become more intense during the course of the story. Initially PaulÆs eyes are described as ōbig, hot, blue,ö later they are ōblazing with a sort of madness,ö and, finally, they become burnedout ōblue stones.ö Apparently in keeping with the fairytale motif alluded to in the plot summary, the number three turns up throughout the story. The mother has three children. Three partners engage in betting on horses. Paul dies on the third day of his illness. The use of metaphors or similes is spare but important. Betting on horses is, in PaulÆs words, ōsure as eggs.ö PaulÆs eyes are likened to fire or a blaze. There is also a curious use of personification near the beginning of the story. The childrenÆs toys are able to hear the whispering in the house; ōthe big doll, sitting so pink and smirking in her new pram, could hear it quite plainly.ö
Deduction: The viewer becomes aware of things heard and things felt. One can imagine the sound of the whispering throughout the house. Near the end of the story the sound of the mechanism of the rockinghorse becomes audible;ö ... it was a strange, heavy, and yet not loud noise. Something huge, in violent hushed motion. PaulÆs rides can be imagined too by the reader. Though we remain observers of the frenzied mechanical motion, we can, at least to some degree, feel the vehemence of the experience.
Paul attempts to fill the void in his motherÆs life by winning money. But, his mother does not become happier; rather, she continues to want more. Paul is ultimately destroyed by his need to please her. His strange rides on the rockinghorse are allconsuming. His spirit is inflamed during these experiences, and ultimately both his spirit and body are burned out by their energy. There is no love in this story. There is misguided emotional agitation which ends in destruction or death.
This story has been called a horror story; it is for me horrific and yet unreal. I have feelings of regret. I feel pity for the boy, and anger for the mother. Yet, I also feel distanced from the experience in some way. This is a fairy tale or an allegory. One is aware primarily of the intellectual responses: this is a picture of a loveless world.
Speculation D.H. Lawrence seemed to be aware and uneasy about the materialistic concerns of twentieth century (English) society. PaulÆs mother, Hester, is a woman who is passionately concerned about image. She wants to appear the good mother. She wants material things to prove she is an important member of society. The ōcenter of her heart (is) hard,ö for she has no identity, and knows no love, She i6 like her childrenÆs toys. She and the toys are capable of sensory experience, yet, neither possesses ōheart. ōHer neurosis is passed on to her son who can only react to her needs in a magical but mechanistic way. The ultimate tragedy is that he forfeits his life. HesterÆs marriage is described as one of ōlove turned to dust,ö and in the end the product of this marriage, Paul, too turns to dust. The simile, betting on horses was ōas sure as eggs,ö then expresses a strong, ironic meaning.
It seems (and others have noted) that Lawrence was intrigued by the meaning of sexuality. One can read PaulÆs rides on his rockinghorse as incestuous longings for his mother. Mark Spilka in The Love Ethic of D.H. Lawrence sees ōThe RockingHorse Winnerö as a ōfrontal attack on Freudian psychology.ö ōIncestcraving is never the normal outcome of the parentchild relationship, but always the result of impressions planted in the childÆs unconscious mind by an unsatisfied parent. But therefore oedipal love is mechanistic, and if mechanistic, then destructive and abnormal in itself.ö3
Questions which ultimately arise after studying ōThe Rocking Horse Winnerö mirror, to some extent, those mentioned previously in connection with The MerryGoRound. Is man becoming more robotic because of his abnormal craving for material things?
Reprinted by permission from The Century of Change: British Painting Since 1900, by Oxford, England: Paidon Press Limited, 1977.
Are we becoming (solely) participants in mere mechanistic pleasures? Both painting and short story depict a spiritual or aesthetic void in the life of modern man.
Painting: We Are Making A New WorldŚPaul NashBoth We Are Making A New World and ōEpitaph on an Army of Mercenariesö reflect views of war circa 1918. Gone are the heroic imaginings evident in earlier poetry and printings; the reality of the pain and destruction of war is evident in both works.
Poem: ōEpitaph on an Army of MercenariesöŚA.E. Housman
Description Virtually the entire canvas is filled with land structures. The foreground is comprised of a random pattern of hillocks and holes; the holes are of varying shapes. One uprooted tree lies diagonally across the left side of the foreground. The middle portion of the painting consists of a grouping of shattered but standing treetrunks. Some branches are visible, but appear to be broken; they hang lifelessly pointing toward the earth. Other branches are simply partial stubs, Many shadows are also visible in this middle portion of the painting. The background of the painting depicts additional treetrunks and holes in the land. (This repetitive scene stretches toward the horizon.) Behind the trees are bare mountainous forms over which a brilliant setting sun diffuses its rays.
Intersecting lines comprise the twodimensional organization of the painting. Many triangular shapes are evident. Threedimensionally the painting projects small, undulating, rounded forms in the foreground, rounded vertical shapes in the middle-ground, and large undulating masses in the background.
Deduction Initial sensory reaction to this painting is visual. The viewer first notes the sombre broken forms (earth, trees) of the foreground, and the brilliant light of the background. All seems quiet; one cannot imagine hearing anything in the context of this landscape. One can imagine smelling the odor of death and decay, for everything in the painting appears to be dead.
We are viewing the aftermath of some climactic event. We might initially assume that the painting reveals some form of natural destruction (earthquake). The holes in the foreground specifically remind us of shellholes, however, and the title, We Are Making A New World, strongly suggests that man, not nature, is responsible for the destruction.
When I project myself into the painting I feel desolate, depressed, and lost. I cannot travel easily among the holes and hillocks, and food and shelter cannot be found. The utter hopelessness of the environment cannot be borne. The brilliant sky reminds me of blood and stands opposed to the dark shadows and trees; such contrast underscores the aftermath of the horrific conflict portrayed.
Speculation We Are Making A New World depicts the aftermath of a holocaust. It is a bitter painting whose thematic statement is that all war is senseless. The very land which is fought over is destroyed in the fight. Nothing lives. The twodimensional organization of the painting is one of triangles which remind us of many directions; these shapes do not denote cohesiveness or agreement. Rather, they imply disagreement or conflict. Ultimately, the viewer is left with only one question, why? The British poet and critic Herbert Read once described the aftermath of battle. His statement, which is placed alongside the reproduction of the painting in The Century of Change, perhaps captures best the impact of We Are Making A New World. ōAll was black and upriver. In the valley the shellholes were full of water and reflected the harsh sky. DevilÆs Wood was a naked congregation of shattered trunks, like an old broken comb against the skyline. This was his earth. . . Now riven and violated, . . . a black diseased scab, erupted and pustulous.ö 4
ōEpitaph on an Army of Mercenariesö by A. E. Housman
- These, in the day when Heaven was falling.
- The hour when earthÆs foundations fled,
- Followed their mercenary calling
- And took their wages and are deed.
- Their shoulders held the sky suspended;
- They stood, and earthÆs foundations stay;
- What God abandoned, these defended,
- And saved the sum of things for pay.5
Both painting and poem were created prior to the development of the atomic bomb; both works indicate that life continues after war. Though man may ravage the landscape in We Are Making A New World, someone lives to see the sun rise. Despite the imaginings of the end of the world in ōEpitaph on an Army of Mercenariesö (ōearthÆs foundations fledö/ ōheaven was fallingö), ultimately ōearthÆs foundations stay.ö Man may view himself as all powerful or ōGodlikeö in both works, but in the end he is unable to make a new world or, for that matter, completely destroy what has come before himŚhe is more likely destroyed himself instead.
I. Stage One A. Listing (nouns) 1. day 7. shoulders 2. heaven 8. sky 3. hour 9. God 4. earth 10. sum 5. foundations 11. things 6. wages 12. pay B. Allusion/ Personification (Atlas) ŚTheir shoulders held the sky suspended.
- II. Stage Two
A. Verbs 1. falling 2. fled 3. calling 4. followed 5. took 6. to be dead 7. held 8. abandoned 9. stood 10. saved 11. defended
- B. Sensory Imagery
1. heaven falling (sight) 2. earthÆs foundations fled (sight, tough/feel) C. Intellectual Queries 1. What is described? (war) 2. Who is fighting? Why? (mercenaries/money) 3. What is the result? (country defended/mercenariesÆ deaths) 4. What are the ōsum of thingsö? (fragments of what existed before?) D. Emotional Response 1. bitter/angry 2. senseless/horrific feeling 3. ironic
- III. Stage Three
A. Why did the poet choose to describe mercenary soldiers? (Are all wars fought for money? out of greed?) B. Why did the poet make use of personification? Does man see everything only in his own limited/materialistic way? Has God abandoned man?Śor has man abandoned God? Does man see himself as God?(Atlas) What is the result of playing God? (destruction)
For reasons alluded to earlier in this unit, my students and I will simultaneously discover various twentieth century societal beliefs through engagement with specific art forms. The following pairings of literature and paintings might also form interesting study units, though I have not as yet worked them up as such. Such pairings could be used to enhance the understanding of a theme; the students would have an opportunity to put to use ideas learned from one study into play again immediately in another. A brief thematic statement follows each grouping.
The IdentiKit ManŚDerek Boshier
ōThe Unknown CitizenöŚW.H. Auden (poem)
(Anonymity is a byproduct of modern societal systems; the experience of anonymity may be harsh in its sterility.)
Storm in the JungleŚEdward Burra
ōThe Truth About PyecraftöŚH.G. Wells (short story)
(Values espoused by twentieth century society are absurd; the lifestyles of ōimportantö members of society can (should) be easily satirized.)
The Chess PlayersŚMerlyn Evans
ōThe Wastelandö (Part ThreeŚA Game of Chess)ŚT.S. Eliot (poem)
(Relationships among twentieth century men and women may consist of games of sexual intrigue; the outcome of such gameplaying is stalemate, sterility, death.)
I. Explanation of Methodology (WhyŚdescription, deduction, speculation?)
It might prove useful to ask students to analyze a painting prior to learning the method. (What is the theme of this painting?) Students may be able to respond intuitively to the work, yet many important details and ideas will presumably be left out. Important omissions will become evident during the course of the (followup) enactment of the method. Obviously, students should not be made to feel inadequate. Explain that studying art requires time and patience. The human eye/brain cannot instantaneously record everything depicted in a painting. More importantly, the meanings of details are often not readily available to the viewer. Explain that the method enables the viewer to study logically what is before him. Emphasize that the method is not for the novice, but is used by Yale professors, critics, and historians, among others.
Students will be required to slow down and study painstakinglyŚperhaps for the first time. Such an attitude can be learned, but it will undoubtedly take some time. Therefore it might prove useful to initially ōpracticeö with some works of art familiar to students. Past experience has taught me not to try to teach method and new content simultaneously. Often important content is lost in the first attempt of understanding method, and such content cannot be easily retrieved.
II. The MerryGoRoundŚMark Gertler
The basic lesson plan for approaching this work is imbedded in the previous discussion of the painting. Students will work through the description, deduction, and speculation phases of the methodology. The following examples of questions may need to be asked of students to insure that they make the necessary connections in their thinking about the work.
1. How are the people positioned? 2. Describe their expressions, dress. 3. What exists outside of the merrygoround? 4. What shapes are inherent in the painting? 5. What sort of lines exist in the painting? 6. Compare/contrast the people and the horses. 7. Describe the colors used in the painting.
1. Imagine you are a rider on the merrygoround. What would you see and hear? 2. What are the reactions of the riders to the experience of the merrygoround? How do you know? 3. What would it feel like to be a rider? What would it feel like to watch the riders?
1. What sort of experience is depicted? 2. Why are the individuals involved so similar? 3. What does the machine have to do with the ridersÆ responses? 4. What happens when men are dominated by machines? 5. Is twentieth century society mechanistic?
|ōThe RockingHorse WinneröŚD.H. Lawrence
A. Write a plot summary. B. Find examples of figurative language (simile, personification).
C. Discuss LawrenceÆs appeal to the senses (especially hearing). D. Relate the outcome of the story and reasons for this outcome. E. Tell of and explain emotional responses to the story.
F. Discuss LawrenceÆs main point. (How did Lawrence see his world?)
IV. Comparison/ContrastŚThe MerryGoRound/ ōThe RockingHorse Winnerö
Students should be encouraged to articulate similarities and differences between the two works. I believe the thematic similarityŚthe problem of a mechanistic conditionŚwill be ready apparent to students. Differences will then be noted. For example, students may feel that Lawrence is more particular in his delineation of theme. The story enables us to see the effect of a mechanized existence on one individual, Paul; The MerryGoRound, on the other hand, affords the viewer an image of its effect on a microcosm of society. A question should be posed: What did the painting ōsayö which the story could not, and vice versa?
V. We Are Making A New World/ ōEpitaph on an Army of Mercenariesö
It is probably unnecessary at this point to provide specific questions or outlines for studying these works. Again, students should follow the method, and when necessary the teacher should pose questions which will insure the completion of the method.
Following the analyses of the works, students will be asked to look at earlier war poetry which is of a heroic nature. The romantic recruitment posters of the period might be viewed as well. I believe that the obvious contrast between the earlier and later visual and written works will be quickly noted by students; most probably they will react by questioning this abrupt shift in outlook on war. Students will be encouraged to look at historical texts at this point in order to understand the mood of the country prior to the war. (What led Britain to welcome war?) The casualties and conditions of World War I should be assessed as will. We might then understand more fully the radical turnabout of mood evident in British war poetry of the early twentieth century. Such an exercise will also allow students to complete the material culture methodology. We will be noting evidence which will attest to our earlier analyses of We Are Making A New World and ōEpitaph on an Army of Mercenariesö.
VI. Closing the Unit/Creative Endeavors for Students
I believe that students best understand and remember study experiences which are in some way connected to their own creative impulses. Therefore this unit will conclude with a creative activity for students. They will be asked to depict a particular theme visually and in writing (short story, poem). Such an activity will require time, and thus becomes viewed by students as a major project. Students will be asked to illustrate emotionallycharged words: love, justice, war, etc. Visual expressions would include drawings or collages. (Students will be encouraged to experiment with color, shapes, line, etc.) Writing projects will follow which articulate in words that which was expressed visually.
Works of art and creative writing will eventually be shared in class. We will follow the method in endeavoring to uncover meanings projected in these works. Student artistswriters may be surprised to learn something new about themselves and their expression. They may see for the first time their own unconscious expressions of values. Such values will most probably reflect the culture of which they are a part. I believe that resultant discussions (which will follow our analyses) will prove exciting and enlightening for us all.
- The MerryGoRoundŚMark Gertler
- We Are Making A New WorldŚPaul Nash
- The IdentiKit ManŚDerek Boshier
- Storm in the JungleŚEdward Burra
- The Chess PlayersŚMerlyn Evans
- ōThe EagleöŚAlfred Lord Tennyson
- ōThe RockingHorse WinneröŚD.H. Lawrence
- ōEpitaph on an Army of MercenariesöŚA.E. Housman
- ōThe Unknown CitizenöŚW.H. Auden
- ōThe Truth About PyecraftöŚH.G. Wells
- ōThe Wastelandö (Part IIIŚA Game of Chess)ŚT.S. Ellot
1. Cleanth Brooks and Robert Penn Warren, Understanding Poetry, p. 9. 2. Richard Shone, The Century of Chance, plate # 50. 3. Mark Spilka, The Love Ethic of D.H. Lawrence, p. 80. 4. Richard Shone, The Century of Chance, plate # 53. 5. Reprinted by permission from Understanding Poetry, page 373, by Holt, Rinehart, and Winston, 1976.
This lengthy and marvelous book might serve as an especially useful reference for teachers of poetry.
Prown, Jules D., ōMind in Matter: An Introduction to Material Culture Theory and Method,ö Winterthur Portfolio, vol. 17, no. 1, Spring 1982, pp. 119.
This article is a ōmustö for teachers who wish to use this unit. The article will enable teachers to understand better the methodology and the theory behind this methodology.
Shone, Richard, The Century of Chance: British Painting Since 1900. Oxford, England: Phaidon Press Limited, 1977.
This book provides an extensive array of reproductions of twentieth century British paintings, and is the source of the paintings discussed in this unit. Useful commentary is often placed near the plates. Various time periods and ōschoolsö are also discussed.
Wilson, Simon, British Art from Holbein to the Present Day. Woodbury, New York: BarronÆs Educational Series, Inc., 1979.
This book presents a comprehensive survey of British art. Teachers may wish to use such a book when teaching eighteenth or nineteenth century British culture. Many fine plates are included.
Contents of 1985 Volume VI | Directory of Volumes | Index | Yale-New Haven Teachers Institute


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Blog: archive page
29 June 2011
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If you have the No. 1 overall draft pick in your fantasy league this year, the selection is easy.
You select Adrian Peterson.
Peterson rushed for 1,700 yards and 10 touchdowns last year. Peterson is a threat to reach 2,000 yards and double-digit touchdowns this year. He is the smart pick at No. 1.
This year, there has been a big change in the top running backs. Names like LT, Brian Westbrook, Clinton Portis, Joesph Addai, and Steven Jackson have fallen far on most projection sheets.
This year names like Michael Turner, DeAngelo Williams, Maurice Jones-Drew and Matt Forte are top this year.
So, which one do you take after Peterson?
(Note: The rankings of these players are not my opinion. Nor are they necessarily in the order I would rank them.
I took a projection sheet from a popular Web site. I chose a Web site that many will use in this year's fantasy draft. I felt that this method better fit this article.)


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The Alabama-based band with Celtic roots plays the third Wednesday of each month at the Alcove with dancers from the Alabama Academy of Irish Dance.
The Vulcan Eejits play acoustic instruments, but Alcove owner Chad Smith told us sometimes they have stringed instrument musicians who join them.
The Christmas party will be a little different from their traditional all-Irish sets.
"Tomorrow night is the second Annual Cove Celtic Christmas Party and in addition to their traditional tracks they will stomp out some Celtic Christmas sing-along classics," said Smith. "There will also be special musical guests from out of town sitting in for the occasion."
The music starts at 7:30 p.m. and ends at 10:30 p.m. at Alcove International Tavern, located at 730 22nd Avenue in downtown Tuscaloosa.


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According to a source close to Alabama, another name has emerged on the list of possible targets: Miami coach Frank Haith.
A young, fiery guy with a strong personality, Haith has a strong pedigree, but a resume that is solid-yet-unspectacular.
Today, his Hurricanes lost to Virginia Tech, relegating the Canes to the NIT. That means they have reached just one NCAA tournament in five years under Haith. Still, he has worked for coaches such as Rick Barnes and Skip Prosser. You'll read more about this in Kevin Scarbinsky's column tomorrow.
What do you think?
It's not clear how high Haith is on the list. He might, in fact, be on that next tier. But the word is he'd be open to such a move.
But wait!
What about interim coach Philip Pearson? He was asked today if he should get a shot.
"There really hasn't been any discussion about it," Pearson said. "When the change occurred back in late January, they just came and asked me to take over the basketball team. Do the very best I could with it. And I told them I would. Obviously this basketball program is very important to me. Something I've been a part of for a long time, and I've just kind of left it at that. We're doing the best we can. Just preparing, practice to practice, and game to game. We'll worry about all that other stuff some other time."


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Noted Jesuit theologian, b. at Oporto, 1536; d. at Tivoli, 28 January, 1608. At the age of sixteen, in 1552, he entered the Society of Jesus, and soon became celebrated for his philosophical and theological erudition. He taught both these branches at the Jesuit colleges of Cordova and Salamanca; in the latter place he numbered Francisco Suárez and Gregory of Valencia among his pupils. In 1593 he left the Society of Jesus and entered the Order of St. Dominic , but soon returned to his former companions. Father Alcazar (Hist. Prov. Tolet., I, 204) gives the following account of this incident. After Henríquez had printed in the preface of one of his theological works some passages not approved by the censors, Father Acquaviva ordered him to tear out the page containing these paragraphs. Henríquez felt so disturbed over this punishment that he obtained permission from the holy father to leave the society and enter the Dominican Order. It was Gregory of Valencia who advised him to return to his former associates. Father Henríquez is especially noted for two theological works: (1) The first part of his "Theologiæ Moralis Summa" was published at Salamanca in 1591, the second in 1593; the work appeared again at Venice, in 1597, and 1600; at Mentz, in 1613, under the title "Summa Theologiæ Moralis libri XV" etc. It was forbidden by decree of 7 Aug., 1603, donec corrigatur , because the author allowed confession (but not absolution ) by way of letter, and held opinions too unfavorable to the rights of the Church. In the "Summa", Henríquez treats only of the end of man, of the sacraments, and of ecclesiastical censures and irregularities; but he manages to find an opportunity of declaring himself against Molina's scientia media ; he defends the Dominican theory of physical predetermination, and of a predestination antecedent to the Divine foresight of our future merits. St. Alphonsus highly esteems the authority of Henríquez on moral questions, an opinion fully shared by Doujat in his "Prænot. canon.", V. xv. (2) Henríquez's second work is entitled "De pontificis romani clave, libri VI". It was published at Salamanca in 1593, but nearly all its copies were burnt by the Apostolic nuncio of Madrid on account of its allowing the king too much power over ecclesiastics. It is said that only three or four copies have been preserved among the rarities of the Escorial. The subjects treated by Henríquez in his second work are: the power and election of the Roman pontiff ; the authority of the councils; the question of law. The rarity of Father Henríquez's second work is the reason why some biographers consider its treatises as part of his "Theolgiæ Moralis Summa".
The Catholic Encyclopedia is the most comprehensive resource on Catholic teaching, history, and information ever gathered in all of human history. This easy-to-search online version was originally printed between 1907 and 1912 in fifteen hard copy volumes.
Designed to present its readers with the full body of Catholic teaching, the Encyclopedia contains not only precise statements of what the Church has defined, but also an impartial record of different views of acknowledged authority on all disputed questions, national, political or factional. In the determination of the truth the most recent and acknowledged scientific methods are employed, and the results of the latest research in theology, philosophy, history, apologetics, archaeology, and other sciences are given careful consideration.
No one who is interested in human history, past and present, can ignore the Catholic Church, either as an institution which has been the central figure in the civilized world for nearly two thousand years, decisively affecting its destinies, religious, literary, scientific, social and political, or as an existing power whose influence and activity extend to every part of the globe. In the past century the Church has grown both extensively and intensively among English-speaking peoples. Their living interests demand that they should have the means of informing themselves about this vast institution, which, whether they are Catholics or not, affects their fortunes and their destiny.
Copyright © Catholic Encyclopedia. Robert Appleton Company New York, NY. Volume 1: 1907; Volume 2: 1907; Volume 3: 1908; Volume 4: 1908; Volume 5: 1909; Volume 6: 1909; Volume 7: 1910; Volume 8: 1910; Volume 9: 1910; Volume 10: 1911; Volume 11: - 1911; Volume 12: - 1911; Volume 13: - 1912; Volume 14: 1912; Volume 15: 1912
Catholic Online Catholic Encyclopedia Digital version Compiled and Copyright © Catholic Online


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The Gloucester High School athletic program is losing a great coach.
They may also be gaining one.
At Tuesday's Gloucester City Board of Education meeting, head boys basketball coach Kevin Hagan's resignation was accepted. The Board also announced the approval of long-time assistant Ed Malone as the new head football coach.
"It's really exciting," Malone said. "It feels like a privilege to take over for Coach (Leon) Harris."
Malone graduated from Gloucester in 2000, playing four years of football, including two as a starter. He was a standout receiver and defensive back who still owns the South Jersey record for receptions in a game with 16. He's since been an assistant football coach for the Lions for the past 10 years, as well as serving as the head coach of the girls track team.
"When I was a senior at Gloucester, Coach Harris had told me that he thought I'd be a good coach," Malone said. "I had never really thought about it and I've really been there ever since.
"I feel like I'm ready to be the head coach. I've learned from some great coaches."
Harris hasn't left his post of AD at the school, but Malone isn't worried about the pressure of reporting to Harris. But he's certain his new position will come with added responsibility.
"I think any time you go from being an assistant to a head coach there is added pressure," he said. "Already being part of the program makes the adjustment period non-existent. There is no getting used to anything, we can really get started on the run. I think there will be a lot more pressure and a lot of the advice I've gotten from coaches is that you have to have thick skin.
"I'm looking forward to the challenge."
Hagan's decision to leave wasn't as easy as Malone's decision to move up. He's been with the Lions basketball program for the last five seasons and helped the team make great strides.
It was more of a career choice for Hagan, as he wants to concentrate on pursuing his Masters Degree and didn't want to leave the team in a bad spot if a different administrative opportunity arose.
"Leon and I had talked about it for the past few weeks," Hagan said. "It certainly wasn't an easy decision and it's one I kind of regret already. The timing was just right for me and for the team.
"When I took the job five years ago I wasn't really worrying about what I would do career-wise. Five years went by fast and I didn't want to put the team at a disadvantage if a position popped up in the summer or in November or even during the season and I had to leave.
"It was the right thing to do and it wouldn't have been fair if I had to leave."
Hagan credits a lot of his success to the players in the program, including senior Stefano Okoro.
"It made it a lot easier having a player like him," Hagan said. "We had a tremendous group of kids and that's what makes the decision so hard."
Contact Rob Edwards at 856-845-9478 or at email@example.com


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[Previous] | [Session 13] | [Next]
C. M. Lisse, D. J. Christian (Space Telescope Science Institute), K. Dennerl (MPE Garching)
We report on our Extreme Ultraviolet Explorer (EUVE) and ROSAT HRI photometric studies of close approaching comets, in particular Comets 2P/Encke and 55P/Tempel-Tuttle. EUVE observations of Comet 2P/Encke were obtained in July 1997 with the scanning telescopes and ROSAT HRI. Similar observations were obtained for Comet 55P/Tempel-Tuttle in January 1998. Extended, variable emission on the sunward side of the nucleus was found for both comets in the ROSAT HRI at 0.090 - 0.75 keV and in the EUVE scanner telescopes' Lexan B 0.090 - 0.28 keV and Al/Ti/C 0.050 - 0.16 keV bandpasses; useful upper limits were found in the Dagwood 0.020 - 0.040 eV bandpass. Similar to results obtained for other ROSAT detected comets, the emission morphology was roughly symmetric with respect to a vector from the comet's nucleus towards the Sun. The light curves from both comets showed a slowly varying baseline emission and large impulsive events. From the observed HRI count rates, we derive luminosities of 4x1014 erg sec-1 and 2x1015 erg sec-1 for Encke and Tempel-Tuttle, respectively.
Using the results of our EUVE and HRI broad band spectrophotometry, we have found that the Haeberli et al. (1997) charge transfer, plasma-dust, and attogram dust models of cometary x-ray emission are inconsistent with the data, while the Wegmann et al. (1998) charge exchange, 0.15-0.45 keV thermal bremsstrahlung, and photon index 1.6 - 2.0 power law models are most consistent with our observations.
If you would like more information about this abstract, please follow the link to http://www.astro.umd.edu/lisse. This link was provided by the author. When you follow it, you will leave the Web site for this meeting; to return, you should use the Back comand on your browser.
[Previous] | [Session 13] | [Next]


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Special to the OBSERVER
FREDONIA - It began because of a protective father. Candace Ludwig started dating a boy in high school. Her dad, Bill, had a clever idea on how to keep an eye on the new beau.
Bill Ludwig was the Fredonia State men's basketball coach at the time, so he asked the boy to serve as his scorekeeper at home games. Before long, Ludwig was taking the teen on road trips, too.
Article Photos
Submitted Photo
Fredonia State's basketball scorekeeper Jim Polvino, right, pays attention during a women's game this past Friday against New Paltz. Polvino was recognized Saturday during halftime of the men's game against Oneonta as one of the longest-tneured basketball scorekeepers in the nation. He has been keeping the Blue Devil book at home games for 50 straight years.
"I think it was his way to keep an eye on me," says Jim Polvino, who has been the Blue Devils' official scorekeeper ever since. This season marks his 50th straight on the book, believed to be the longest consecutive streak in all of NCAA Division III.
"I just love basketball," Polvino explained when asked what has kept him involved since December 1961, long after his high school romance was over.
There's no way to determine exactly how many he has scored - the Blue Devils have played approximately 500 home games since he began - but it is a tenure served at four home gyms, Old Main, Fredonia's Wheelock School, Dods Hall, and the current site, the Steele Hall Fieldhouse.
Among his most memorable games was a night on the road against Roberts Wesleyan at North Chili High School. As Polvino recalls, Fredonia State's Dean Bedgar was undercut as he drove to the hoop. To cushion his fall, Bedgar grabbed the rim and bent it.
"That was before they had extra baskets in gyms," Polvino said. "They got a ladder and tried to fix it, but we had to play the rest of the game with a bent rim."
See POLVINO, Page B5
Polvino is all business during games, so outwardly it is hard to tell where his allegiance lies. Yet make no mistake, he's pulling for his alma mater. He counts the 1985 ECAC Upstate Tournament victory at Hamilton and a last-second 67-66 win over Buffalo State in January 1992 among his fondest memories while scoring games.
His most-upsetting moment occurred in a 113-112 season-ending loss to Geneseo in the 1989 SUNYAC Tournament. A play occurred right in front of the scorer's table that went Geneseo's way.
Polvino was convinced the official should have blown his whistle.
"You gotta make that call," he shouted to the official.
"I'm not going to decide the game," the official replied.
"You just did," Polvino replied.
In addition to men's games, Polvino has filled in as the women's scorekeeper, as he did this past weekend for a pair of games. He has also served as official SUNYAC Tournament scorekeeper, and there was a time he also kept the baseball scorebook.
Years ago, he was responsible for filling out and filing the official NCAA scoresheet, before there were hand-held calculators, let alone computers.
"I'd figure out shooting percentages with a slide rule," he said. "Hey, why not? I was a science teacher."
A 1967 Fredonia State graduate, Polvino majored in geosciences and is a retired earth science teacher of 29 years. Since 1995, he has been the recreation director at the Cassadaga Job Corps, where, among other duties, he organizes basketball games and tournaments.
Some romances never die.


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|I turned M's chair around today, so he could rock and look out the window.
|Earlier I made some fresh nectar for the hummingbird feeder and prayed for the birdies to return. As you can see, my prayer was answered!
|After Maximus' afternoon nap, he enjoyed a snack in his chair and watched as a hummingbird flew back and forth for a drink from the feeder. M held out his arm with food in hand, and said, "eat" as if he was offering his z-bar to the bird.
|And now he's saying to all of you, "Eat chocolate." haha...Truth is, he just wants the camera.
|The past few days we've been hanging out at home. Rob was sick in bed this weekend, and Maximus is getting over his cold.


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Disney's recent deal to buy George Lucas' special effects firm Lucasfilm has spurred a series of reports about a proposed new "Star Wars" trilogy.
"Star Wars: Episode VII" would kick it off in 2015. But are the franchise's signature players reprising their roles? This week, Entertainment Weekly reported an unnamed "highly placed" source said Harrison Ford is "open" to returning as Han Solo. Carrie Fisher then told a TMZ photographer she would say yes to a role in a new film, adding facetiously "Wouldn't you?"
Mark Hamill told Entertainment Weekly he and Fisher were informed of the movie last summer by Lucas. All three cast members are upbeat about the idea, according to the magazine's source.
Colin Trevorrow, director of indie sci-fi comedy "Safety Not Guaranteed," was in early talks to helm the project, Celebuzz reported.
Time will tell regarding fans' expectations for the sequel.
Comedian-actor Eugene Mirman tweeted,"I hope they do remakes of original Star Wars movies and convert the anger it generates in fans into clean energy to power our cities."


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They are lovely. Thank you very much.
They are lovely. Thank you very much.
I will look through some of my graphic files, but these came to mind.
Those are perfect. Thank you all so much for your generosity (I think that is how you spell it )
Lovely freebies everyone!
just love that color
so i did some things for my own heritage map but i thought you would maybe be able to use this to, so am posting it
hope you have a sunfilled wedding day by the way
and now to get to work on celtic things
love celtic stuff so will post if i find/make some!!
You all are to generous for words. I don't know how I can ever thank you.
Lila, thank you so much for sharing all of your wonderful work and kind wishes for my wedding. I really do appreciate everything!
May I please add a little something to go with all the lovely papers and things that the gang has shared? You can change the color to Sepia in the program.
I hope you like this...
ps: click to view, then right click and save as a png to a folder of your choice.
Last edited by Granny; 07-22-2007 at 08:52 PM.
Marion , Steve, Moonbeam, Ladybug, Wolvsie, Fourfoxes, Vanessa, PinkLollipop and Winnie49 are my buddies!!!
Please visit my Max Store


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text:
Alex Morales
He becomes initiated into plastic arts at 14 (1983) while studying at the Departmental Museum of Fine Arts de San José de Mayo, Uruguay, under the supervision of his first master, the artist Daniel Perez Acosta.
Alex Morales then begins a long and slow path with confidence. Convinced of being a born artist, he starts his incessant quest to learn the secrets of drawing and painting.
He continues his academic studies until he is 17 (1986).
These three years of apprenticeship, experimentation and practice are essential, given that this is the time when he builds his own artistic foundations.
While working on his art, he begins to earn his first wages with the help of his paintbrush. He paints window displays, task that rapidly opens up to all the possibilities static advertising offers, bringing him to paint gigantic murals on buildings. This work awakes an immense passion for painting on walls that compels him to immerse himself into the old trade of construction.
In 1990, he moves to Buenos Aires, Argentina, and lives there for four years, dedicated to his work as an advertising painter, which leaves him little time for his own paintings.
In 1994, he returns to Uruguay where an important advertising agency hires him. For three years he perfections himself, studies graphic design, and works as a graphic illustrator. In 1994-1995, in addition to his job at the agency, he works as a TV scenographist and also participates in various commercials as a model.
In 1997, he changes again of direction, leaving advertising and dedicating himself to decoration and painting on canvas. He is recognized nationally as one of the best decorators of bars and clubs, which leads him to travel throughout the country, leaving his artwork in each Uruguayan town, as designs, murals and sculptures.
This is also the time when he starts focusing on his painting on canvas. He also experiments with life size sculptures, a self-taught skill. He exposes in a variety of well-known art galleries of his country while giving painting and drawing classes.
In 2005, he joins the sub-commission of plastic artists of the Departmental Museum of San José. During the same year, he founds the Association of Plastic Artists of San José and becomes the vice-president.
In 2006, he is named along with his colleague Jose Luis Ciccolo deleguate representative for the department of San José at the cultural national assembly, organized in Salto by the Center of Education and Culture.
He continues to expose in various places and art galleries until he travels to the United States in 2007.
He settles in New York and obtains a visa O-1 granted for extraordinary Ability.
There he is accepted at the New York Artists Equity Association.
In 2008, he works for a year at Green Team Advertising as a creative designer and illustrator.
Alex Morales currently resides in Brooklyn, New York, dedicating himself solely to his art (exposing and selling his artwork) and as a freelance illustrator for various advertising agencies.


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December 14, 2005
1:30 p.m.
Commissioners' Conference Room
Commissioner Bill Dwyer presided with Commissioners Bobby Green, Sr., Peter Sorenson and Faye Stewart present. Anna Morrison was excused. County Administrator Bill Van Vactor, County Counsel Teresa Wilson and Recording Secretary Melissa Zimmer were also present.
a. PUBLIC HEARING AND ORDER 05-12-14-16 Commenting to the Oregon Department of Transportation (ODOT) on Countywide Modernization Project Priorities for the 2008-2011 Statewide Transportation Improvement Program (STIP).
Tom Stinchfield, Public Works, reported a notice letter was sent out dated December 1 for this hearing, to establish the countywide preliminary modernization priorities for the 2008/2011 Statewide Transportation Improvement Program. He also sent out an e-mail notice on December 2 to the interested parties and a staff list that had the notice letter, proposed draft order, and list of projects attached. He noted that Region 2 of ODOT had requested modernization project priorities from the Board prior to the end of December. He said the schedule calls for Region 2 to send out a combined list for comment in February. He said the Board will be asked to comment back on that list by April. He added there will be an all area meeting for Region 2 in Salem in June related to Region 2 projects, and in the fall ODOT will publish the draft STIP for the whole state and comment period for next fall. He said the state will adopt the STIP in 2007. He said the Roads Advisory Committee met on November 30 and recommended that the Board forward the priorities as shown in the order. He noted that the Metro Area Citizen Advisory Committee was scheduled to consider the Metro Area projects on December 7, but that meeting was cancelled due to lack of a quorum. He said the Metropolitan Policy Committee had a discussion on the STIP priorities on December 8 but the committee was unable to reach agreement on whether the West Eugene Parkway should be on the list and that MPC took no positive action on STIP priorities at that meeting. He stated there is $51 million available statewide for modernization funding in the STIP and that Lane County could expect to obtain a few projects around $3 or $4 million per year for 2010 and 2011.
Stinchfield commented that due to the small funding available, all the projects on the list already have some amount of STIP funding approved. He said their strategy is to find projects where they could add small amounts of funding to the project. He said one project is the Beltline-Coburg Road interchange, a project funded in the 06/09 STIP at $4.4 million, where the amount of funding might not be adequate to get the project to contract. He said they would be working with ODOT to identify an increment that might be added to that project. He noted the Beltline I-5 project is funded and will be going to contract next winter for $72.5 million, and they might find a small increment that could be added to that project. He added that the I-5 Coburg interchange is also on the list and it has about $14.5 million identified including county, state and federal funding. He noted that the $20 million figure he estimated was the amount identified in the long-range plan and more work will be needed before they have a firm estimate.
With regard to the West Eugene Parkway, Stinchfield said the project is scheduled for a record of decision in Spring 2006. He said that ODOT is attempting to submit a record of decision to the Federal Highway Administration by December 2006. He thought the most likely increment that could be added to the West Eugene Parkway could be funding on unit 1 on the east end of the project. He said that ODOT had funded $17.7 million for Unit 1 a), the section between Beltline and Seneca Road. He stated the most likely addition would be between the area of Seneca and Highway 99. He said the Beltline study is on the list from River Road to Coburg and $1 million had been funded by ODOT. He added that ODOT told him that they might need another $1.5 million to fully fund the process in 2009. He noted the Delta Beltline project with County funding of $8 million is a related project, and that the Highway 126 Potter Creek to Noti project has $500,000 in development money identified in the adopted STIP. He said they expect there might be $400,000 added in the passing lane project on Highway 126 and thought there might need to be an increment added to the project before they get to a development milestone for this project.
Stinchfield recalled that the second item on the Region 2 large project letter is scheduled for action after this hearing and is not scheduled for a public hearing. He noted it was a related matter. He asked the Board to adopt the order with the project list as modified. He said the state has asked for comment by the end of the calendar year.
Commissioner Dwyer opened the Public Hearing.
Larry Reed, Land Use Planner, Eugene, supported the five metro area projects and the one Highway 126 listed in Exhibit A of the proposed County order. For health and safety for the Lane County residents, he urged the Board to adopt the order in Exhibit A. He urged the Board to keep the West Eugene Parkway on the list.
Gary Wildish, Eugene, stated he had been involved with the STIP for many years and encouraged the Board to approve the list as it is presented. He indicated that he was on the original committee for the West Eugene Parkway. He said they need to recognize that a well-planned transportation system is important to the community. He commented that the resources the government gets in taxes and other revenues depend on the viability of the economy. He thought the transportation plan was a move in the right direction and urged the Board to push it forward.
Terry Connelly, Chamber of Commerce, Eugene, said his organization was supportive of the projects that are included on the STIP list. He said each project was important on its own merit. He said they have to have a viable transportation system that is important for the efficient safe movement of goods and services to support the economy. He said they continue to be a supporter of the West Eugene Parkway and encouraged the Board to be supportive.
Rob Handy, Eugene, stated he attended the MPC meeting about Mayor Piercy's proposal for a collaborative process. He thought the Board should be involved with the collaborative process.
Jim Hanks, Eugene, supported the staff recommended list. He supported the West Eugene Parkway, as the need is there.
There being no one else signed up to speak, Commissioner Dwyer closed the Public Hearing.
MOTION: to approve ORDER 05-12-14-16 as submitted.
Green MOVED, Stewart SECONDED.
VOTE: 3-1 (Sorenson dissenting).
b. DISCUSSION AND ORDER 05-12-14-17/In the Matter of Commenting to the Oregon Department of Transportation (ODOT) on the Region 2 Large Project Strategy and Priority List Dated October 28, 2005.
Stinchfield indicated this was a follow-up item to the Board's action of September 21 to forward projects to Region 2 for the large project list. He noted after that action was taken, Commissioners Green and Stewart attended an all area meeting in Salem to discuss the projects in Region 2. He stated at the end of October, the Region 2 manager put out a proposal for comment to all of the areas in Region 2 and included a series of I-5 projects. He said the I-5 Beltline interchange and the I-5 Coburg interchange were on that list and the West Eugene Parkway is on the regional list. He said they discussed the West Eugene Parkway and the need to reach a record of decision. He said the materials state that is still the objective and if that does not occur, then the project might be removed from the list. He said their letter of comment is to thank them for the two I-5 projects in Lane County and the West Eugene Parkway. He said they had prepared materials on the Highway 126 Potters Creek to Noti project as a candidate to be on the list, but it did not make the cut. He said the letter asked for the 126 project to be added to list A. He said if the Board approves the letter, he will get one back to the Board and would change the signature block to Dwyer's signature.
MOTION: to approve ORDER 05-12-14-17.
Green MOVED, Stewart SECONDED.
VOTE: 3-1 (Sorenson dissenting).
c. SECOND READING AND PUBLIC HEARING/Ordinance No. PA 1227/In the Matter of Amending the Junction City Comprehensive Plan to Adopt Exceptions to Statewide Planning Goals 3 And 14 Pursuant to Goal 2 and Modify the Urban Growth Boundary to Include an Additional 74.26 Acres of Land Currently Within the City Limits; and Adopting a Severability Clause (File No. PA 05-5132; Country Coach, Inc.). (NBA & PM 11/30/05).
Stephanie Schulz, Land Management, explained that this is a proposal for amendment to the Junction City urban growth boundary to provide for expansion of the Country Coach Recreational Vehicle Manufacturing Company. She noted the proposal includes a conversion of agriculture lands to urban industrial uses. The proposal was first heard at a joint public hearing on May 3 with the Junction City and Lane County Planning Commissions. She said the Junction City Planning Commission then deliberated and provided a recommendation for support to the Junction City Council on September 13. She noted the city council adopted Ordinance No. 1147 in support of expanding the urban growth boundary. She said part of that ordinance contained conditions that addressed the concerns raised at the planning commission level regarding wetlands, storm waters and traffic impacts to the neighborhood and surrounding community. She noted there were findings in support that show the criteria had been met. She noted the basic criteria for the proposal would be consistent with the statewide planning goals and the requirement that the action is not consistent with the applicable comprehensive plan, that is the Junction City Comprehensive Plan. She distributed additional material that was provided by the applicant. (Copy in file.)
Schulz indicated the first memo is a response letter from the applicant addressing concerns raised at their Lane County Planning Commission. She said there were concerns for traffic impacts to the surrounding roads and neighborhoods and air pollution discharges generated from the process. She added it showed that the company, in order to convert from farmland to urban uses, storm water runoff and the city's ability to enforce city ordinance conditions had not adequately demonstrated additional land. She said they have supplemental findings of fact to submit and include with the ordinance showing consistency with the Rural Comprehensive Plan criteria that is applicable to an urban growth boundary expansion.
Green asked why the Lane County Planning Commission voted against this.
Schulz said it was tied to the issues with traffic impacts, air pollution and storm water runoff.
Sorenson asked what the Planning Commission votes were.
Schulz responded that the vote was 5-3 to deny the proposal to expand the urban growth boundary. She said it had to do with the language of the motion as it was originally stated and developed at the Lane County Planning Commission. She said it was a recommendation to not approve the proposal that is an implication of denial, but not a direct statement. She stated that the Planning Commission revisited the issue and developed the motion that was a direct statement.
Dwyer opened the Public Hearing. He indicated they would not deliberate and they would keep the record open. He said this is subject to the plan amendment rezoning criteria sited in the agenda cover memo. He stated that evidence and testimony must be directed toward the approval criteria and failure to raise an issue to enable a response may preclude an appeal to LUBA. He noted this was opportunity for those present to enter information into the record. He said that only persons who qualify as a party may appeal a board decision to LUBA.
Dwyer asked if there were any ex parte contacts.
There were none.
Dwyer opened the Public Hearing.
Paul Vaughn, Eugene, stated he represented the applicant, Country Coach. He explained County Coach seeks to expand the existing factory campus to a 74-acre parcel that is adjacent to its current campus. He noted the property is within the incorporated city limits of Junction City. He said it is zoned by Junction City. He noted the property is currently outside of the urban growth boundary already approved by the City of Junction City. He stated that the Junction City Planning Commission unanimously recommended approval of the Comprehensive Plan Amendment and urban growth boundary expansion. He noted the city council held another hearing and after that hearing and deliberation, all members of the city council voted unanimously to approve it.
Vaughn explained that the first section of their application describes the property and summarizes the reasons for Country Coach's need for the adjacent property. He commented that since Country Coach's inception, it has shown a steady growth over the years. He said Country Coach started in 1973 with two employees. He said by 1988 the company had grown to 300 employees with factory and corporate offices in Junction City occupying about 100,000 square feet of enclosed space. He added that by 1996, the company had added another 215,000 of manufacturing space, over 25,000 of square feet of office and service space and employment had grown to 580 employees. He noted at the end of last year, Country Coach's employment had nearly tripled from 1996 to 1,632 active full-time employees. He said the company is successful and growing but it is constrained on the property they are on.
Vaughn said the reason the 17-½ acres on the property had not been developed yet was that after it was added to the urban growth boundary, there was a downturn in the economy and demand for the product. He said it was put on hold. He indicated that Country Coach now has new management and had growth over the past two years. He said they want to know if they make an investment that they are going to be able to continue to grow based on their needs without having to relocate somewhere else.
Vaughn indicated that another consideration that goes into the criteria is an ESEE analysis. He said if they do it for the site that has been selected versus another site around the city that would also require a goal exception. He said he had done that in the application. He said the impact is the same regardless of whether they were to find another site along the urban growth boundary. With regard to the economic impact, the Country Coach payroll for 2004 was $43 million. He added the Oregon payroll withholdings were $2,250,000. He added property tax was $258,000. He noted the amount of money that goes into the community is nearly $50 million. He added that the company purchases over $10 million of goods in Junction City and Eugene area purchases were over $40 million.
Vaughn said he submitted a letter to the Board last Monday. He said he reviewed the minutes and summarized what was a principle concern the Lane County Planning Commission had expressed that led to its 5-3 vote to recommend to the Board of Commissioners not to approve this. He noted the Planning Commission meetings were held in May. He said in the interim the record was left open and the Junction City Planning Commission made a recommendation to their city council that held another hearing. He said the Junction City Planning Commission expressed the same concerns as the Lane County Planning Commission. He noted those concerns were addressed with additional evidence and testimony and things put into the record before the city council. The Lane County Planning Commission's record was closed and they didn't have the benefit of additional information. He indicated that one concern was traffic impacts. He said at the time of the Planning Commission hearings, the proposed mitigation measures make the traffic work within the Transportation Planning Rule and those were being debated between ODOT, County staff and the applicant. He noted that the Lane County Planning Commission didn't have that information. He said the Lane County Planning Commission had concerns with air discharges.
Vaughn explained that the Lane County Planning Commission was concerned with the conversion of farmland to a non-farm use, consistent with state law. He said the state wanted to make it tough to do this, but if they go through the requirements and satisfy them, the conversation could take place.
Vaughn indicated that they had a concern with storm water. He said there was a letter from the mayor that storm water could be mitigated. He said it will be handled on site.
Jim Hanks, Eugene, explained they came up with a scope for every signalized intersection on Highway 99 from 18th Avenue in Junction City to the Beltline interchange. He said they took traffic counts from early in the morning to late at night to find out the traffic characteristics. He commented that Eugene was the bedroom community for Junction City and not the other way around, adding that Junction City is a job center in the county. He said they evaluated years 2005 and 2020 and found four locations to fail in the peak hours: Sixth Avenue and 99, First Avenue, River Road and 99, Clearlake and 99, and Beacon and River Road. He said they could make major improvements or they could develop transportation demand management techniques to reduce the traffic flow in those areas. He said it reduces the total vehicle miles traveled and makes better use of the transportation facility and gives longer life to all the facilities in the area. He noted the key to the transportation demand management strategy is that there will be no shift change at the facility between 4:30 p.m. and 6:00 p.m. He indicated that it allows Junction City to do what it wants. He said it keeps the peak traffic down.
Hanks said when they went to the Planning Commission, the County staff was worried because there is an existing site. He said they came up with a condition of approval that Country Coach will not have any shift change at the existing facility within a half an hour of the facility.
Hanks commented that his analysis supports the Country Coach urban growth boundary expansion as it shows that all applicable state and local requirements are met with the conditions of approval as proposed and adopted by the Junction City Council. He added that the state, county and Junction City staff supported his conclusions.
Jay Howard, Junction City, said he had been with the firm for 2 ½ years. He noted when he got there they had 800 employees and they now have 1,700 employees and are at 99.99% capacity. He said there is demand for the product and because the components are large, it is important to plan for the future in a contiguous location. He said the additional 74 acres would allow them to double the size of their company within twenty years. He added they have no intention of doubling it in a short period of time. He indicated that it would allow them to create another 1,700 jobs in the process. He noted many of those jobs were over $50,000 per year.
Sandra Belson, City Planner, Junction City, indicated that this could not be appealed to LUBA as it involves an expansion of over 50 acres for the urban growth boundary. She said it would need to go to DLCD and LCDC for approval. She noted that there were concerns Junction City dealt with. She said one was air quality. She said that Junction City has a Comprehensive Plan that has been acknowledged by DLCD. She said it recognizes LRAPA as the authority for air quality in the area. She said they have a policy in their Comp Plan that requires that all industry show evidence of compliance prior to the city being able to issue a building permit. She noted that their Planning Commission received a letter from LRAPA explaining their process. She added the Planning Commission reviewed Country Coach's current discharge permit. She indicated that they thought the permit that had been submitted for expansion would be examined by LRAPA for concerns of air quality better than Junction City would have the expertise to do. She said their Planning Commission was comfortable with leaving air quality issues with LRAPA.
Belson explained another issue that came up was about a site-specific design with how the plant would actually lay out on the property. She said they got their attorney involved to make sure the site plan review requirements would apply to expansion of the facility. She said during the site plan review there will be another opportunity for public comment to specifically address the location.
Belson indicated that the most difficult issue to get to consensus was transportation. She said at the time of the Planning Commission decision, they had not yet reached agreement with the applicant. She said they did reach agreement with the condition of approval by city, county and ODOT staff. She indicated that Country Coach said they would be willing to abide by it. She said they were satisfied with the reliance on the transportation demand management measures.
Belson noted they required an 80-foot manufacturing setback from the north property line because there are some residences on the north side of First and they wanted to make sure there wouldn't be any manufacturing up to the road that could affect the residences. She added that there are wetlands on the property that had been delineated. She said they are requiring that the southwest swale be preserved and that mitigation for other wetlands occur in the southern part of the property. She added that it would serve as a buffer to the south. With regard to a buffer to the east, she said they are not allowing any building within the eastern 80 feet of the property and along the southerly 200 feet of the expansion area. She said they are requiring that it be planted with fast growing trees. She said it would allow them in the future to possibly build a street.
Jack Roberts, Eugene, stated he had been working with Country Coach. He commented that this is the type of infill development they want and need. He said this is what the land use system was supposed to encourage. He urged the Board to close the record and to schedule it to go forward as soon as possible.
Jerry Szerlip, Junction City, urged the Board to deny the proposed land use change for Country Coach. He said the Lane County Planning Commission voted to deny the expansion of the urban growth boundary. He recalled that their concerns were about the air quality, floodwater runoff, traffic and changing farmland to industrial use. He asked why they needed more farmland for an expansion that had never started. He commented that LRAPA had never conducted a test to see if Country Coach had contaminated their workers, air, water, land or the people of Junction City. He noted that independent chemical analysis showed that Country Coach had contaminated the land with styrene.
Al Williams, Junction City, stated he lives directly across the street from the proposed property. He said the traffic is bad from 5:00 p.m. to 6:00 p.m. He said there are no traffic controls and it is difficult.
Steve Dignam, Creswell, believed the evidence and the facts overwhelming support the decision in favor of the application. He believed that Country Coach has shown how they provide good employment opportunities. He noted there are four points under Goal 2 for land use planning that have to be met in order to expand an urban growth boundary. He said that forms the basis of the Board's decision of the urban growth boundary expansion. He believed the applicant had met all four of those points. He urged the Board to review Goal 9, Goal 6, Goal 13 and Goal 2 to conclude that the applicant had met the burden of proof and the facts and evidence support the application.
John Sullivan, Vida, commented that the County has the responsibility to work on the economy of the state as it pertains to cooperating and participating with efforts and programs to promote economic development. He stated the salaries and spendable dollars would be $1 billion minimum over the next ten years. He thought it was important for the company to be able to expand.
Lauri Segel, 1000 Friends of Oregon, Eugene, requested that the record remain open for a week to allow opportunity to comment on the new additions. She said they are opposed because the original urban growth boundary expansion had not been realized in the expansion so far and the current request for additional 74 ½ acres is more area than is needed for the expansion. She commented that the County and City of Junction City didn't work together to plan for adequate infrastructure on the state highway system to accommodate future plans for growth.
Commissioner Dwyer closed the Public Hearing and left the record open until January 11, at 9:00 a.m., when they will deliberate this item. He commented they were keeping the record open until January 3.
Vorhes recommended keeping the record open for a couple of weeks. He then suggested giving a one-week response period, giving the applicant a one-week rebuttal period of argument only.
Dwyer said they would keep the record open until December 21, 2005.
MOTION: to approve a Second Reading and setting a Third Reading and Deliberation and leaving the record open to January 11, 2006 for Ordinance No. PA 1227.
Green MOVED, Stewart SECONDED.
d. PUBLIC HEARING AND ORDER 05-12-14-18/In the Matter of Considering a Ballot Measure 37 Claim and Deciding Whether to Modify, Remove or Not Apply Restrictive Land Use Regulations in Lieu of Providing Just Compensation (PA 05-5986, Davidson Industries, Inc.).
Kent Howe, Land Management, recalled that the Board offered the opportunity of providing the applicant the chance to suspend the timeline for Measure 37 claims to Davidson Industries. He indicated that they have signed the waiver and agree to postpone the claim until after the Supreme Court decision is made.
e. PUBLIC HEARING AND ORDER 05-12-14-19/In the Matter of Considering a Ballot Measure 37 Claim and Deciding Whether to Modify, Remove or Not Apply Restrictive Land Use Regulations in Lieu of Providing Just Compensation (PA 05-5987, Bill Powell).
Howe indicated that they have communicated the same offer to waive the timelines to Powell. Howe said that Powell had received a copy of the agreement but he wanted to proceed. He added that Powell would still have to go to the state to get a waiver.
Howe explained that the property is located in Upper Camp Creek and is designated F1, not impacted forestland. He noted it is about 4 ½ acres in size. He said that Powell wants to be able to place a dwelling on the property. Howe said Powell acquired the property in 1982 and at that time it was zoned F2, impacted forestland. He recalled that in 1982 a special use permit would have been required in order to have allowed a dwelling on that property. He said what would have been required at the time would have been related to having a forest management plan. He added the other option was for a non-forest dwelling and those provisions dealt with limiting existing forestry and that it wouldn't be detrimental to the surrounding forest and farm uses. He said it wouldn't alter the overall stability of the land use pattern of the area. He indicated those were discretionary types of considerations.
Howe noted that Powell had provided an appraisal. He said the appraisal assumes that right would allow the dwelling. He said the Board needs to determine that because it is a discretionary process; whether or not a dwelling could be allowed on the property.
Commissioner Dwyer opened the Public Hearing.
Bill Powell, Eugene, believed the Board should grant the waiver. He noted that it is a 4.43 acre property. He said it is divided by two creeks and is not suitable for either forestry or agriculture. He stated that it has a road frontage on a paved road on Camp Creek Road and bounded on either side by residences. He said that under an F2 designation, he could meet the template test to show there are more than three residences within a 60-acre area. He recalled that 20 years ago prior to purchasing the property, he contacted the County to determine if he could build a residence on the property when he retired. He said prior to purchasing the property, there was a septic site approval done on the property. He indicated there was a question about legal division of the property prior to his purchasing the property and well tests were done. He said the purchase price of the property was about $10,000 per acre and it was recently done as forestland, valued less than $1,000 per acre. He added if they were able to build on the property, the land was worth $85,000. He believed it is a piece of property not adequate for agriculture. He said it meets all the criteria for rural residents.
Howe recalled that in 1982 the template test was not available .
There being no one else signed to speak, Commissioner Dwyer closed the Public Hearing.
Dwyer thought if someone bought land where they thought they could expect to develop into one-acre lots, then the government should allow it. He noted the property was bought at the time when he might have been allowed to put a dwelling. He thought this was a case where the property owner was negatively impacted.
MOTION: to move restriction of 05-12-14-19.
Green MOVED, Stewart SECONDED.
Dwyer announced that they would be donating turkeys at the 40th and Donald Safeway for the people of Lane County.
There being no further business, Commissioner Morrison adjourned the meeting at 3:50 p.m.
Melissa Zimmer
Recording Secretary


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WARREN — Warren Police reported two motor vehicle crashes on June 28 and 29 — one of which was a hit-and-run.
At about 9 a.m. on June 28, police received a report of damage sustained by a vehicle parked overnight at the curb on Sycamore Way.
On June 29, no injuries were reported nor summonses issued in an accident at about 9 a.m. on King George Road near Crown Drive. According to police, a vehicle driven by Michael J. Bornstein, 17, of Springfield side-swiped a vehicle driven by Natalie A. Berger, age 31, of New Brunswick. No services were required and both vehicles were driven from the scene.
More Somerset County news: NJ.com/somerset


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Paris Native Jason Landers
Jason Landers, originally from Paris and a graduate of Paris High School lost his battle against cancer on Monday.
In January 2013, Landers was diagnosed with Stage IV cholangiocarcinoma, a form of cancer that originates in the bile ducts. Chemotherapy helped shrink "three or four" golf ball-sized tumors in his liver, downgrading his cancer to Stage II.
Jason was a volleyball coach and math teacher at Bowie High School for 17 years, and his wife Cathy was also a softball coach there. They have 4 year old triplets.


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This deal has ended.
Through this weekend, buy one item at Express and get a second item for 50% off. Plus, take $15 off $75, $30 off $150, or $45 off $225 with code 1084. If you purchased the Ruffled Front Belted Dress (pictured) for $69.90, you could get the Ruffled Romper, originally $69.90, for $34.95. Or, you could purchase the men's Striped Classic Fit Non-Iron Shirt for $59.90, and get the Plaid Fitted Work Shirt, originally $59.90, for $29.95. Shipping starts at $8 and sales tax is charged in states with Express retail locations.No longer available


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This is an update of a story posted at 4:50 a.m. Friday.
PALMER – An early morning fire at 1112 Park St. destroyed a small commercial building, displacing two businesses.
The fire at 1112 Park St. was reported at 2:30 a.m., and when firefighters arrived, smoke and flames were seen coming from the rear of the building.
There were no reported injuries.
Fire Chief Alan Roy told CBS 3 Springfield, media partner for The Republican and Masslive, said the building was a complete loss. Two businesses, Vinny's Pizza and Salon Trendz, a hair salon, were displaced.
Roy said the cause of the fire was an apparent electrical malfunction with wiring in the ceiling.CBS 3 Springfield - WSHM
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Anina Cicerone's goal in the 60th minute helped the Western Michigan University women's soccer team knot the score at 1-1 as the Broncos earned a tie with host Eastern Michigan Sunday.
Caitlin Henderson sent a nicely placed ball on her corner kick to Cicerone, who headed it in for her fourth goal of the season.
EMU (8-5-4, 5-0-3 Mid-American Conference) scored in the 14th minute via Paige Sheridan's rebound shot that got past WMU keeper Julia Francy (five saves).
WMU (7-6-3, 3-2-3 MAC) out-shot the Eagles 24-8 for the contest.
Shane Lyons gave the WMU men's soccer team an early lead with his goal in the 29th minute, but host Western Illinois responded with a goal in the 70th minute to force a 1-1 tie Sunday.
Lyons' was a put-back of Joel Del Toro's shot that WIU keeper Andy Ryan stopped short. WIU's (3-6-5) Cosimo Patano fired a shot from the top of the box to tie it.
Shane Lewis had nine saves for WMU (7-4-2), which was out-shot 14-11 for the game.
Men's Tennis
Michael Calderone, Kazuya Komada and Pablo Olivarez all picked up singles wins for the WMU men's tennis team in the final day at the Wildcat Invitational in Evanston, Ill.
Calderone defeated Marquette's Dan Mamalat 6-3, 6-3 for his 180th career-win, which is tied for 10th in school history.
Komada defeated Iowa's Nikita Zotov 7-6 (1), 6-2 and Olivarez beat DePaul's Bartosz Jozwiak 6-4, 6-4 for WMU, which concluded the tournament with a 12-4 mark in singles and 4-1 record in doubles.