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Library of Congress
101 Independence Ave. SE
Washington DC 20540
February 26, 2013
Public contact: Sara Duke (202) 707-3630, firstname.lastname@example.com
"Herblock Looks at 1963" Exhibition Opens March 30
In 1963, during the third and final year of his presidency, John F. Kennedy (1917-1963) faced repeated opposition to legislative initiatives—the nuclear test ban treaty with the Soviet Union, tax cuts to reduce economic stagnation, efforts to increase resources for schoolchildren and protection of the wilderness. Also in 1963, through the "March on Washington" on Aug. 28, the civil rights movement gained momentum.
Herblock, the award-winning editorial cartoonist for the Washington Post, addressed all these topics. His drawings will be on view in the exhibition "Herblock Looks at 1963: Fifty Years Ago in Editorial Cartoons," opening Saturday, March 30, 2013, at the Library of Congress in the Graphic Arts Galleries on the ground floor of the Thomas Jefferson Building, 10 First St. S.E., Washington, D.C.
The 10-cartoon exhibition, which runs through Sept. 14, 2013, is free and open to the public from 8:30 a.m. to 4:30 p.m., Monday through Saturday.
The exhibition is located in the Herblock Gallery, part of the Graphic Arts Galleries, which celebrates the work of Herbert L. Block with rotating displays of 10 original drawings. The display changes every six months. A second set of drawings from 1963 will be placed on exhibition from Sept. 21, 2013 to March 22, 2014.
Cartoons on view will include "We Can't Burden Our Children with Deficit Spending," which Herblock created to challenge Congress not to cut funding for education, because the result would be ignorance, poverty and crime. Also on view will be "Reminds Me of That Crazy Idea of Henry Ford's That You Can Make More Selling at Lower Prices," which depicts legislators as old-fashioned businessmen out of step with the times. Herblock penned the drawing in response to Republican congressmen who challenged Kennedy to reduce spending rather than cut taxes to spur productivity.
Herblock actively promoted civil rights for African Americans during the 1960s. On Aug. 28, 1963, the cartoonist sat in the press tent as the crowd grew around him for the "March on Washington." His support is evident in the drawing "Conceived in Liberty and Dedicated to The Proposition That All Men Are Created Equal."
Herblock was a four-time winner of the Pulitzer Prize. He spent more than 55 years at the Washington Post, taking on political corruption wherever he saw it and championing the rights of "the little guy."
The Herb Block Foundation donated a collection of more than 14,000 original cartoon drawings and 50,000 rough sketches, as well as manuscripts, to the Library of Congress in 2002, and has generously continued to provide funds to support ongoing programming.
The Library has been collecting original cartoon art for more than 140 years. It is a major center for cartoon research with holdings of more than 100,000 original cartoon drawings and prints. These works, housed in the Prints and Photographs Division, span five centuries and range from 17th-century Dutch political prints to 21st-century contemporary comic strips.
The Prints and Photographs Division holds the largest-known collection of American political prints, the finest assemblage of British satirical prints outside Great Britain and holdings of original drawings by generations of America's best cartoonists and illustrators that are unequaled in breadth and depth. Extensive runs of rare satirical and comic journals from Europe and the United States represent another distinguishing facet. The Library acquired these materials through a variety of sources including artists' gifts, donations by private collectors, selective purchases and copyright registration.
For sample images from "Herblock Looks at 1963," contact Donna Urschel at (202) 707-1639.
# # #


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Home >> Course Descriptions >> College of Education
Introduction to Evidence-Based Interventions in Autism
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This course provides and introduction to the causes and diagnosis of autism, scientific, validation, applied behavior analysis, and ethical treatment. Students also learn to write functional objectives, plan positive reinforcement, and design an applied measurements system in the context of developing individualized Family Service Plans and Individualized Education Plans. The issue of culturally appropriate interventions is addressed. Prerequisite: EDSE 5325.
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|SIG CON: Third Rock from the Sun, 25,000 Light Years from the Galactic Center
SIG/CON is an award-winning Special Interest Group of the Association for Information Science & Technology. The function of SIG/CON is to "explore the fundamental notions of information science, and expose them for what they are" (C.D. Batty, Remarks at SIG/CON, 1987).
SIG/CON has been in the forefront of research across all areas of study, although the group is perhaps best known for advancing the theories of baloonean logic and titular colonicity. The roster of distinguished information scientists who have made public (with startling and refreshing lucidity) their research findings at SIG/CON represent the diversity of national and international institutions associated with this field.
Further information on this important Special Interest Group can be found at:
Speaker Proposals
Proposals should reflect current research, or prospective research. Originality is important, but creative presentation styles are much more important. The proposal should be three pages in length, single spaced, 12 point Times New Roman font, with 0.75 inch margins, no footers or headers, and headings of 14 point, Arial Black. You may use blank pages in order to reach the three page required length. Two pages is unacceptable, as are four or five pages, the number is three.
The proposal should address one of these Panel Session Themes:
Information Seeking Behavior Models of the Dead and Semi-Dead
Taxonomies and Ontologies for non-Homo sapiens Species
Alternate-Reality Historical Analyses of Information Science
Frustration-Affective Relevance Feedback for Web 3.0 IR Systems
If you don't like any of the themes listed above, please feel free to suggest one of your own.
Proposal Due Date: Friday, 12th September 2008
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Please email your proposal to:
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Sunset Cliffs comes by its name naturally with beautiful sheer cliffs that border the ocean. Custom homes and condos are prevalent in the residential neighborhood, for which Sunset Cliffs Blvd. is the main thoroughfare.
Residential, MLS# 190005649
Listing provided by Pacific Sotheby's Int'l Realty
Residential, MLS# 190004316
Listing provided by Canter Brokerage
Residential, MLS# 190011911
Listing provided by Canter Brokerage
Residential, MLS# 190010271
Listing provided by Willis Allen Real Estate
Residential, MLS# 190010395
Listing provided by House of Seven Gables R.E.
Lot/Land, MLS# 190005005
Listing provided by Keller Williams-Carmel Valley
Residential, MLS# 190003624
Listing provided by Pacific Sotheby's Int'l Realty
This information is deemed reliable but not guaranteed. You should rely on this information only to decide whether or not to further investigate a particular property. BEFORE MAKING ANY OTHER DECISION, YOU SHOULD PERSONALLY INVESTIGATE THE FACTS (e.g. square footage and lot size) with the assistance of an appropriate professional. You may use this information only to identify properties you may be interested in investigating further. All uses except for personal, non-commercial use in accordance with the foregoing purpose are prohibited. Redistribution or copying of this information, any photographs or video tours is strictly prohibited. This information is derived from the Internet Data Exchange (IDX) service provided by Sandicor®. Displayed property listings may be held by a brokerage firm other than the broker and/or agent responsible for this display. The information and any photographs and video tours and the compilation from which they are derived is protected by copyright. Compilation © 2019 Sandicor®, Inc.


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What Would It Take for YOU to buy a diesel car?
edited February 2017 in General
We're talking passenger cars and SUVs here, not pickups.
What criteria would be necessary for you to seriously consider buying a diesel car?
You might consider one or ALL of the list below:
price of the car
price of fuel
practicality (seating capacity, # of doors, etc)
performance (0-60, noise, ride, handling)
Or if NOTHING would convince you, please tell us why you came to that conclusion.
What criteria would be necessary for you to seriously consider buying a diesel car?
You might consider one or ALL of the list below:
price of the car
price of fuel
practicality (seating capacity, # of doors, etc)
performance (0-60, noise, ride, handling)
Or if NOTHING would convince you, please tell us why you came to that conclusion.
jipster Louisville, KentuckyPosts: 5,722Most of the cars I would be interested in aren't offered in diesel.0
Well okay then -- could you suggest to the manufacturer of the car you like, what type of diesel car from their factory you WOULD buy?0
boaz47 Posts: 2,751Diesels will have to get a lot better fuel mileage to get me to buy a diesel car. That didn't used to be the case but if I am now paying almost 20 percent more for diesel and I am only getting 12 to 15 percent better fuel mileage I would be going backwards by getting a diesel.
When gas powered full sized SUVs got 12 MPG and Diesel SUVs got 19 or 20 that was different. But now a full sized Denali can get 17 and it would take just over 21 MPG for a Diesel Denali to break even. If I have to consider a compact car nothing much less than 60 MPG would offset the price difference or the fuel cost difference.0
I would like to suggest to Toyota a diesel Sequoia or Land Cruiser. Not a fire breathing V8. Just a nice mild 6 cylinder CRD. I want one I can order without any of their substandard NAV Stereo systems. I want leather and all the niceties, and will put in my own NAV, CD, XM system.
I doubt they get around to it before I end up with a new X5 diesel from BMW.
I am confident the X5 will get 30 MPG on the highway. Not real concerned around town.0
fintail Posts: 48,096There are many cars I would like to see in diesel, that exist elsewhere in diesel, that we are not blessed with on these hallowed shores. I think something like a new style Honda Fit/Jazz diesel would be pretty cool, moreso if it could exist with AWD. I like diesel engines, but what we have at the moment in the NA market is pretty bland.
I also wish MB diesel could be equipped with sport/AMG trim. They are only offered in boring base trim now. I don't understand this.0
So what MPG on a full-size diesel SUV would tempt you?0
Diesel currently costs $.70 cents a gallon more than RUG in my area. I won't even buy a car that requires premium, so the fuel cost differential is a deal killer (unless you know of one that gets 100 mpg?).
My wife also has mild asthma so exposure to diesel exhaust isn't a happy thought either - everything I've read indicates that while diesel can emit less CO and CO2 than gas, they can generate 100 times more particulates than gas engines. And those particles aren't healthy. I'm holding my breath on the new emissions standards.
Then there's that whole business about the smell when you pump it, spill it on your hands or shoes, etc.0
sounds like you're OUT, no matter what the automakers do?0
You're not supposed to spill it on your shoes. I think diesel smells much better than raw gas. At least in CA they seal the gas spouts so you don't get nauseated by gasoline fumes. According to BMW their new diesel engine is as clean as the cleanest gas cars in CA. That would give it a PZEV rating. No ratings yet on the EPA website for the 50 state legal diesels. Don't let your wife hang around the bus stop, those are pumping out lousy air.0
For a car - probably so. Unless the bang for buck is way higher than it seems to be now. I already keep my cars so long they tend to completely wear out around the engines before I hit 150,000 miles anyway, so the perceived extra longevity of a diesel engine doesn't hold much appeal.
I could perhaps see myself cruising around in a diesel Sprinter conversion van on a road trip.
My neighbor has a diesel pickup and a diesel VW pickup. Both older rigs admittedly, but I can hear him rattling to and from home with my windows closed, and his driveway is over 200 feet away. Half the time I don't hear people cruising up my long gravel driveway.
Even leaving aside my old biases, the price differential on fuel costs is probably the biggest deterrent. And those of us who buy fuel efficiency by miles per gallon instead of gallons per mile won't get the price/mileage connection even if the 100 mpg diesels make it to market. We'll just see that big price difference at the pump.0
Actually, current engine science seems to indicate that about 75 MPG is the conceivable limit for a 5 passenger vehicle. At least no one has ever proven otherwise so far.
So I think we should come up with scenarios that are actually possible.
Of course, everyone's goals are different. Some people don't need or expect 75 mpg. They are shopping based on comparisons to what they drive now.0
What criteria would be necessary for you to seriously consider buying a diesel car?
Offering one for sale. My dad had an '85 Isuzu diesel pickup that I drove around some back in the '90s. That thing got close to 40 mpg even with a 4-speed manual, and all the whining about having no power, smelly fuel, etc. is a bunch of guff IMO. So, bring in a diesel subcompact hatchback and I'll be first in line.0
So you're saying like a Yaris hatchback diesel getting 40 mpg and you'll write the check?0
Yep. The only reason I got the gas smart is because there was no US diesel smart.0
jkinzel Posts: 735Most of the cars I would be interested in aren't offered in diesel.
And that is the biggest problem, no one will offer them. :mad:
How nice would my new Taurus be with a 2.5L diesel getting 40mpg or more. :shades: If it gets close to 28mpg with the 3.5L gas then 40 or more would not be out of line.0
nova Posts: 135Diesel would have to be the same price as regular gas or less the way it was for years.
Paid today for regular $3.77 South east FL.0
all the whining
Oh yeah, the diesels of your Isuzu vintage wouldn't start in the cold either.
Diesel has a long litany of issues stuck in the minds of many people that they'll have to overcome to enjoy market penetration like they have in the EU.
Good mechanics are hard enough to find for gas rigs too; now I have to hope the dealership pays to keep at least one person trained on the diesel rigs?0
Oh yeah, the diesels of your Isuzu vintage wouldn't start in the cold either.
Block heater, for the colder climes.
I do remember starting it with snow on the ground (about 30F or so), just had to wait a minute or so for the glow plugs to do their thing.
Also, I think some of the mileage expectations in this thread are unrealistic. 40 mpg is 42% higher than 28 mpg. Hybrids don't even come close to that kind of increase.0
My buddy in Anchorage regretted buying his (Chevy iirc) diesel pickup. It wouldn't crank when the temps dipped below 20°F. I wouldn't even plug my gassers in until it was zero to 10 below usually. That was probably an early to mid-90's model he had trouble with.
I've scanned a lot of diesel talk around here, especially over in the Jeep Liberty CRD discussion. I don't remember cloud talk, but there's lots of additive talk about cetane boosters and the like. Trying to pin down the diesel cloud point is hard but 6°F seems common.
Fuel Gelling Challenges
I'll invite the CRD crowd over here. Better to hear it from actual owners than from the likes of me. :shades:0
05crdjeep Posts: 59Use this handy widget to compare costs between Diesel and Gas versions. My real world mileage with my Diesel Jeep Liberty still compares favorably with the real world mileage of a gasser (I have a coworker with a 3.7L gas). Even comparing EPA estimates, I come out slightly ahead. Downsides are that my oil changes with synthetic oil, even at extended intervals, are an eye watering $80. The only thing worth noting is that resale on the diesel is much better compared with an identically equipped gas version. I think it's a matter of personal taste and believe eventually we will see diesel moderate. Then the economic argument will be clearer.
Here's the widget URL...
Diesel PU trucks are all that are used in the Arctic. Gas engines do not last long when left idling for 10 hours. You just have to plug them in as you would a gas engine car in REAL cold climate. The only fuel we got was number one diesel. That prevented any gelling issues. It did not get great mileage. Still much better than the one POC gas truck our company bought back in the 1980s. The diesels that gave us the most trouble were the newer Ford Powerstroke engines. They had so much smog crap they were always needing this or that sensor replaced. The older Powerstroke diesels ran great. Only about 1 out of 50 was a GM diesel. And I only remember seeing one Dodge in 25 years up there.
If I find a clean 1995 or older Ford Powerstroke I will buy it to replace this gas guzzling Ford Ranger.0
1stpik Posts: 495It would take cheap diesel fuel for me to buy a diesel car.
Why would the average consumer buy a car that gets 20% better mpg than a gasoline car, only to pay 20% more for the fuel?0
The diesel calculator told me this.
If you had a gasoline Jetta getting 29 MPG and a diesel Jetta getting 44 MPG, the price of diesel would have to be MORE THAN 50% higher than gasoline before you'd spend as much on diesel.
If regular unleaded was $3.51, diesel would have to be $5.33 before the diesel would not be a bargain. At those prices, it would cost virtually the same in each car to drive 10,000 miles.5
Bad as that sounds, diesel prices WERE in the $5.30 range in California (SF Bay Area) not so very long ago.
So fuel price is your sole motivator for choosing/not choosing a diesel car in the future?0
If you had a gasoline Jetta getting 29 MPG and a diesel Jetta getting 44 MPG
This is the kind of false comparison I keep seeing all over the place. Right now people are comparing diesel Jettas to gas Jettas because Jetta is the only diesel game in town. But the reality is a lot of people are just looking for something, anything, that will get their fuel costs down, and the gas Jetta was never in their radar sights at all.
They can get mid- to high-30s in some of the most economical Japanese cars, or they can spend $5K more to buy a gas Jetta and pull mid-40s. Or they can spend the extra $5K and buy a Prius and do mid- to high-40s, and not hunt around for stations that sell diesel.
A guy in my complex has a Dodge heavy-duty diesel that rattles all the windows and wakes everyone up every time he starts it and drives out. I know the new diesels in passenger cars don't make as much noise, but they are not as quiet as gas engines either.
With all that said, I would buy diesel if someone would offer it in a sub-$20K car making at least 50 mpg (combined average) and with a stick shift. I am not fond of the power profiles of diesels - I like gassers with high redlines that pull harder and harder all the way there - but I WILL buy whatever reduces my combined initial outlay and ongoing fuel costs the most. The Jetta diesel aint it. I am pulling almost 42 mpg in my gas Echo, and I have several friends tracking their mileage that average more than 50 mpg in their Priuses. And that's now officially the OLD Prius - the one due next year is supposed to boost mileage by 10% or more while being more powerful at the same time (a controversial choice on Toyota's part if you ask me - I would have shot for the same power and all the improvement going to boosting fuel economy).
2014 Mini Cooper (stick shift of course), 2016 Camry hybrid, 2009 Outback Sport 5-spd (keeping the stick alive)0
Shiftright says, "So fuel price is your sole motivator for choosing/not choosing a diesel car in the future?"
I just posted that for the people who were doubting that diesel was a good deal right now or not. It still is.
As far as me personally? I most likely would only buy a 5-passenger 4-door diesel/hybrid. That's the only diesel that would outperform my TCH and still have all the creature comforts and still make financial sense to trade for.
And it's because almost all my driving is City driving. If I drove 15K miles a year on the highway, I would try to buy a clean diesel Jetta or Passat.0
hunt around for stations that sell diesel
Finding stations that sell diesel really isn't that hard any more is it?0
That comparison is good mostly for people who are considering WHICH Jetta to buy. At some point, if the diesel prices get high enough over regular unleaded, then even the Jetta Diesel does not make sense for he group of Jetta shoppers. That's not likely to happen though.0
It's not "hard" to find diesel fuel, but it is "inconvenient". The green hose or the "diesel" sign is not always easy to spot, and sometimes you have to make false passes into 3 or 4 stations. And if the station has one diesel pump and an RV or dually is sucking on it, you could be waiting quite a while.
Also diesel spills don't evaporate as easily as gasoline, so you can get the stuff on the bottom of your shoes.0
I am with you there: for people shopping for a Jetta, the diesel probably makes sense vs the gas in terms of fuel costs over the life of the car. Assuming dealers aren't marking them way up (I have no idea if dealers are asking over sticker for diesel Jettas. You can get a gas model at invoice all day long).
Steve: there is no diesel for sale in my town at all, which comprises maybe 8 gas stations. However, in the places I normally go at least once every few days there are some places I could buy diesel, so the thing for me would be to just plan ahead.
I was just out on I-5 this weekend headed to LA, and out there it seems diesel is available at most places there is gas.
2014 Mini Cooper (stick shift of course), 2016 Camry hybrid, 2009 Outback Sport 5-spd (keeping the stick alive)0
This discussion has been closed.


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Judge Decreases Amount Jammie Thomas Owes For File Sharing Again (Yes, Again); Says It's Appalling
from the do-we-get-to-do-it-a-fourth-time? deptCheck out Judge Michael Davis. After the second Jammie Thomas-Rasset case had a jury return an award of $1.92 million for her sharing of 24 songs, the judge reduced the award from $80,000 per song to three times the statutory minimum of $2,250 per song. Of course, this resulted in a wild freakout by the RIAA... and a third trial. In the third trial (just on the award amount), the jury went with $62,500 per song shared, or $1.5 million total. Considering the massive freakout last time, you might think that Judge Davis would just be done with this, but instead, he's sticking to his guns, once again reducing the award to the same $2,250 per song. This really makes it the third time he's overturned the jury (though, the first time was because he felt he gave improper jury instructions).
Of course, the RIAA will once again freak out and this will be appealed. The judge's ruling, though, is well worth reading, calling the jury award of $1.5 million "appalling":
The Court concludes that an award of $1.5 million for stealing and distributing 24 songs for personal use is appalling. Such an award is so severe and oppressive as to be wholly disproportioned to the offense and obviously unreasonable. In this particular case, involving a first-time willful, consumer infringer of limited means who committed illegal song file-sharing for her own personal use, an award of $2,250 per song, for a total award of $54,000, is the maximum award consistent with due process.He notes that, given the past experiences with this dispute, he's "loath" to do this again, but "the Constitution and justice compel the Court to act."
This reduced award is punitive and substantial. It acts as a potent deterrent. It is a higher award than the Court might have chosen to impose in its sole discretion, but the decision was not for this Court to make. The Court has merely reduced the jury's award to the maximum amount permitted under our Constitution.
Judge Davis is clearly aware that the RIAA would freak out about this, and lays out, in great detail, his arguments for why the original awards are unconstitutional (as a violation of due process) and why the maximum fine he believes is allowed under the Constitution would be the $2,250 per song he changed the award to.
The RIAA, of course, will continue to claim that the ridiculous million dollar plus awards for sharing 24-songs are perfectly appropriate. They'll claim, as they have in the past, that the fact that multiple juries came up with this amount shows that the public agrees such ridiculous fines are normal. As per usual with the RIAA, they're being misleading. The reason that juries reach such disproportionate awards is because of the way the choices are framed to the jury. There are all sorts of studies on how framing influences a jury, and how juries don't actually consider the proportional response of the offense to the punishment.
There's one other interesting bit in the ruling that won't get much attention. That is that the RIAA asked for an injunction barring Thomas-Rasset from infringing any further, and the court grants it... in part. It's the part that it doesn't grant, which is interesting. The RIAA asked for the court to say Thomas-Rasset should be barred from "making available" any copyrighted works via file sharing programs, but the court, correctly (despite the RIAA's long-term effort to pretend otherwise), points out that there is no "making available" right within copyright law. The Court is short and sweet on that point:
Plaintiffs further request that the Court include language in the injunction barring Defendant from making any of Plaintiffs' sound recordings available for distribution to the public. Plaintiffs argue that, if Thomas-Rasset makes Plaintiffs' copyrighted works available on a peer-to-peer network, she will have completed all of the steps necessary for her to engage in the same illegal distribution of Plaintiffs' works for which she has already been found liable. Because the Court has held that the Copyright Act does not provide a making-available right, it will not enjoin Thomas-Rasset from making the copyrighted sound recordings available to the public.While there's nothing really new here, it's nice to see that point reinforced once again. Making available, by itself, is not copyright infringement, despite the industry's attempts to portray it as such.
Filed Under: appeal, constitution, copyright, jammie thomas, statutory damages


text:
Admission | Courses | Program | Requirements
Department Chairperson: Miriam N. Satern
Graduate Committee Chairperson, Kinesiology: Christopher R. Kovacs
Office, Kinesiology: 220C Brophy Hall
Telephone, Kinesiology: 309/298-1524
Department Office: Brophy Hall 212
Department Telephone: 309/298-1981
Fax: 309/298-2981
Department E-mail: firstname.lastname@example.com
Website: www.wiu.edu/kinesiology
Location of Program Offering: Macomb
Graduate Faculty
Associate Graduate Faculty
The Department of Kinesiology offers the Master of Science degree
in kinesiology. The
broad mission of the degree program is to assist students to develop conceptual and theoretical understandings and to obtain knowledge and skills which will prepare them as master teachers, researchers/scholars, practitioners, or administrators in their respective areas.
The degree leads to a wide variety of career choices. Graduates of the kinesiology degree program pursue careers in cardiac rehabilitation, corporate fitness, university or public school teaching/coaching, adapted physical education, and sport psychology.
Applicants for admission to the graduate program in kinesiology must
have a 3.0
cumulative undergraduate GPA for four years or a 3.20 GPA for the last two years. Any
student failing to meet the minimum requirement may be admitted as a probationary
student with a cumulative GPA of 2.75–2.99. Probationary students must petition for full admission after completing nine graduate hours that include KIN 511 or KIN 512 with a minimum of a 3.0 GPA. Each applicant to the graduate program will submit a biographical statement which includes a statement of future goals and addresses any prior academic, nonacademic, and employment experiences.
Applicants with a cumulative GPA between 2.5–2.74 may be considered for probationary admission based on a review by the graduate committee of an additional portfolio submitted by the applicant. The additional material included in the portfolio is intended to assist the graduate committee's evaluation of the applicant's potential success as a graduate student in the Department of Kinesiology.
This portfolio will include two components. The academic component will
include the
applicant's undergraduate GPA and may include such items as GRE test scores, results from completed courses (graduate or undergraduate) that are not part of the undergraduate GPA, and other items that the applicant deems appropriate. The professional component will include the biographical statement (see above), and may include additional information such as letters of recommendation, a description of professional training, work experience and other items that the applicant deems appropriate.
A maximum of 6 hours of graduate course work completed before a student
is admitted to
the Kinesiology degree program may count toward meeting the requirements
of the
master's degree.
For specific course recommendations, students should consult with the
coordinator of the program. Each student is required to complete both Kinesiology 511
(Measurement and Statistical Analysis) and Kinesiology 512 (Research Methods in
Kinesiology) within the first 12–15 semester hours of academic work.
Students may elect to pursue in-depth study in the following areas: exercise
wellness promotion and fitness management, pedagogy (includes adapted physical
education), and sport and exercise psychology.
Capstone Options—All students must complete one of the following
options as a
requirement for graduation:
1. Thesis
2. Comprehensive exam
3. Synthesis paper of internship experience
Students may choose one of the following plans:
Students selecting the M.S. degree in Kinesiology are required to have
completed undergraduate coursework in four of the five following areas (or the
equivalent): anatomy and physiology, exercise physiology, biomechanics, sport
psychology, and motor behavior. Students admitted to the graduate program who have not yet completed these undergraduate courses must fulfill this requirement prior to degree completion.
Graduate students may transfer in up to nine semester hours of credit earned in a related field, with graduate advisory committee approval.
439G Methods and Materials in Physical Education. (3) Content designed to analyze the instructional techniques and materials useful to the physical education teacher in grades 9–12. Prerequisite: Graduate standing.
450G Special Problems in Physical Education and Athletics. (Credit Arranged) Workshops, institutes, or clinics in physical education, or athletics, not specifically covered in other courses listed. Credit will depend upon nature of project undertaken and length of time involved. Course may be repeated.
511 Measurement and Statistical Analysis. (3) Introduction to statistics and experimental designs that are necessary to evaluate data collected from measurement commonly obtained in kinesiology.
512 Research Methods in Kinesiology. (3) Research techniques employed in graduate work. Methods used in solving problems common to kinesiology and evaluating research projects in these fields.
522 Instructional Models and Strategies in Physical Activity Settings. (3) This course is designed for those who teach physical activity. Students will develop skills and knowledge associated with specific instructional models in physical activity. The material should enhance the instructional quality of those who teach activity in college/university settings, exercise and fitness settings, and K–12 school settings.
539 Analysis of Teaching in Physical Education. (3) Students will use systematic observation systems to quantify and analyze aspects of their instruction in physical education classes. Students will analyze videotapes of their own instruction. Specific areas of analysis will be content development, use of time, management, task presentations, task structures, and student assessment strategies. Prerequisite: Graduate standing.
540 Wellness and Risk Reduction Concepts. (3) A
study of the rationale and guidelines for developing wellness and risk
reduction programs, with an emphasis
on cardiovascular disease. The course is designed to
provide the student with an understanding of health risk
appraisal techniques, health behavior models, and
wellness and risk reduction program objectives and strategies specific for cardiovascular disease prevention and intervention. Prerequisite: Anatomy and physiology, or permission of the instructor.
541 Qualitative Analysis of Human Movement. (3) Integration
of content from the sub-disciplines of biomechanics, motor learning, motor
development, and
pedagogy and application to the qualitative analysis of
human motor skills for the purpose of developing
skillful movers in physical education, athletics, and clinical settings. Prerequisites: Undergraduate course in at least two of the following: biomechanics, motor learning, motor development; or one area plus a current valid teaching certificate.
542 Curriculum Organization and Development in Physical Education. (3) A comprehensive survey of the principles underlying the curriculum in physical education in grades K–12. Problems in techniques of administering and supervising physical education programs in the schools.
543 Strength and Conditioning Enhancement. (2) Examine exercise science concepts and current practices in the development of strength and conditioning programs for wellness/fitness and sports enhancement. Review requisite knowledge and skills for national professional organization certification exams (ACSM, NSCA). Survey issues related to ergogenics and body composition. Examine current strength and conditioning research. Prerequisites: KIN 553 and undergraduate principles of weight training, or permission of the instructor.
544 Organization and Management of Exercise Programs. (3) A study of organizational and management strategies for exercise program development in fitness facilities. Issues include participant screening, exercise testing and prescription, safety and emergency planning, staff selection and development, equipment and space utilization, facility operation, budgeting, and specialized programs.
545 Sport Facility and Event Management. (3) A comprehensive review and analysis of the management of sport facilities and the process of managing events held at these facilities.
546 Sport Governance and Policy. (3) An examination of the power and authority of governing bodies as they determine the mission, policy, membership, and structure of their respective amateur or professional sport organizations. Prerequisite: Graduate standing.
547 Financial Issues in Sport. (3) An examination of the financial status of intercollegiate athletics and professional sports leagues in today's marketplace. Topics such as budgeting, resource utilization, and potential sources of revenue will be addressed through financial analyses. Prerequisite: Graduate standing.
548 Social and Ethical Issues in Sport. (3) Investigate social issues connected with sport and with social functions of sport. Explore critical issues in sport related to professional ethics, rights and responsibilities. Understand how social and ethical issues influence sport and its development.
549 Comprehensive Stress Management. (3) Background study of stress; in-depth study and application of stress management components. Prerequisites: An undergraduate course in some form of relaxation technique or graduate standing and permission of the instructor.
550 Professional Workshop. (1–3)
551 Biomechanics of Physical Activity. (3) The application of mechanical principles to the development of motor skills. Prerequisite: Undergraduate physics or permission of the instructor.
552 Wellness Program Development and Administration. (3) A study of organizational and administrative concepts related to the implementation and operation of wellness programs in corporate, commercial, community, clinical, and school settings. Prerequisite: Graduate standing.
553 Physiology of Exercise. (3) A multidimensional
study of exercise physiology, including theoretical
foundations and practical applications, with scientific
information drawn from the related disciplines of
anatomy, physiology, biochemistry, and others.
Prerequisites: Undergraduate chemistry, physiology of exercise or permission of the instructor.
554 Exercise Stress Testing and Electrocardiogram Evaluation. (3) A study of the administration and interpretation of graded exercise treadmill tests with 12-lead electrocardiography, with application to exercise prescription for normal and diseased populations. Prerequisite: KIN 553.
555 Sport Marketing. (3) This course is designed to give sport management students an overview of marketing principles and procedures from a managerial perspective. The course is designed to help students develop an awareness of the terminology, concepts, andtechniques which are part of the work of sport marketing. The course relies upon lectures, class and group projects and discussions, and resource personnel to facilitate the learning process. Prerequisite: Graduate standing in Kinesiology.
556 Motor Learning and Human Performance. (3) Nature of motor learning, factors affecting motor learning, problems of motor learning, instruction and guidance of motor learning.
557 Adapted Physical Education. (2) An overview of exceptionality with reference to special problems in programming and the initiation and conduct of programs for the disabled in physical education and sport with special attention to federal legislation.
558 Organizational Theory in Sport. (3) A comprehensive study focusing on organizational behavior and processes relating to amateur, interscholastic, intercollegiate, and professional sports.
559 Sport Psychology. (3) A survey of the theories and research related to sport psychology. Includes the study of individual differences, motivation, and social influence processes in sport, exercise, and physical education settings.
560 Internship in Sport Management. (4–6) Supervised experiences in the various aspects of sport management involving secondary or college athletic directors, or professional sports organizations. Prerequisites: Completion of 30 hours of coursework, including the sport management program core courses, and permission of the instructor.
561 Public and Media Relations in Sport. (3) A comprehensive study of the principles, concepts, and problems for managing public and media relations in sport organizations.
562 Internship in Kinesiology. (4–6) Designed to provide an internship-based experience for the student desiring an emphasis in kinesiology. The internship is to be tailored to the student's potential professional interests. Prerequisites: Completion of 27 hours of course work, including core courses and undergraduate deficiencies, and permission of the instructor.
563 Physical Activity and the Older Adult. (3) A study of the benefits of physical activity on the psychological, physiological, and sociological well-being of the older adult. Programs will be presented that will introduce physical activities that can be modified for various functional levels. Prerequisite: Graduate standing or permission of the instructor.
564 Legal Issues in Sport. (3) An examination of the function of the legal system and risk management in sport, including potential legal problems and possible solutions faced by personnel involved with sport and physical education.
565 Computer Application in Kinesiology. (3) Application of microcomputers in kinesiology, including applications in exercise physiology, sport management, coaching, and teaching physical education. Prerequisite: Introductory microcomputer course or permission of the instructor.
566 Cardiorespiratory Physiology. (3) A study of cardiovascular and cardiorespiratory physiology and their relationship to disease and disease prevention. Identification of the various risk factors and strategies for disease intervention. This course is designed to prepare students for certification with the American College of Sports Medicine at the level of exercise test technologist or exercise specialist. Prerequisites: Anatomy and Physiology, undergraduate Physiology of Exercise.
567 Assessment and Evaluation Techniques of the Disabled. (2) A course designed for specific assessment, screening, and evaluation techniques in relation to specific disabilities and within the context of P.L. 94-142.
569 Applied Sport Psychology. (3) Examines the application and effectiveness of sport psychology interventions for enhancing performance in sport, exercise, and physical education settings. Prerequisite: KIN 559 or permission of the instructor.
570 Mastery in Teaching Physical Education. (3) Current issues and trends in physical education will be investigated to keep professionals in the field updated. Theoretical constructs will be integrated with field-based applications in physical education teacher education. Assessment of student learning will be critically examined. Prerequisites: KIN 539, KIN 542, or permission of the instructor.
571 The Development of Expert Performance. (3) An examination of theoretical and applied research on the factors that contribute to acquisition of expert performance in the psychomotor, cognitive, and creative domains. Prerequisite: KIN 512.
573 Laboratory Applications in Exercise Physiology. (3) Students will (1) learn techniques for operating various types of laboratory equipment; (2) utilize these skills to conduct small-scale lab experiments addressing areas such as muscular strength, body composition, and cardiorespiratory/metabolic responses to exercise; (3) interpret laboratory results in relation to relevant scientific literature. Prerequisite: KIN 553.
577 Sports for the Disabled. (2) A course designed to acquaint the student with the type of sports currently available to the disabled, their relationship to ablebodied sports, modifications to existing rules and facilities, coaching considerations, classification systems, and major sports medicine considerations.
579 Research and Professional Issues in Sport Psychology. (1) A survey of current research and professional issues in sport and exercise psychology. Prerequisites: Concurrent enrollment in or previous completion of KIN 559, or permission of the instructor.
587 Methods of Teaching Adapted Physical Education. (3) A course specifically designed to acquaint the student with teaching techniques for service delivery of physical education to students with disabilities as prescribed by both federal and state law, and that of the adapted physical education national standards.
589 Sport Psychology Intervention Techniques. (1,
repeatable to 3) Supervised experience in the
organization, administration, and evaluation of applied
sport psychology programs. Consideration of
professional issues in educational sport psychology
including ethics and marketing. Features role-play, case
study, videotaping, and supervised interventions.
Prerequisites: KIN 559, KIN 579, and concurrent
enrollment in or completion of KIN 569.
598 Independent Study in Kinesiology. (1–3, repeatable to 6) An investigation of independent projects/directed readings related to the student's area of study. Prerequisites: Permission of the Graduate Coordinator and completion of 15 hours of graduate work.
599 Research in Kinesiology. (1–3) Independent research study of an approved problem. Prerequisites: Permission of the Graduate Coordinator and completion of 15 hours of graduate work.
600 Seminar in Kinesiology. (1–3, repeatable to 6) Course content in response to needs and approved programs of graduate students. Utilization of specialists, consultants, and visiting professors.
601 Thesis. (4) Graded S/U.
602 Comprehensive Examination. (0) The student will complete a written comprehensive examination covering the content of courses which comprise his/her program of study. The departmental examination will be administered in the fall and spring semesters and may be taken a maximum of three times. Graded S/U. Prerequisites: Student must have completed a minimum of 27 hours of course work; approval of the Department Graduate Coordinator.


text:
America's Best Growth Stock: YouTube?
Google's YouTube crashed Twitter's seventh anniversary party yesterday. But, before we spoil Twitter's special day, I'll pause to congratulate the company for seven years, 400 million tweets per day, and well over 200 million active users -- well done, Twitter. Now on to YouTube: Google announced yesterday that YouTube has reached 1 billion monthly active users. It has taken the video streaming service just eight years to reach the impressive milestone. With viewing trends in the company's favor, YouTube is just getting warmed up.
Generation C loves video
On Google's official YouTube blog, the company adds perspective:
- Nearly one out of every two people on the Internet visits YouTube.
- Our monthly viewership is the equivalent of roughly 10 Super Bowl audiences.
- If YouTube were a country, it would be the third largest in the world after China and India.
- PSY and Madonna would have to repeat their Madison Square Garden performance in front of a packed house 200,000 more times. That's a lot of Gangnam Style!
So what's driving this phenomenal growth? Generation C. Media measurement company Nielsen defines this group by their connected behavior. Gen C thrives on:
- Connection: watching YouTube on multiple screens, and constantly switching between devices
- Creation: engaging with online video, watching, creating, and uploading videos on YouTube
- Community: thriving on community, defining which YouTube videos are popular by sharing content
- Curation: finding content that matters to them
Nielsen's findings indicate that this demographic group's engagement with content is deepening at a mind-boggling pace. As much as 76% of young adults between the ages of 18 and 34 now own smartphones. The "amount of time Gen C spends watching YouTube on their smartphones is up 74% from last year," the report asserts.
This YouTube-friendly audience has very different video consumption habits from the general population -- 20% of them don't even subscribe to cable. They fall in the category of "light TV viewer," watching, on average, just 39 minutes of TV a day.
Though Gen C does watch less TV, they also consume video content at times others may not. To illustrate, 41% of Gen C watched YouTube on their smartphone while waiting for something or someone, 18% while commuting, and 15% while TV commercials are playing.
While the implications are huge for YouTube, it's also great news for social platforms like Facebook ; 18% of Gen C watches videos because someone shared a video with them on a social network. Twitter is already trying to take advantage of this trend by introducing earlier this year a new tool, called Vine, for posting six-second videos.
The explosive growth of video advertising
Gen C's collective embrace of online video is translating into real ad dollars. According to a Pew Research Center report, digital video advertising spending in the U.S. grew from $2 billion in 2011, to $2.93 billion in 2012, climbing faster than all digital advertising segments.
The largest benefactors are the social platforms like YouTube and Facebook, which facilitate video access and dissemination. Every time a user engages in an action such as "liking" a post or sharing a video, these tech giants gain additional data they can use to give advertisers useful information for their campaigns. Even more, this data is becoming available in an increasingly more real-time fashion.
Traditional media outlets, like the New York Times , will struggle to compete, as social tech companies offer increasingly targeted advertising options. Chief Information Officer Marc Frons vented on the issue to State of the News Media 2013, an annual report on American Journalism: "The networks [e.g. Google and Facebook] have led a shift in ad dollars away from classic display ads toward targeted, real-time purchases that are driving down rates and disintermediating news publishers." Frons of the New York Times adds, "Traditional ads are not going away, but they aren't growing as they once were."
YouTube: the ultimate benefactor
eMarketer estimates that digital video advertising will reach 15% of the digital U.S. ad market by 2016, up from just 8% today -- and there is no brand better positioned to ride this wave than Google's YouTube. This is yet another reason I've made an outperform CAPScall on Google.
As one of the most dominant Internet companies ever, Google has made a habit of driving strong returns for its shareholders. However, like many other web companies, it's also struggling to adapt to an increasingly mobile world. Despite gaining an enviable lead with its Android operating system, the market isn't sold. That's why it's more important than ever to understand each piece of Google's sprawling empire. In The Motley Fool's new premium research report on Google, we break down the risks and potential rewards for Google investors. Simply click here now to unlock your copy of this invaluable resource.
The article America's Best Growth Stock: YouTube? originally appeared on Fool.com.Fool contributor Daniel Sparks has no position in any stocks mentioned. The Motley Fool recommends Facebook and Google. The Motley Fool owns shares of Facebook and Google. Try any of our Foolish newsletter services free for 30 days. We Fools may not all hold the same opinions, but we all believe that considering a diverse range of insights makes us better investors. The Motley Fool has a disclosure policy.
Copyright © 1995 - 2013 The Motley Fool, LLC. All rights reserved. The Motley Fool has a disclosure policy.


text:
Laurent Nivalle
Le Mans classique IAbout this photograph
The aficionados of luxury cars, nostalgic for a certain idea of the passing of time, meet every two years. They meet for the wildly romantic event Le Mans Classic*, organised by Patrick Peter (alias Peter Auto). This is a race that Laurent Nivalle has lent his very personal touch to on two occasions: in 2010, to follow the concept car Survolt for Citroën, then in 2012 for Richard Mille. He chose to secure this time travel using soft tones, as though worn by time... This series is highly photogenic, in the '70s spirit that first made Laurent Nivalle known to a wide audience. * On the 24-hour circuit at Le Mans (13.65 km), professionals holding the FIA International Competition licence raced one after the other on six plateaus (from 1923 to 1979).Read more Read less
|Standard Delivery
|Icon, Classic, Colorful
|Giant, Collector, Exception
As artistic director of the Citroën group for 13 years, 39 year-old Laurent Nivalle stood out from the crowd at Citroën. With the look of a rocker, permanently in jeans, he walks briskly along the corridors of the Vélisy Villacoublay site. Always on the go, this lover of the acoustic guitar has pursued his goals flawlessly. Instinct and a tendency to think outside the square have earned him a reputation as both the mascot of Citroën's style department and as a free agent. This is an ideal position for this artist, whose freedom is a major asset. Down to earth, full of humour, yet ambitious, Laurent Nivalle saunters through life with his 5D slung over his shoulder, capturing everything that moves… Today, he produces all of the images for the Citroën Style department, as well as the marketing films for the DS and Citroën trademarks… He is making his own… mark!His clear, personal and uncompromising work makes him one of the most coveted of photographers, not only within the automobile sector, but also in the world of haute couture and prêt à porter. His unique brand of colour rendering is his trademark, as demonstrated again here in this superb Le Mans Classic series.


text:
The New York Attorney General's office is looking at a little more than 20 businesses for their use of ATM-type cards to pay some of its workers.
The office of Attorney General Eric Schneiderman says it sent letters to companies including Wendy's Co., Home Depot, Inc. and Wal-Mart Stores Inc.
The letters request documents related to the payroll card systems used by each business so that they can ensure the companies comply with laws that try to keep workers from being beset by fees for using the cards.
Schneiderman's office requested information such as fee schedules and documents showing that employees being paid via the ATM-type cards gave advance written consent.
The office has asked that the companies submit the requested documents no later than July 22.


text:
From the Nashville Globe – March 1, 1907
- The pupils of Bradley Academy celebrated George Washington's birthday last Friday, February 22. A very interesting programmed was rendered. Those on the programme were Misses Sallie R. Anderson, Vera Lee Coleman, Maggie Eules, Mary and Amanda McClain, Annie M. Prim, Darrow Reed, Willie Todd. Messrs. Percy Jordan, Richard Burks, Thos. Lillard, of seventh grade; Lela Anderson, Laura Meeks and Henry Lee Brown, fifth grade; Master Charley Howse and Lavada Brooks, fourth grade; Elizabeth Murray and Whitmore Carney of third grade; Ada Lee Alexander and Burrus Miller, of second grade; Nick Patterson, Betha Meeks and Samuel Rucker, of first grade. The decorations were of red, white and blue flags.
- Mrs. Annie Ransom entertained the Ladies' Embroidery Club Saturday evening, February 23, 1907, at her home. After the business meeting was over an elaborate luncheon was served by John Ella Bass, consisting of chicken, beaten biscuit, salad, fruit salad, cake and coffee. Those present were Mesdames Mamie Vaughn, R.B. Meeks, H.P. Scales, G.B. Brady, Walter Page, Horace Mitchell, Misses Nannie Ransom, Beulah Miller, Dilsy Butler, Matilda Green and Elma A. Williams.
- Mrs. Clara Ewing and Mrs. H.P. Scales are on the sick list.
- Mrs. Ollie Officer, of Sparta, Tenn., who has been at the bed side of her mother, has returned home.
- Mrs. Harden is convalescent.
- Mr. P.A. Bently, of Nashville, Mr. Williams and Mr. Ewing, of Franklin, were the guests of Mrs. Clara Ewing.
- Misses Nannie and Bettie Keeble have returned to Chicago.
- Rev. James Moore has returned from Paris, Ky., where he has been carrying on a series of meetings.
- Rev. D.P. Pearson had a successful rally Sunday, raising $19.00
- Mrs. Lula McMurray, of Chattanooga, Tenn., who has been very ill at the home of her mother, is improving rapidly.


text:
About MadderMak
I'm gonna claim this one... too proud of the whole " you meaningless pointless runt of humanity" thing to let it go to waste :)
Today... I am ashamed to be Australian.
You should be more ashamed you *censored* !
Why has the (insert Australian equivalent) of DHS not arrested all pen bearers and charged them with tyranny... oh wait Terrorism at the security checkpoint??!!
When Terrorism can breed Tyranny then truly have we been defeated.
"And that was NOT by accident"
Statement of fact or opinion? your opinion? no fact? really? are you sure?
oblig: [citation required] you pusillanimous weasel
"The correct position is that the Coalition will encourage mobile phone and internet service providers to make available software which parents can choose to install on their own devices to protect their children from inappropriate material. "
This is perfectly reasonable. It's not like you can buy filtering software for your devices yet, so they should certainly make the service provides write some.
If only (as a parent) I could download something *now* to protect my children.....
Dude - you said it yourself... "shouldn't that be my choice?"
Just choose as business model that makes you money.
(surprise twist ending... you are NOT promised a living... no one is.)
Just whatever your choice - if you make it for your reasons (not a PR guy, don't want to CWF, etc) - DONT blame piracy for your lack of income - you are responsible for YOUR choices. Choose something that works but requires you to do "X" you really don't want to - or choose not to "X" and hence not make as much money. Choose!
"but doesn't feel morally obligated to pay me the fee I asked for in the first place. Then I have lost the money I should have made in exchange for that enjoyable experience. "
There! Right There! You lost a sale to me - I will pirate it. /hyperbole
I feel morally obliged to pay what I consider a fair price - it was an AWESOME game - I value it at $10 because the soundtrack was crappy and it had no re-playability. You felt MORALLY OBLIGED to charge $80 for it with DRM up the wazoo and an always-on internet connection.
Well sorry but Fubar that - I would have payed $30 on release day for a DRM free offline playable version. Oh look there is one... its FREE.
So you sell 20,000 for $80 - go you! you missed another 1,000,000 sales at $5 (I would have bought copies for my friends so we can play co-op). go figure why YOU have a MORAL problem.
PS - sorry for caps to lazy to learn html.
PPS - I buy Steam games.. ONLY! Bought every game I ever was given a pirated copy of - that I actually played (not many maybe 5 in 20 years). And I do NOT buy ANY game over $40... I wait (years if needed) to buy at less than 10. So how much did I spend last Steam Sale - $700 plus change for over 30 games (gifted a bunch) some of which were in my wishlist - some my mates bought - and some that looked just mildly interesting but for $5 it was an impulse puchase (no buyers regret).
So please dear gods fix your morality issues - it's not YOU that sets the "Fair Price" its the market (me)!
no - it's a descriptive frame-of-mind used to picture the progress of most copyright-maximists (is that even a word?) along a regulatory capture path.
I imagined a march of Trolls, Gnomes and assorted misfits towards a cliff.
I remember reading something on a paralegal site about there being an actual law against anything a Juror says after the verdict and decision being legally inadmissible as grounds for appeal/mistrial etc...??
Anyone have anything on that?
"Why couldn't they do their research? Why did they present evidence late? They just seemed a tad naive the whole way through this process."
Good question - check out the writeup at Groklaw regarding Judicial... um.... inconsistencies in motion rulings.
I am certain a lot of it will come up on appeal.
Groklaw has compiled a list
My right of first sale trumps your imaginary license... I sold it to them on paper and they sold it back to me in a file. I must suck at sales because I took a loss on it... oh well.
I just realized - I don't even need to sell it... I can just give it to them and they can give it back to me... The $1 was for postage on the digital file :)
"The instructions on irons now include "Do not attempt to iron clothes while wearing."
Those words are there to stop a lawsuit, if we stopped letting people do stupid things and shift the blame to 3rd parties we'd be better off...
If we started making people have to have responsibility for their actions"
This this a thousand times this.... you cannot stop stupidity - but you can hold those who commit it responsible for their own actions. You sir, have my vote.
score: 3/10... Though I did like the peanut gallery part
Depends on your um... Chest and state of clothing :)
So to refute his valid point you turn to politics....
^ What he said!
Dagnammit DH! Please hurry up and register the domain.... I keep hoping for Dark Humour (or a book teser) at the end of your links.
Oh me oh my... Parochial much?
Netflix outside the US? nope (last I looked).. or maybe it was Hulu... whatever.
There are quite a few hundred thousand steam users outside the use... sarcasm/ pity we have to fly to the US every time we want to play /sarcasm
So to paraphrase... ALL bands on Youtube suck. ANY band signed to a label is GREAT!
Care to rethink that? Yes - I took the extreme position from your comments but there *ARE* good bands on the tubes and there *ARE* crappy bands signed to labels.... and just maybe people have different taste in music than you...sorry but you pushed my "snob" button there.


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Aristophanes, 1: Acharnians, Peace, Celebrating Ladies, Wealth
The Penn Greek Drama Series presents original literary translations of the entire corpus of classical Greek drama: tragedies, comedies, and satyr plays. It is the only contemporary series of all the surviving work of Aeschylus, Sophocles, Euripides, Aristophanes, and Menander.
Aristophanes wrote most of his comedic masterpieces during the Peloponnesian War, parodying the tumultuous politics and society of that time with trademark innuendoes and bawdy stagings and dialogue. In these plays, Aristophanes brings every rhetorical strategem into play to treat the reader to stories of one man's attempt to create a "war-free zone," the rescue of the imprisoned Peace on the back of a giant dung beetle, a satire of Euripides's sympathies for women, and the hustling and healing of a blind and destitute Wealth in order to redistribute the world's riches.
Translations are by Jack Flavin ( Acharnians ), Fred Beake ( Peace ), David Slavitt ( Celebrating Ladies ), and Palmer Bovie ( Wealth ). The volume includes an introduction by Ralph Rosen, Professor of Classics at the University of Pennsylvania.
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|University of Pennsylvania Press, Inc.
|Publication date:
|Penn Greek Drama Series
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|5.50(w) x 8.50(h) x 0.76(d)
About the Author
About the Translators: Fred Beake was born in Cheshire in 1948, grew up in the rural West Riding, and has lived in Bath since 1972. He is the author of several books of original poetry and translations, including The Whiteness of Her Becoming, The Fisher Queen, and Places and Elegies. In addition to his work as a poet, he has written critical works on Shelley and H.D. and has published numerous articles and reviews in Acumen, the Green Book, and the New Statesman. His translations include works by Horace, Catullus, and Alcuin. Since 1990 he has served as the main poetry reviewer for Stand and is currently coeditor of the magazine Poet's Voice. Palmer Bovie was educated at the Lawrenceville School and Princeton University. He received his Ph.D. degree in classics from Columbia University and taught at Columbia, Princeton, Indiana University, the American Academy in Rome, and Rutgers University, where he is Emeritus Professor of Classics. He has published many translations from classical literature, including Virgil's Georgics, orations of Cicero, satires and epistles of Horace, epigrams of Martial, and the De rerum natura of Lucretius. With David R. Slavitt he coedited the Complete Roman Drama in Translation series. Jack Flavin writes and translates poetry for numerous academic journals, including Classical Outlook, Modern Age, Cimmaron Review, and Apalachia Quarterly. He has coedited Poulty: A Magazine of Voice, serving as principal editor for eleven years. A veteran of World War II, he went on to graduate from the University of Maryland, and later received his Master of Foreign Studies from the University of Zurich and his M.S. in Library Science from Drexel Tech. David R. Slavitt was educated at Andover and Yale and has published more than sixty books: original poetry (recently Epic and Epigram), translations (recently Broken Columns, of Statius and Claudian, University of Pennsylvania Press), novels (recently The Cliff), critical works (recently Virgil), and short stories. He worked for seven years as a journalist at Newsweek and continues to do freelance reporting and reviewing. With Palmer Bovie he coedited the Complete Roman Drama in Translation series.
Read an Excerpt
Ralph M. Rosen
The plays of Aristophanes collected in these volumes, composed and performed in Athens during the fifth and fourth centuries BC, are the earliest surviving record of comic drama in Western culture. Like its contemporary and cognate form tragedy, Attic comedy seems to appear suddenly as a fully-formed and remarkably complex poetic genre, paradoxically wedded to its own cultural moment yet profoundly resonant for audiences and readers up to our own time. Indeed, the seeds of Gilbert and Sullivan, the Marx Brothers, or Monty Python's Flying Circus are readily apparent in Aristophanes and can easily lead one to assume that not much has changed in comedy since antiquity. Yet the comic drama of fifth-century Athens, known as Old Comedy, was the product of a long and complex process of literary and cultural interactions and displays as many idiosyncrasies of its own age as it does links to later traditions. Behind the sprightly, colloquial translations featured in this series lie a richly varied Greek verse form and, as the following pages will show, a comic aesthetic by turns alien and familiar to our own sensibilities.
Twice a year during the fifth century the Athenians would gather together to honor Dionysus, god of wine and revelry. The largest and most extravagant occurred in early spring, toward the end of March, and was known as the Great Dionysia, or City Dionysia, to distinguish it from so-called rural Dionysia, which were celebrated on a lesser scale throughout the Attic countryside. The other festival was known as the Lenaean Dionysia (named after the Lenaion sanctuary where it was held), a more limited, domestic affair that took place in January-February. Various activities occurred at these festivals, including processions, sacrifices, and musical competitions, but the central event at each was the performance of tragedy and comedy. Great expense and effort was lavished on these dramatic performances, as poets and actors competed for prizes awarded by a panel of judges drawn from ten tribes of Attica.
Tragedy and comedy were so much a part of a formal state event that the entire Athenian citizenry might, in principle, attend the performances. The Theater of Dionysus itself on the Athenian acropolis was capable evidently of holding about 17,000 spectators. The Lenaean Dionysia was a smaller and less prestigious affair than the City Dionysia, and theatrical performances were formalized there rather late in the century (about 440 BC). Even so, the Lenaea was as public an event as the City Dionysia, and the plots of Lenaean tragedy and comedy likewise reflect the poets' awareness that they were composing before the entire "national" community.
Drawing on a rich store of inherited myths and plots, the most skillful tragic poets crafted plays that could address issues central to Athenian political and social ideology—the relationship between rulers and their subjects, the nature of democracy, the interaction of man and woman, to name a few—and the result was that characteristically "tragic" blend of timeliness and universalizing. Greek comedy evolved alongside tragedy at the festival competitions and became equally implicated in its own historical moment but, unlike tragedy, it was not constrained to work with mythological material, nor did it need to preserve a consistent and unbroken dramatic illusion. The comic poet was relatively free to invent plots out of whole cloth, and his imagination was limited only by his sense of what the audience would find acceptable. Further, although it shared with tragedy basic compositional units, namely the alternation of spoken "episodes" with choral song and dance, comic diction was far less formal and stylized than that of tragedy. Old Comedy, therefore, could reflect the contemporary cultural climate much more directly than tragedy: not only could the poet allude to current events or famous people through allegory or analogy but he could even name names, express indignation, and claim a personal authority (however disingenuously) to a degree wholly unavailable to his colleagues in tragedy.
The license afforded Attic comedy in the composition of plots and choice of language has a history that extends well beyond its institutionalization at the Dionysian festivals of fifth-century Athens. The exact origins of Attic comedy are difficult to trace, but the word komoidia itself, from which "comedy" derives, offers a useful starting point. Komoidia means a komos-song, where the komos refers to a group of men, often costumed, who entertained audiences with song and dance at various festive occasions. Modern analogues to the ancient komos are likely to be found in the activities of Mummers, still common in certain European and American holiday celebrations. Like Mummers, komos-singers (komoidoi) performed interactively with an audience, often humorously cajoling and mocking individuals with attitudes and language that in normal circumstances would be disruptive and transgressive. Little is known about how and when komoi actually became comic drama, formally performed before a passive audience, but the most fundamental vestige of the komoi in Attic comedy can be seen in the humorously antagonistic relationships so common between individual characters and groups of characters, and between poet and audience. Fifth-century comic drama preserves some of the carnivalesque spirit of the komos, which rendered vituperation and satirical commentary innocuous by means of humor, irony, and a basic assumption that comic speech was ultimately fictive, no matter how "real" it pretended to be in performance.
Indeed, perhaps the central dynamic of Aristophanic comedy is precisely the tension that arises between the poet's voice, with its didactic claims and autobiographical pretenses, and the fictional demands of the genre itself. Did Aristophanes write the Clouds, which satirizes Socrates and his followers, because he had a genuine personal animus against him, or because he was an eccentric, funny-looking man who would make a great comic spectacle? Or did the poet exploit the comic potential of Socrates, not because he had anything against him personally, but because he wanted to use him to register his own sincere criticism of current philosophical trends? That seems reasonable until one notes that the play itself offers very little in the way of philosophical consistency: traditional "philosophy,"which the play ostensibly endorses, ends up as comically ridiculous as the newfangled, sophistic ways which it claims to repudiate through its satirizing of Socrates.
We face a similar dilemma in assessing Aristophanes' relationship with his other famous target, the demagogic politician Cleon, who is relentlessly, often violently, mocked in Knights, and mentioned with disdain at least somewhere in nearly all his fifth-century plays. Aristophanes even alludes to an actual personal feud with Cleon, a feud that supposedly began when Cleon attempted to prosecute the poet for publicly ridiculing Athenian politicians in his (now lost) play of 426 BC, Babylonians. Aristophanes was very convincing: ancient commentators spoke of the feud as if it were a documented historical fact, and modern critics have followed suit, even though our only evidence ultimately comes from the comedies themselves, which have a generic obligation to create personal animosities between the poet and a target. We will probably never know for sure whether Aristophanes truly feuded with Cleon, but the question of historicity is ultimately less significant than the ways in which the comic poet persistently exploited the topos throughout his plays. For through the relationship with Cleon as it was developed on the stage over several plays spanning at least five years-Acharnians (425 BC), Knights (424 BC), Clouds (423 BC), Wasps (422 BC), and Peace (421 BC)- Aristophanes could dramatize with brilliant economy the ethos of boisterous confrontation and antagonism that fueled so many plays of Attic comedy.
Any literature in which an author adopts a stance of moral indignation and undeserved beleaguerment, and engages in invective or personal mockery, makes it especially difficult for the audience to separate fiction from reality, if only because the author works hard to enlist their sympathies for his allegedly urgent and topical predicament. Yet despite this implied bond with an audience in opposition to a target, a group or even an issue, we never witness the poet's voice directly in any of Aristophanes' plays (Dicaeopolis in Acharnians, is about as close as we get to this). No character ever explicitly represents the poet himself, and the poet's name is never directly mentioned. Instead, Aristophanes avails himself of a structural device known as the parabasis, which had become the conventional place in Old Comedy, where the poet could interrupt the flow of episodes and make personal claims through the mouthpiece of the chorus. The parabasis, which comes from the verb parabaino, "to step aside," was essentially a digression, a temporary halt in the main action while the chorus came forward to address the audience. Its location in the play was not rigidly fixed but tended to occur toward the middle of the play, often functioning as a kind of entr'acte. In its most elaborate form-as we see, for example, in Wasps-the parabasis consists of a prolonged exchange between the chorus and their leader, alternating spoken and sung verse, in which the chorus-leader actually speaks on behalf of the poet.
Through the chorus-leader, then, Aristophanes could take up any number of topics, including current events, the superiority of his comedy over that of his rivals, indignation at the audience for lack of support, and, of course, abuse against "personal enemies" such as Cleon. The parabasis is our main source for "autobiographical" information about Aristophanes and the primary reason it has always been so tempting to take a biographical approach to the interpretation of Aristophanes. When Clouds makes fun of Socrates, or Knights inveighs against Cleon, when Aeschylus defeats Euripides in the literary contest of Frogs, the relationship with the audience that Aristophanes establishes in successive parabases makes it easy to assume that the plots themselves functioned likewise as a coded, didactic message: Aeschylus defeated Euripides, so Aristophanes must therefore endorse this verdict and be trying to warn us against the evils of Euripides! But if Frogs, to continue with this example, were such a simplistic morality play, Aristophanes would hardly have ridiculed the literary excesses of both tragic poets with as much care as he does, nor would he have left the final decision to the waffling, delightfully buffoonish god Dionysus, who can barely offer a rationale for his final elevation of Aeschylus from the underworld.
Centuries of readers have had the same problem in trying to ascertain Aristophanes' views on politics or such social issues as gender relations. Do his attacks on Cleon indicate that he was "conservative"? Do his so-called peace-plays (Acharnians, Peace, Lysistrata), which clearly articulated a longing for the end of the Peloponnesian War (a conflict between Athens and Sparta that lasted for nearly three decades, from 431-404), indicate the poet's disapproval of current Athenian war policy? Did the cluster of plays that highlighted women (Lysistrata, Celebrating Ladies, Ecclesiazusae) reveal the poet to be anachronistically enlightened about women—a protofeminist? The plays can easily suggest such conclusions, but in fact no really systematic political or social outlook is forthcoming from them. Characters will take apparently clear political stands one moment in a play, only to undermine them elsewhere, usually for the sake of a good laugh. And when it comes to Aristophanes' sexual politics, we must remain agnostic whether the power and status he affords women in some of his plots were received as a prescription for social change—or as an extended joke "among the guys" who made up most of the audience.
Rather than dwelling on Aristophanes' personal beliefs, which we can never hope to recover anyway, let us to focus on the politics and poetics of comic satire as a literary genre. In line with the antagonistic dynamic of such poetry and the poet's need to find in his surroundings something worthy of mockery, something that would strike a chord in an audience that was pitting his comic sensibility against that of his rivals, Aristophanes naturally gravitates to topics that generate controversy in nearly all societies: domestic and international politics, celebrity lives and their scandals, popular entertainment, education, and so forth. These are areas in which the slightest eccentricity can seem amusing, especially when exaggerated by caricature and incongruity. Any deviation from "the way things were" is always fodder for a satirist, and Aristophanes is famous for plots that dramatize the conflict between the "traditional old" and the "unconventional new," whether these dramatize old and new generations (e.g., Clouds, Wasps), political ideologies (e.g., Knights, Ecclesiazusae), or poetic styles (e.g., Celebrating Ladies, Frogs). This explains the general conservative feeling of so many of the plays, an almost wistful yearning for life to remain stable and ordered when the progress of time inevitably insures that it cannot. This also explains why politicians then in office, for example, or philosopher-professors teaching for pay, were natural targets of comic ridicule: they existed in the here-and-now, and they had the potential to influence everyone's lives. Any false step of theirs could cause intense anxiety within the demos, and one way in which the Athenians grappled with this anxiety was to reprocess it as comic performance. Comedy probably did little to change whatever views on political and moral issues audiences brought with them to the theater (it might seem remarkable, for instance, that not long after Aristophanes' unrelieved attack on Cleon in Knights won first prize, the Athenians elected Cleon general), but comic poetry would certainly have encouraged them to refine their perspectives on the complex ideological forces that governed their city and their own interpersonal behavior.
As a form of public art, organized and at least partially funded by the state, Old Comedy necessarily reflected prevailing cultural norms, and its success depended largely on its ability to walk the fine line between questioning—and occasionally subverting—these norms and merely endorsing them. The generally conservative tendencies of satire were no doubt ultimately reassuring to a democracy that institutionalized the comic performances to begin with. One cannot easily imagine, after all, what group would endorse an art form that seriously repudiated its fundamental claims to legitimacy, and few looking back today on the audience of Aristophanes' time would deny that Aristophanic comedy presupposes the desirability of democracy as practiced in the fifth century. Certainly the ancient testimony mentioned earlier, even if fictional, that Cleon sued Aristophanes for slandering the demos and its politicians in his Babylonians of 426 suggests that there were perceived limits to comic ridicule at the time. But as far as we can tell these limits were never systematically articulated or, for that matter, rigorously enforced. It was probably less the fear of any slander laws that restricted the freedom of comic poets than a finely honed sense of what the audience—the demos itself—would find humorous.
Although we possess only eleven complete plays by Aristophanes (representing perhaps a quarter of his total output), we are fortunate that these eleven offer examples of his art from every period of his career. Readers who approach them chronologically will note that the latest plays, both from the fourth-century, Ecclesiazusae (392 BC) and Wealth (388 BC), reflect changes in structure and content from those composed in the fifth century. The most conspicuous difference lies in the diminishing role of the chorus. In its earliest stages comedy, like tragedy, was as much a spectacle of music and dance as of spoken verse, and the chorus was clearly an area in which costume, song, and gesture could be combined to create a theatrical extravaganza. Eight of Aristophanes' surviving plays, in fact, take their titles from the identity of the chorus, and in all of the fifth-century plays his choruses play an integral role in the plot (Frogs is a quirky exception in that it has two choruses—the frogs themselves and a band of religious initiates; the frogs appear only briefly, at the beginning, and the initiates take over the choral duties for the rest of the play). Ecclesiazusaw and Wealth still do have choruses, but their role is, by contrast, highly restricted and at times almost obtrusive. Some of the manuscripts of these plays indicate places in the text where someone (the poet, perhaps, but we cannot be sure) was expected to add a choral song and dance as a kind of interlude. Some scholars have even suggested that these were points in the play where the chorus was expected to improvise ad libitum while the actors prepared for the next scene. The details remain uncertain, but we can say with confidence that song and dance were increasingly relegated to the sidelines, used as ornamentation and framing, but no longer deemed necessary for the advancement of the plot.
Two other changes in Aristophanes' fourth-century plays throw into relief the process by which Old Comedy gradually developed into its later forms, Middle and New Comedy. First, the parabasis all but disappeared by the fourth century, and as a result, the poet's carefully constructed relationship with his audience became necessarily less explicit. Second, even though the non-Aristophanic examples of Middle Comedy are fragmentary, it seems clear that the pointed satire, the personal, often obscene abuse we associate with Old Comedy was significantly softened. Both of these changes are in keeping with a general fourth-century trend away from strictly topical, highly episodic plots, such as we find in Old Comedy, toward plots that display greater narrative coherence and linearity. Earlier concerns with specific events and personalities of the day slowly gave way to "universalizing" topics of human interest, which can be vividly seen in the popularity of stock comic characters—cooks, slaves, philosophers, misers, misanthropes, and so forth.
The shifts in public taste that Middle and New Comedy reflect are not easy to account for, but doubtless the dissolution of the Athenian empire after the Peloponnesian War, and an internationalizing movement of culture in the fourth century, are at least partly responsible. Were our evidence better for the period, we would probably find that the development of Greek comic drama, as well as its public reception, was hardly as uniform as we tend to construe it. Compare in this regard the state of comic drama in our own culture. Aristophanes' rambunctious, topical satire is reincarnated in late-night talk-shows, British series such as Benny Hill or Fawlty Towers, Gilbert and Sullivan revivals, Marx Brothers movies, and Three Stooges shorts. Yet at the same time, contemporary popular taste seems generally to favor the genres that look more like Middle or New Comedy, as is clear from the fact that the situation-comedy has held sway on television for several decades. No doubt the Greeks of both the fifth and fourth centuries also had the capacity to appreciate a variety of comic styles, and poets could be found to cater to all tastes. We have only scattered remnants of such poets, and only a skeletal understanding of how comedy evolved, but the literary eclecticism that Aristophanes alone displays across his entire career testifies to a poetic catholicity that would be remarkable in any age.
Table of Contents
Introduction by Ralph Rosen
—Translated by Campbell McGrath
—Translated by X. J. Kennedy
—Translated by Alfred Corn
The Sexual Congress
—Translated by R. H. W. Dillard
About the Translators
Customer Reviews
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It's that time of year again - All Souls' at Vancouver's Mountain View Cemetery is almost here. Some activities and participants are now familiar to many, but new things will be happening too. Mountain View is Vancouver's only cemetery and is just west of Fraser St, between 31st Ave and 43rd Ave., easily accessible.
Plan to attend. Come early to have a good look around this 106 acre civic space, locate a family member's grave, or to take photographs. Then attend one of the evening events. All Souls' is an artist led, family friendly opportunity for quiet reflection and remembrance, and for sharing those experiences too, if you like, no matter where you're from.
Saturday, October 27 from
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Music, warming fires, and
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dead. Inside the Celebration Hall you will find space and materials to craft your own personal memorials.
Sunday, October 28
from 7:00 pm to 9:00 pm
Threshold Choir performance in the Celebration Hall. The
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the bedsides of people who are struggling, some with living, some with
Tuesday, October 30 from
7:00 to 9:00 pm
Film screening of the 2006 documentary "Forever" about Pere-Lachaise Cemetery in Paris, France.
Thursday, November 1
from 7:00 pm to 9:00 pm
The Orkestar Slivovica Balkan Brass Band performance and procession through the shrines to honour the
Mountain View Cemetery
5455 Fraser St, Vancouver, BC
Phone: 604-325-2646
(entrance at 39th Ave)
Mountain View Cemetery, Vancouver - All Souls' Calendar of Events
Arlington National Cemetery Asks Public Input on Eligibility Rules - As space has become limited, the Department of Defense considers new eligibility rules for the iconic Arlington Cemetery and seeks public and stakeholder ...
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