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A Pedagogical Response to the Aurora Shootings: 10 Critical Questions about Fictional Representations of Violence/
The horrifying and tragic news of the shooting in Aurora, Colorado this weekend requires some degree of reflection on our parts. As someone who found himself very much involved in the national debates surrounding the Columbine Shootings in the late 1990s, there is a terrible sense of deja vu: we all know all too well the twists and turns the national debate will take and the dangers of what happens when "moral panic" spins hopelessly out of control.
I was deeply moved this weekend by a video blog produced by a young woman -- Lauren Bird -- from the Harry Potter Alliance who has so many thoughtful things to say about the social value of popular entertainment, the shared ritual of the midnight movie, and the dangers of pathologizing our desire to participate in the culture. (But, of course, the national AMC chain has already announced that they are banning the wearing of any costumes into their theaters, as if the problem with the shooter in this case was that he was a "crazy fan" who showed up in costume.)
Today, I wanted to share some pedagogical materials which I developed through the New Media Literacies Project in the aftermath of the Virginia Tech shootings, where, once again, anxieties about popular culture substituted for serious reflections on the many root causes of violence in American culture.
To be extra clear, I do not think media is where this debate should be focused. The conversation needs to be centered around the root causes of violence and the need to develop a much stronger infrastructure around mental health issues in this country. But, media violence issues are often used as a distraction from serious conversations about public policies in the aftermath of such incidents. If we are going to be discussing "media violence," we need to do so with sufficient nuance to have a meaningful discussion, and ideally, we need to do so in a way which moves us from thinking about simplistic models of "media effects" towards a focus on the meanings of representations of violence as understood in the context of the work as a whole. See my essay on "The War Between Effects and Meanings" in Fans, Bloggers, and Gamers, for an explanation of this distinction.
First, I wanted to share a passage from a statement about violence I wrote for teachers, which expresses something I was unable to meaningfully communicate via Twitter in an online exchange yesterday:
Why is violence so persistent in our popular culture? Because violence has been persistent across storytelling media of all kinds. A thorough account of violence in media would include: fairy tales such as Hansel and Gretel, oral epics such as Homer's Iliad, the staged violence of Shakespeare's plays, paintings of the Rape of the Sabine Women, and stained glass window representations of saints being pumped full of arrows, or, for that matter, talk show conversations about the causes of school shootings. Violence is fundamental to these various media because aggression and conflict are core aspects of human experience. We need our art to provide some moral order, to help us sort through our feelings, to provoke us to move beyond easy answers and to ask hard questions.
Our current framing of media violence assumes that it most often attracts us, that it inspires imitation, whereas throughout much of human history, representations of violence were seen as morally instructive, as making it less likely that we are going to transgress against various social prohibitions. When we read the lives of saints, for example, we are invited to identify with the one suffering the violence and not the one committing it. Violence was thought to provoke empathy, which was good for the soul. Violence was thought to make moral lessons more memorable.
Moral reformers rarely take aim at mundane and banal representations of violence, though formulaic violence is pervasive in our culture. Almost always, they go after works that are acclaimed elsewhere as art--the works of Martin Scorsese or Quentin Tarantino, say--precisely because these works manage to get under their skin. For some of us, this provocation gets us thinking more deeply about the moral consequences of violence, whereas others condemn the works themselves, unable to process the idea that such a work might provoke us to reflect about the violence that it represents. The study of literature offers a remarkable opportunity to engage young people in conversations about such issues, expanding the range of stories about violence which they encounter, introducing them to works that encourage reflection about the human consequences of revenge and aggression, and broadening the range of meanings they attach to such representations.
In order to encourage such reflections in the classroom, I developed a set of basic questions we should ask about any representation of violence. There are persistent references throughout this to Moby-Dick because it was part of a teacher's strategy guide for Moby-Dick. Our book on this larger project, Reading in a Participatory Culture , is coming out from Teacher's College Press later this year. I was struck re-reading this today that I had already written here about the role of violence in the Batman saga, though this came out prior to the Dark Knight films by Christopher Nolan.
1. What basic conflicts are being enacted through the violence?
Literary critics have long identified the core conflicts that shape much of the world's literature: Human vs. Human, Human vs. Nature, Human vs. Self, and sometimes Human vs. Machine. Such conflicts spark drama. Moby-Dick can be understood as including all three conflicts: the conflict between Ahab and Starbuck embodies deeper divisions within the ship's crew over the captain's decision to place his own personal goals above their collective well being or above the business of whaling; the conflict between Ahab and Moby Dick may be understood as a human being throwing himself full force against the natural world; Ahab struggles with his own better nature and Starbuck searches his soul trying to figure out how to respond to his conflicting duties. Any of these conflicts can erupt in violence--directly against other people, against the natural world, or against ourselves.
You might ask your students to identify which of these forms of conflict are most visible in contemporary video games, on television, or in the cinema and why some forms of conflict appear more often in these media than others. For example, video game designers have historically found it difficult to depict characters' internalized conflict (human vs. self), in part because contest or combat are central building blocks of most games.
2. Do the characters make conscious choices to engage in acts of violence? How do they try, through language or action, to explain and justify those choices?
In the real world, an act of violence may erupt in a split second: one moment, people we care about are alive; the next, they are dead. The violence may be random: there is no real reason why these victims were singled out over others; they were in the wrong place at the wrong time. Yet, works of fiction often focus our attention on moments when characters make decisions, often based on aspects of their personalities which they little recognize or control, and those choices may have repercussions that echo across the work as a whole.
So, the act that took Ahab's leg may have been totally random, and we see several examples throughout the novel where a split-second decision may cause a character to be wounded or killed. We might compare Ahab's amputation with the events that lead to Pip being thrown from the boat, left adrift, and ultimately driven insane, or to the unnamed man who falls from the ship's mast and drowns. By contrast, the novel invites us to consider the choices Ahab makes at each step and how the other characters respond to those choices. Melville shows us many points where the ship could turn back and avoid its fate. He spells out what the characters are thinking and why they make the decisions they do.
The events could take a different shape, though the shape of a plot can give depicted events a sense of inevitability. Some forms of tragedy, for example, rely on the notion that characters are unable to escape their fates, no matter what choices they make, or that the final acts of violence and destruction flow logically from some "tragic flaw." In trying to make sense of a fictional representation of violence, you want to encourage your student to seek out moments where the characters make choices that ultimately lead towards acts of aggression or destruction. Often, authors provide those characters with rationalizations for their choices, offering some clues through their words, thoughts, or actions about why they do what they do.
At such moments, the work also often offers us alternatives to violence, other choices the characters could have made, though such choices may remain implicit rather than being explicitly stated. Different works and different genres may see these alternatives to violence as more or less plausible, attractive, or rational. So, if you are being chased by a mad man waving a chain saw in a horror film, engaging him in a conversation may not be a rational, plausible, or attractive alternative. Genre fiction constructs contexts where the protagonist has no choice but to resort to violence, though what separates heroes from villains may be their relative comfort in deploying violence to serve their own interests. In many American movies, the hero is reluctant to turn towards violence, seeing it as a last resort. By contrast, the villain may deploy violence in situations where she has other alternatives, suggesting cruelty or indifference.
In dealing with violence in video games, then, you may want to ask what options are available to the player for dealing with a certain situation. In some games, there may be no options other than violence, and the game itself may spend very little time offering the character a rationalization for such actions. It is fight or flight, kill or be killed. Many games are simply digital versions of the classic shooting galleries: the game space is designed as an arena where players can shoot it out with other players or with computer-controlled characters. In other games, there may be options that allow the protagonist to avoid violence, but they may not be emotionally satisfying; they may put the player at a significant disadvantage; they may be hard to execute. So, helping students to interpret the options available to characters in a literary fiction may help them to reflect more
consciously on the more limited choices available to them as gamers.
3. What are the consequences of the violence depicted in the work?
Many popular stories don't pay sufficient attention to the consequences of violence. Rambo may slaughter hundreds and yet, much as in a video game, the bodies simply disappear. We get no sense of the human costs involved in combat on such a scale. Many medieval epics consisted primarily of hack and slash battle sequences; yet, periodically, the action would stop, and the bard would enumerate the names of the dead on both sides, acknowledging that these warriors paid a price even if their actions help to establish the nation state or restore order to the kingdom. Gonzala Frasca has argued that video games inherently trivialize violence because they operate in a world where the player can simply reboot and start over if their character dies.
In contrast, westerns follow a basic formula: the protagonist (most often male) would resort to violence to battle other aggressive forces that threaten his community; his heroic actions would restore justice and order, but the hero could not live within the order he had helped to create and would be forced to ride off into the sunset at the end of the story. Susan Sontag has written about "the Imagination of Disaster," suggesting that films about apocalyptic events often create a rough moral order in which characters are rewarded or punished based on the values they display under extreme circumstances.
Moby-Dick can be said to have its own mechanisms for punishing violence: Ahab's search for vengeance at all costs means that he and his crew must pay the ultimate price.
4. What power relationships, real or symbolic, does the violence suggest?
In many cases, storytellers deploy violence as a means of embodying power. We should not be surprised by this tendency given the way sociologists have characterized rape as the deployment of male power against women or lynching as the enactment of white power against blacks. Historically, wars have been seen as a way of resolving conflicts between nations through the exercise of power, while trial by combat was a means of deploying power to resolve individual conflicts and disagreements.
Media representations of violence can give viewers a seductive sense of empowerment as they watch characters who are hopelessly out-numbered triumph or they watch segments of the population who seem disempowered in the real world deploy violence to right past wrongs. Some have argued that young people play violent video games, in part, as a means of compensating for a sense of disempowerment they may feel at school.
Conversely, stories may encourage our sense of outrage when we see powerful groups or individuals abusing their power, whether in the form of bullies degrading their victims or nations suppressing their citizens. This abuse of power by powerful forces may prepare us for some counter-balancing exercise of power, setting up the basic moral oppositions upon which a story depends.
As you teach students to think critically about representations of violence, a key challenge will be to identify the different forms of power at play within the narrative and to map the relations between them. Which characters are in the most powerful positions and what are their sources of power? Which characters are abusing their power? What sources of power are ascribed to characters who might initially seem powerless, and to what degree is violence depicted as a means of empowerment?
5. How graphic is the depiction of violence?
One of the limits of the study on violence in American cartoons released by the American Academy of Pediatrics is that it counts "violent acts" without considering differing degrees of stylization. In fact, children at a pretty young age--certainly by the time they reach elementary school--are capable of making at least crude distinctions between more or less realistic representations of violence. They can be fooled by media which offers ambiguous cues, but they generally read media that seems realistic very differently from media that seems cartoonish or larger than life. For that reason, they are often more emotionally disturbed by documentaries that depict predators and prey, war, or crime, than they are by the hyperbolic representations we most often are talking about when we
refer to media violence.
While most of us have very limited vocabularies for discussing these different degrees of explicitness, such implicit distinctions shape the ways we respond to representations of violence within fictions. We each know what we can tolerate and tend to avoid modes of representation we find too intense or disturbing. Most ratings systems distinguish between cartoonish and realistic forms of violence. We need to guard against the assumption, however, that the more graphic forms of violence are necessarily "sick" or inappropriate. More stylized forms can make it much easier to ignore the gravity of real world violence through a process of sanitization. In some cases, more graphic depictions of violence
shatter that complacency and can force us to confront the human costs of violence.
Literary critics have long made a distinction between showing and telling. We might extend this distinction to think about media representations of violence. An artist may ask us to directly confront the act of violence, or she may ask us to deal with its repercussions, having a character describe an event which occurred before the opening of the narrative or which took place off stage. Some very famous examples of media violence--such as the torture sequences in Reservoir Dogs or Pulp Fiction --pull the camera away at the moments of peak intensity, counting on the viewer's imagination to fill in what happens, often based on cues from the soundtrack, or in the case of Pulp Fiction , the splattering of blood from off-camera. Again, we need to get students to focus on the creative choices made by the storytellers and artists in their construction of these episodes, choices especially about what to show and what not to show.
6. What function does the violence serve in the narrative?
Critics often complain about "gratuitous violence." The phrase has been used so often that we can lose touch with what it means. According to the dictionary, "gratuitous" means "being without apparent reason, cause, or justification." So, before we can decide if an element in a fictional work is gratuitous, we have to look more closely at why it is present (its motivation) and what purposes it serves (its function).
Keep in mind that we are not talking here about why the character performs the violent act but rather why the artist includes it in the work. An artwork might depict senseless killings, as occur at certain moments in No Country for Old Men where the killer is slaughtering people seemingly at random. This doesn't necessarily mean that the violence is "gratuitous" since in this case, the violence sets the action of the story into motion, and the work is very interested in how other characters react to the threat posed by this senseless violence. There is artistic motivation for including the violence, even if the directors, the Coen Brothers, are uninterested in the killer's psychological motives.
An element in a work of fiction may be motivated on several different levels: it may be motivated realistically, in the sense that a story about contemporary urban street gangs might be expected to depict violence as part of their real world experience; it might be motivated generically, in the sense that people going to see a horror movie expect to see a certain amount of gore and bloody mayhem; it may be motivated thematically, in the sense that an act of violence may force characters to take the measure of their own values and ethical commitments; it may be motivated symbolically, in the sense that a character dreams about performing violence and those dreams offer us a window into his or her thinking process. In each case, the violence has a different motivation, even though the actions depicted may be relatively similar.
By the same token, we might ask what functions an act of violence plays in the work. One way to answer that question is to imagine how the work would be different if this element were not included. Would the story have the same shape? Would the characters behave in the same way? Would the work have the same emotional impact? Some acts of violence motivate the actions of the story; some bring about a resolution in the core conflict; still others mark particular steps in the trajectory of the plot; and in some rare cases, the violent acts may indeed be gratuitous, in that their exclusion would change little or nothing in our experience of the work
But keep in mind that the violence which disturbs us the most on first viewing is not necessarily gratuitous and is often violence which has ramifications throughout the rest of the story. Describing a scene as "gratuitous" is easy, especially when it shortcuts the process of engaging more critically with the structure and messages of the work in question. For example, the film Basketball Diaries became the focus of controversy following the Columbine shootings primarily because of a single scene in which the protagonist wears a long black coat and imagines shooting up a school. Those discussing the sequence failed to explain that it was a dream sequence, not an action performed by the film's protagonist, and that it is part of a larger story which explores how a young man overcame his rage, his addictions, and his antisocial impulses to become a poet. Without the representation of his aggression, the power of the story of redemption would be weakened, whereas the scene removed from context seemed to endorse the antisocial values the work itself rejects.
7. What perspective(s) does the work offer us towards the character engaging in violence?
Media theorists have spent a great deal of time trying to determine what we mean when we say we identify with a character in a fictional work. At the most basic level, it means we recognize the character; we distinguish the fictional figure from others depicted in the same work. From there, we may mean that the work devotes a great deal of time and space to depicting the actions of this particular character. Typically, the more time we spend with a character, the more likely we are to see the world from her point of view. Yet, this is not always the case. We may be asked to observe and judge characters, especially if their actions and the values they embody fall outside of the stated perspective of the work. We may grow close to a character only to be pushed away again when the character takes an action we find reprehensible and unjustifiable.
There is a distinction to be drawn here between the structuring of narrative point of view and the structuring of moral judgments on the character. Part of what helps us to negotiate between the two is the degree to which we are given access to the thoughts and feelings of the character (and in the case of an audio-visual work, the degree to which we see the world from his or her optical point of view).
Consider, for example, the use of first person camera in a work like Jaws where scenes are sometimes shot from the perspective of the shark as it swims through the water approaching its human prey. At such moments, we feel fear and dread for the human victims, not sympathy for the sharks. Filmmakers quickly learned to manipulate this first person camera, sometimes duplicating the same camera movement, tricking us into thinking the monster is approaching, and then, demonstrating this to be a false alarm.
So, it is possible to follow characters but not get inside their head, and it is possible to have access to characters' thoughts and still not share their moral perspective.
And indeed, all of these relationships may shift in the course of reading a book as we may feel the character's actions are justified up until a certain point and then cross an implicit line where they become monstrous. Homer shares Ulysses's point of view throughout much of the Odyssey, but we still are inclined to pull back from him at a certain point as he brings bloody vengeance upon Penelope's suitors in the final moments of the epic.
Wyn Kelley identifies a similar pattern in Moby-Dick where we are invited to experience what whaling would be like from the point of view of the whale, and in the process, we are encouraged to reflect on the bloody brutality of slaughtering an innocent animal, stripping the meat off its bones, and boiling its flesh to create oil. Here, a break in the following pattern gives us an opportunity to reassess how we feel about the characters with whom we have up until that point been closely aligned. We might think about a common device in television melodrama where we've seen a scene of conflict between two characters who believe they are alone and then at the end, the camera pulls back to show the reaction of a previously undisclosed third-party figure who has been watching or overhearing the action. Such moments invite us to reassess what we've just seen from another vantage point.
In video games, the category of "first person shooters" has been especially controversial with critics concerned about the implications of players taking on the optical point of view of a character performing acts of violence; often, critics argue, the player doesn't just watch a violent act but is actively encouraged to participate. Gamers will sometimes refer to their characters in the third person ("he") and sometimes in the first person ("I"), pronoun slippages that suggest some confusions brought about by the intense identification players sometimes feel towards their avatars.
Yet, even here, we need to be careful to distinguish between following pattern, optical point of view, and moral attitude. In games, we typically remain attached to a single character whom we control, and thus we have a very strong following pattern. In first person shooters, we see the action through the optical point of view of that character, though we may feel no less connected to the characters we control in a third person game (where we see the full body of the character from an external perspective). The Second Person video game confounds our normal expectations about optical point of view, inviting us to see the action from an unfamiliar perspective, and thus it may shake up our typical ways of making sense of the action.
Those who have spent time watching players play and interviewing them about their game experiences find that in fact, identification works in complex ways, since the player is almost always thinking tactically about the choices that will allow her to beat the game. Winning often involves stepping outside a simple emotional or moral connection with an individual character. Players are encouraged to think of the game as a system, not unlike taking a more omniscient perspective in reading a work of fiction, even as other aspects of the game's formal structure may encourage them to feel a close alignment with a
particular character whose actions are shaped by their own decisions.
Game designer Will Wright (The Sims, Sim City) has argued that games may have a unique ability to make players experience guilt for the choices their characters have made in the course of the action. When we watch a film or read a novel, we always reserve the ability to pull back from a character we may otherwise admire and express anger over choices he or she has made or to direct that anger towards the author who is reflecting a world view we find repugnant. Yet, in a game, because players are making choices, however limited the options provided by the designer, they feel some degree of culpability. And a game designer has the ability to force them to reflect back on those choices and thus to have an experience of guilt.
8. What roles (aggressor, victim, other) does the protagonist play in the depiction of violence?
Many of the media texts which have been most controversial are works which bring the viewer into the head of the aggressor--from the gangster films of the 1930s through contemporary films like Natural Born Killers and American Psycho, television series like Dexter and The Sopranos, and games like Grand Theft Auto. All of these works are accused of glamorizing crime.
As we've already discussed, we need to distinguish between following pattern, optical and psychological point of view, and moral alignment. Many of these works bring us closer to such figures precisely so that we can feel a greater sense of horror over their anti-social behavior. Consider, for example, Sweeney Todd, which depicts a murderous barber and his partner, a baker, who turns the bodies of his victims into meat pies she sells to her customers. We read the story from their perspective and we are even encouraged to laugh at their painful and heartless puns about the potential value of different people as sources for human meat. Yet, our strong identification with these characters allows us to feel greater horror and sorrow over the final consequences of their actions.
At the other end of spectrum, literary scholar James Cain describes how a whole genre of literary works arose in the Middle Ages around representations of saints as victims:
"The persecutions of early Christians gave rise to an extraordinary collection of tales commemorating the supernatural endurance of victims who willingly suffered heinous atrocities and ultimately gave their lives bearing witness to their faith. From accounts of the stoning of the first martyr, St. Stephen, to the broiling of St. Lawrence on an open grill, the strapping of St. Catherine to a mechanical wheel of torture, the gouging-out of St. Lucy's eyeballs, the slitting-open of St. Cecilia's throat, the slicing-off of St. Agatha's breasts, the feeding of St. Perpetua and St. Felicitas to the lions, the piercing of St. Sebastian with a barrage of arrows--the graphic brutality undoubtedly exceeds even the most violent images in media today.... The strong emotional responses these images conjured up in their observers were deliberately designed to produce lasting impressions in people's memories and imaginations, to enable further reflection."
Far from being corrupting, representations of violence are seen as a source of moral instruction, in part because of our enormous sense of empathy for the saints' ability to endure suffering.
Most American popular culture negotiates between the two extremes. In the case of superheroes, for example, their origin stories often include moments of victimization and loss, as when young Bruce Wayne watches his mother and father get killed before deciding to devote his life to battling crime as the Batman, or when Peter Parker learns that "with great power comes great responsibility" the hard way when his lack of responsibility results in the death of his beloved uncle. In the world of the superheroes, the villains are also often victims of acts of violence, as when the Joker's face (and psyche) are scarred by being pushed into a vat of acid. The superhero genre tends to suggest that we have a choice how we respond to trauma and loss. For some, we emerge stronger and more ethically committed, while for others, we are devastated and bitter, turning towards anti-social actions and self-destruction.
A work like David Cronenberg's A History of Violence is particularly complex, since we learn more and more about the character's past as we move more deeply into the narrative and since the protagonist moves from bystander to victim and then reverses things, taking his battle to the gangsters, and along the way, becomes increasingly sadistic in his use of violence. Cronenberg wants to have the viewer rethinking and reassessing the meaning of violence in almost every scene of the film.
The filmmaker Jean Renoir famously said "every character has his reason." His point was that if we shift point of view, we can read the aggressor as victim or vice versa. Few people see themselves as cruel; most find ways to justify and rationalize acts of even the rawest aggression. And a literary work may invite us to see the same action from several different perspectives, shifting our identifications and empathy in the process. So, for example, the moment when we see the hunt from the whale's point of view reverses the lens, seeing Flask and his crew as the aggressors and the whale as the victim, a perspective we don't get in the rest of the novel.
Even when the artist doesn't fill in these other perspectives, critics and spectators can step back from a scene, put themselves in the heads of the various characters, and imagine what the world might look like from their point of view. Consider the novel and stage play, Wicked, which rereads The Wizard of Oz from the vantage point of the Wicked Witch and portrays Dorothy as a mean spirited trespasser who has murdered the witch's sister.
9. What moral frame (pro-social, antisocial, ambiguous) does the work place around the depicted violence?
Some fictions focus on violence as the performance of duty. The police, for example, are authorized to use certain sanctioned forms of violence in the pursuit of criminals and in the name of maintaining law and order. Some of these--for example, the television series The Shield--find great drama in exploring cops who "cross the line," seeing brutality or unnecessary use of force as a symptom of a police force no longer accountable to its public.
Similarly, much fiction centers on themes of war, with works either endorsing or criticizing military actions as forms of violence in the service of the state and of the public. There is a long tradition of national epics, going back to classical times, which depict the struggles to establish or defend the nation with violence often linked to patriotic themes and values. In the American tradition, this function was once performed by the western, which depicts the process by which "savagery" gave way to "civilization," though more recent westerns have sometimes explored the slaughter of the Indians from a more critical perspective as a form of racial cleansing.
So, even within genres that depict the use of force in pro-social or patriotic terms, there are opportunities for raising questions about the nature and value of violence as a tool for bringing about order and stability.
On the other hand, many stories depict violence as anti-social, focusing on criminals, gangsters, or terrorists, who operate outside the law and in opposition to the state or the community. The cultural critic Robert Warshow discusses the very different representations of "men with guns" found in the western, the gangster film, and the war movie, suggesting that all three genres have strong moral codes which explain when it is justifiable to use force and depicting what happens to characters who transgress those norms. The westerner can not live in the community he has helped to create through his use of force; the gangster (see Scarface for example) frequently is destroyed by the violence he has abused to meet his personal desires and ambitions; and the hero returns home at the end of the war, albeit often psychologically transformed by the violence he has experienced.
Just as fictions that seem to depict the pro-social use of violence may contain critiques of the abuse of power by the police or the horrors of war, fictions which depict the anti-social use of violence may include strong critiques of the gangster lifestyle. Robin Woods has famously summed up the basic formula of the horror films as "normality is threatened by monstrosity." In such a formula, there are three important terms to consider--what constitutes normality, what constitutes the monstrous, and what relationship is being posited between the two. Some horror films are highly moralistic, seeking to destroy anything which falls outside of narrow norms; others use the monster as the means of criticizing and questioning the limits of normality.
In many works, there is a core ambiguity about the nature of the violence being depicted. We may be asked to identify with several characters who have different moral codes and thus who see their actions in different terms. Our judgments may shift in the course of the narrative. The characters may understand their actions as pro-social even as the author invites us to read them as antisocial. Or the work may be saying that there's no simple distinction to be drawn between different forms of violence: it's all equally destructive. We might even imagine a truly nihilistic work in which all violence is justified. It isn't that we want students to fit works into simple either/or categories here. Rather, asking this question can force them towards a more complex understanding of the moral judgments the work is making--as opposed to simply those being made by the characters--about the value of the violence to society.
10. What tone does the work take towards the represented violence?
We've already seen the importance of distinguishing between the forms of violence being depicted in a work and the position the work takes on those actions. We've seen that identification with a protagonist is fragile and shifting across a work, so that we may sometimes feel a strong emotional bond with a character for much of the story and yet still feel estranged from her when the author reveals some darker side of her personality.
A work may depict the pro-social use of violence and either endorse or criticize the Establishment being depicted. A work may depict anti-social forms of violence in ways which are conservative in their perspective on those groups who use force outside legal contexts. Or a work may depict forms of violence that are hard to classify in those terms and thus invite readers to struggle with that ambiguity.
Similarly, we need to consider the range of different emotional responses a work may evoke through its use of violent images. Some fictions about violence, such as the action sequences in an Indiana Jones movie, may thrill us with exciting, larger than life heroics. Some, such as Saving Private Ryan or Glory, may appeal to our sense of national pride towards the brave men who gave their lives defending their country. Some, such as the scene in Old Yeller where the boy is forced to shoot his dog, may generate enormous empathy as we feel sorry for the characters who are forced to deploy or suffer violence against their will. Some, such as depictions of human suffering around the world, may seek to shock us into greater social consciousness and civic action. Some, such as slapstick comedy, may encourage us to laugh at highly stylized depictions of physical aggression. And still others, such as Saw or Nightmare on Elm Street, may provoke a sense of horror or disgust as we put ourselves through a series of intense emotional shocks in the name of entertainment.
We can not understand what representations of violence mean, then, without paying attention to issues of tone, and part of teaching close reading skills is helping students identify the subtle markings in a text which indicate the tone the author is taking towards the depicted events. Popular texts tend to create broadly recognizable and easily legible signs of tone, though many of the works of filmmakers like Tarantino or Scorsese generate controversy because they adopt a much more complex and multivalent tone than we expect from other texts in the same genre. We might compare Tarantino or Scorsese to certain writers--William Faulkner or Flannery O'Connor come to mind--who also seek complicated or contradictory emotional reactions to grotesque and violent elements in their narratives.


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The Hartford Courant today published an article that Tim Washington a 5-9 209 pd junior RB will transfer to UMass.
His Syracuse player bio is here . Read it quick, before they "sanitize" it as did UConn on our other I-A transfer Anthony Rouzier.
- Washington is an outstanding student and will attend grad school at UMass
- USA Today CT Player-of-the-Year
- PrepStar All-American
A tip-of-the-helmet to Tom um'73, who brought this to my attention!

subset: commoncrawl


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Press Release
Mark Mitchell�
Oklahoma Ranked as One of the Top Web Sites in the Nation
Oklahoma City, OK. – September 16, 2009 – Oklahoma's Official Web site, http://OK.gov, has been nominated as a finalist in the 2009 Best of the Web national competition for eGovernment achievement.
"To be recognized as one of the top 11 state Web sites in the nation is a great honor," said Joe Fleckinger, Deputy Director of Information Technology of the Oklahoma Office of State Finance. "Since 2001, we have worked hard to make OK.gov an easy-to-use and comprehensive place for businesses and citizens to interact with the state. In the future, we plan to build upon this success by enhancing citizen interaction, managing important content effectively and efficiently, and building online services that save the state, citizens and businesses time and money."
The state of Oklahoma launched a new version of OK.gov in April 2009. The new version offers unique and innovative features that help set OK.gov apart from the other 49 states:
• Categorized and cross-referenced content that delivers powerful, relevant and "smart" search results.�
• Visitor activity that is logged and transformed into one-click search functionality, available in one centralized location.�
• Share, style, translate, and support services conveniently available throughout the entire portal.�
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Andy Griffith dead at 86
Pictures: Andy Griffith, 1926-2012
Read more: Celebrities remember Andy Griffith
Read more: Andy Griffith - A life in music
Pictures: Andy Griffith remembered
His death was confirmed in a statement from the Dare County, N.C., sheriff's office. Griffith died at his home on Roanoke Island, Dare County, N.C., at approximately 7 a.m.
"Andy Griffith passed away, after an illness ... Mr. Griffith has been laid to rest on his beloved Roanoke Island," explained a statement from Griffith's family.
"Andy was a person of incredibly strong Christian faith and was prepared for the day he would be called Home to his Lord," the actor's wife, Cindi Griffith, said in a statement.
CBS News correspondent Bill Whitaker reports that while Griffith's long career stretched from nightclubs to radio to movies to music, it was a role as a small-town sheriff that made him beloved to millions of Americans.
Viewers tuned in to "The Andy Griffith Show" not to watch Sheriff Andy Taylor solve big crimes, but to watch him solve the little problems of life in the fictional Mayberry, N.C. Don Knotts played Deputy Barney Fife, and Jim Nabors portrayed Gomer Pyle, the gas pumper. Most critics consider the show, which ran from 1960 to 1968, one of the top four or five sitcoms ever shown on television.
CBS' "The Andy Griffith Show" was one of only three series in history to end its run at the top of the ratings. "I Love Lucy" and "Seinfeld" also bowed out on top. Griffith said he decided to end the show "because I thought it was slipping, and I didn't want it to go down further," reports The Associated Press.
Andrew Samuel Griffith was born June 1, 1926, in Mt. Airy, N.C., a town much like Mayberry. As a child, he sang and played slide trombone in the band at Grace Moravian Church. He originally wanted a career as a musician, but his skills as a storyteller, mixed in with lots of country humor, soon came out. His acting career started with the role of Sir Walter Raleigh in Paul Green's outdoor pageant, "The Lost Colony," in Manteo, N.C.
Griffith graduated with a degree in music from the University of North Carolina at Chapel Hill in 1949. After graduation, he taught at a high school in Goldsboro, N.C., before moving to New York. He soon became a regular on "The Ed Sullivan Show" and "The Steve Allen Show" in the 1950s. In 1955, he starred in Broadway's "No Time for Sergeants," earning him a Tony nomination for outstanding supporting actor. Two years later, Griffith made his film debut in "A Face in the Crowd," alongside actress Patricia Neal. In 1960, he found himself with another Tony nomination, this time for best actor in the musical, "Destry Rides Again," in 1960.
In 1972, Griffith started his own production company. Throughout the '70s, Griffith continued his TV and film career, appearing in 1975's "Hearts of the West" with Jeff Bridges. He relaunched his 1960s sitcom, rebranding it as the "The New Andy Griffith Show," in 1972. It lasted one year.
Griffith made a big return to television in 1986, playing the title role in the TV legal drama "Matlock, which aired until 1995.
In the 1990s, Griffith also appeared in TV movies, including "Scattering Dad" and "A Holiday Romance."
He made a guest appearance on "Dawson's Creek" in 2001 and played the diner owner in director Adrienne Shelley' 2007 film "Waitress," starring Keri Russell. In 2009, he played the role of Grandpa Joe in the movie "Play the Game."
Griffith never forgot about his music roots. He received a Grammy Award for best Southern, country or bluegrass gospel album for "I Love to Tell the Story: 25 Timeless Hymns," in 1997.
The actor has been plagued by health issues through the years, suffering a heart attack in 2000, which led to quadruple heart-bypass surgery. In 2007, he underwent hip surgery after a fall. Griffith also had Guillain-Barre syndrome, a rare neurological disorder that can cause sudden paralysis.
Griffith recently lost a good friend, actor George Lindsey, who starred on "The Andy Griffith Show." Lindsey died in May at age 83.
At the time, Griffith released a statement saying, "Our last conversation was a few days ago ... I am happy to say that as we found ourselves in our eighties, we were not afraid to say, 'I love you.' That was the last thing George and I had to say to each other. 'I love you.'"
Griffith was married three times. His first marriage to Barbara Edwards ended in divorce in 1972. They had two children, Sam, who died in 1996, and a daughter, Dixie. He was married to Solica Casuto from 1975-1981. Griffith wed his third wife, Cindi Knight Griffith, in 1983.
"She and I are not only married, we're partners," Griffith said of his wife in 2007, according to The Associated Press. "And she helps me very much with everything."
Griffith received the Presidential Medal of Freedom from President George W. Bush in 2005.
In his 2005 speech, the president said, "Looking back on his Mayberry days, Andy explained the timeless appeal of the show. He said 'it was about love. Barney would set himself up for a fall, and Andy would be there to catch him.' The enduring appeal of the show has always depended -- and still does -- on the simplicity and sweetness and rectitude of the man behind the badge. TV shows come and go, but there's only one Andy Griffith."


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The Amazing Race Australia VS New Zealand premiers on the 28th of July at 8:45pm according to TV Week in Australia!
From TV2's Facebook:Announcement: Australia have delayed the launch of The Amazing Race which delays us too. TV Guide has already gone to print (sorry guys) but they've got a sweet interview with the host Grant Bowler. The Amazing Race. Still coming soon to Tuesdays TV2
The first picture looks like Cat/Jessie and that's definitely Dubrovnik.
Intersection sally and tyson daniel and ryan, this confirms there are an even amount of teams racing in russia
So it's Cambodia - Thailand - Namibia - Russia - Croatia - Portugal - USA - Argentina - Australia? Sounds good to me.
It's an Intersection!
Quote from: Alenaveda on August 05, 2014, 03:00:42 PMIt's an Intersection!Alen I think you should try and get caps of the weird beginning overview of the season (the part this cap was taken)! It would be really helpful!
idg what that even means
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Madison, Wis.
Wisconsin agriculture officials are inviting public comment regarding a plan to let corn growers treat seed with a nonlethal repellent to stop sandhill cranes from eating it.
The proposal would allow corn growers to use products called Avipel Liquid Seed Treatment and Avipel Hopper Box corn seed treatment. Agriculture officials say cranes that eat treated corn seed once are repelled from eating any more.
The state agriculture department says neither product is registered with the U.S. Environmental Protection Agency but that both have been used under EPA emergency exemptions.
People who want to comment can do so by email or by writing to the Department of Agriculture, Trade and Consumer Protection. Written comments must be received by March 29 and emails must be submitted by March 31.


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Cheatin' Hearts
Where is sport steering youth?
By Lance Pugmire, Los Angeles Times Staff Writer
February 18, 2007
For generations it has been one of the great American axioms, accepted truth on diamonds, courts and gridirons everywhere: Sports builds character, instilling the values of teamwork and good sportsmanship.
But amid fresh headlines of alleged cheating in auto racing, continuing controversies over steroid use in baseball, track and cycling and ugly brawls among basketball players comes a nationwide survey suggesting a decidedly darker vision of sports.
"There is reason to worry that the sports fields of America are becoming the training grounds for the next generation of corporate and political villains and thieves," says Los Angeles ethicist Michael Josephson.
The latest two-year study of high school athletes by the Josephson Institute found a higher rate of cheating in school among student-athletes than among their classmates. It also found a growing acceptance of cheating to gain advantages in competition.
Josephson's report, based on interviews across the country with 5,275 high school athletes, concluded that too many coaches are "teaching our kids to cheat and cut corners."
The provocative findings were met with strong reactions from all sides — some acknowledging problems while others scoffed.
James Staunton, commissioner of the 565-school California Interscholastic Federation (CIF) Southern Section, which governs high school sports for most of the Southland, said he "hopes" ethical deviance hasn't "gone that far."
"What this points out to me is that we still have a tremendous amount of work to do with our athletes, parents and coaches," Staunton said. "For all the good things we talk about in sports, and the wonderful things we promote, we're fighting some societal pressures."
The commissioner acknowledged finding "that kids are powerfully motivated for the wrong reasons."
Some established Southland prep coaches dismissed Josephson's conclusions, including Chino Hills Ayala High's Tom Gregory, a 27-year veteran basketball coach. "I've used basketball as a tool for my players to become better people," he said.
The survey's conclusions may be open to some dispute. Josephson found, for example, that about 25% of teen athletes considered rule-bending and aggressive behavior in competition acceptable. A substantial majority did not find it acceptable, though the percentage who considered that behavior acceptable had risen since a previous survey.
Among other notable survey results were:
• At least 65% of athletes acknowledged cheating on an exam at least once within a year, compared with a 60% rate among a general student population.
• 72% of football players acknowledged cheating.
• 48% of baseball players believe it proper for a coach to order his pitcher to throw at an opposing batter in retaliation.
• 37% of boys think it is acceptable for a coach to motivate a player using personal insults and vulgarity.
• 43% of boys endorse trash-talk and showboating during games.
• 6.4% of male athletes acknowledged using performance-enhancing drugs in the last year.
"I'm not trying to fool people, or be an alarmist," Josephson said. "But I believe in looking at these numbers; there are so many kids learning to cheat that there is cause for great concern."
He said the survey did not pinpoint "whether this enhanced propensity to cheat is due to values that put winning over honesty or a reflection of pressures to stay [academically] eligible or simply manage their time given the high demands of sports."
But Josephson said: "The fact remains that for most kids, sports promotes rather than discourages cheating."
Barbara Fiege, commissioner of the CIF City Section in Los Angeles, called the survey results "amazing to me."
She speculated that positive values of high school sports may have been diminished in recent years by a diluted pool of experienced teacher-coaches. In the City Section, for example, 40% of coaches do not teach any classes at the school, not even physical education courses.
"When your coach has not gone through four or five years of college, does not have a degree in education and is not involved in the kids' grades or classes, there's going to be an inherent amount of drop-off in the effect they have on the kids," Fiege said.
Gregory, the coach at Ayala who disputes Josephson's findings about sports, nonetheless agrees that coaches make a big difference.
"When I see problems with undisciplined teams, many times there's a young coach on the bench," he said.
Higher incidents of poor sportsmanship can also be attributed to less-than-perfect "role models like Barry Bonds, violence in professional sports, the showcasing of kids as individuals in a team game, and parents becoming much more aggressive," Gregory said.
"It's cool now to be overly aggressive, taunting, boisterous," Gregory said. "Many kids don't want to be a yes man."
But warped values are not the fault of sports, he insisted. The failure rests on parents, teachers, coaches and role models.
Said Fiege: "Participating in sports still teaches kids the lessons of work, of working with a team, of conflict resolution, of learning to win and lose, and how to deal with a competitive world. But now there's a bigger influence on the need to win by coaches, with parents who are motivated to get their kids in the best club programs and to that elusive college scholarship.
"Now it's about more than just being a high school kid proud to be playing at your local high school."
With 660 victories and four Southern Section boys' basketball titles in 28 years of coaching, Glendora High's Mike LeDuc said his most troubling ethical concerns are the number of coaches engaged in recruiting players, the prevalence of amateur teams that displace high school team loyalties, and "illogical" parents.
Josephson "went too far if he's not saying the vast majority of players and coaches are OK," LeDuc said. "I still believe sports promotes winning, but not at all costs. We promote values ahead of success. We define winning as doing the best you can. I think you can have two winning teams on the same night."
Southern Section commissioner Staunton did not hesitate to embrace Josephson's survey.
"As kids grow and change and learn, if they're learning all along that cheating a little is OK, what will they do when they're at a greater level in life?" Staunton asked. "We have the facts of what these kids have reported to us. I can't deny this is happening. We need to do something about it.
"Sports should be the training ground to do things properly. These numbers tell us we have a ways to go, and it's on all of us — administrators, coaches, parents and athletes."
The Southern Section holds a series of one-day training sessions for coaches to examine ethical decisions and dilemmas, and requests ethical mission statements from athletic departments.
On March 8, its council members will vote on a measure to stiffen penalties for bad behavior by athletes — banning players for the remainder of any season in which they are ejected from two games. Two ejections now result in a two-game suspension.
"Our belief is to install more punitive measures," Staunton said. "Education is the answer. We want our athletes to accept that wrong is wrong, not to dismiss what they do as part of the game."
Sure penalties tend to deter cheating, according to the student survey, Josephson said. He credited NASCAR and the NBA officials with setting a good example. NASCAR removed driver Michael Waltrip's crew chief from Sunday's Daytona 500 after a banned fuel additive was found in his race car. The NBA imposed a 15-game suspension on Denver star Carmelo Anthony for fighting during a game.
"We have bad sports in athletics, in the political world and in the business environment," Josephson said. "These people are polluting it, and in some cases, they're corrupting it."
The City Section's Fiege commended Josephson's strong words.
"I'd venture to say he's saying these things to make the very strong point that this is a crisis," she said. "He might be going a little overboard to get people's attention, but this surely deserves attention, because whatever we've done to this point isn't working."


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YouTube's Biggest Draw Plays Games, Earns $4 Million a Year
Cussing, Comic Videogame Reviewer PewDiePie Has 27 Million Subscribers
STOCKHOLM—Felix Kjellberg doesn't play a very convincing megastar. The seemingly modest Swede avoids the spotlight, has no entourage and is uncomfortable with success.
But put Mr. Kjellberg in front of a Web-camera and he transforms into PewDiePie, by far YouTube's biggest draw. He has built a base of 27 million subscribers using a decidedly unorthodox approach to playing video and mobile games.


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Donald Trump's advisers repeatedly interrupted intelligence officials providing a briefing to the Republican nominee on Aug. 17, until New Jersey Gov. Chris Christie intervened, sources told NBC News.
The Aug. 17 briefing is attracting new attention after Trump said at NBC's Command-in-Chief Forum that he divined that intelligence officials were "not happy" with President Obama based on their "body language."
A U.S. official pointed out that intelligence officers don't give policy advice, so it would be inaccurate to say that Obama failed to follow the advice of the intelligence community. A second U.S. official said analysts are trained not to allow their body language to betray their thinking.
Four people with knowledge of the matter told NBC News that one of the advisers at the meeting, retired general Mike Flynn, repeatedly interrupted the briefing with pointed questions.
Two sources said Christie verbally restrained Flynn. Two other sources said Christie touched Flynn's arm in an effort get him to calm down. Requests for comment from Flynn and Christie were not immediately returned.


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Women's Slide
Nike Benassi
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The Nike Benassi Women's Slide features a lined upper with a bold logo for plush comfort and an athletic look. A foam midsole and outsole provide lightweight impact protection.
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4.3 Stars
Very good product!
nwamakaa683466745 - Apr 25, 2019
These shoes came so quick and easy. And they are at such an available price. Nike gives free shipping to members and all you need is an email. This product is comfortable and runs very true to size. So make sure you're buying your original size and they are so pretty and comfortable. Don't miss out on this opportunity.
Definitely order one size up!
ClaireF14963320 - Apr 23, 2019
These slides are awesome but they definitely run small. Order one size up! I am a true size 5 and when I received them the strap was tight over the top of my foot and my heel came right to the end of the slide. A size 6 would be just right, which I was able to painlessly exchange for through the nike.com chat. Aside from the sizing, the slides are very comfortable; they have great arch support and the padding on the inside of the strap is very soft. They're thick and solidly built, and I can't see them getting worn down or breaking easily. Looking forward to wearing these around my dorm and after running races.
SusannF706013228 - Jan 21, 2019
At first they are a bit narrow, but after wearing them for a couple days they fit perfectly! They are really comfortable and it feels really nice to put the on after a workout. Absolutely love the color too!


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Regional Report Triad August 2011
REGIONALREPORT Triad
GREENSBORO — The Southern Association of Colleges and Schools placed Bennett Collegeon probation for six months because of financial instability. Its accreditation will be reviewed during that period.
ASHEBORO — Because of state budget cuts, the N.C. Zoological Park has increased admission for the first time since 2001. Prices will increase by $2, to $12 for adults, $8 for children and $10 for senior citizens and college students. The increases are expected to generate $700,000 annually.
LEXINGTON — Boca Raton, Fla.-based Vitacost.com completed its 115,000-square-foot expansion here and added 50 jobs, increasing the online vitamin retailer's local workforce to 305.
WINSTON-SALEM — Krispy Kreme Doughnuts plans to launch three coffee lines in its shops in September that will be available through other retailers by 2013. CEO Jim Morgan says it's part of an initiative to sustain its newfound profitability.
ELKIN — Yadkin Valley Financial deferred its second-quarter dividend payment to the U.S. Treasury. The bank holding company, which received $49.3 million in 2009 as part of the Troubled Asset Relief Program, has paid the government about $5 million in preferred dividends.
MOCKSVILLE — Seneca Medical will open a 72,480-square-foot distribution center here by September. The Tiffin, Ohio-based provider of medical equipment and supplies says the center will employ between 25 and 50 within five years.
National Solar Power says Guilford County is among seven finalists for a $1.4 billion solar farm that would be the world's largest. The Melbourne, Fla.-based company plans to build a 400-megawatt plant, which would generate enough electricity for about 32,000 homes. When complete, it would employ about 120. Sites in Florida and Georgia are also being considered.


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Kurosh: The theory of groups 1st edition
Here is a link to the Preface to the English translation of the Kurosh Second Edition
We now quote from the Preface to the English translation of the first edition.
Here is a link to the Preface to the English translation of the Kurosh Second Edition
We now quote from the Preface to the English translation of the first edition.
The golden age of the theory of finite groups came at the end of the last century and the first decade of the present. During this period the fundamental results of the theory were obtained, the fundamental directions of research were laid down, and the fundamental methods were created; generally, through the work of its principal promoters (Frobenius, Hölder, Burnside, Schur, Miller) the theory of finite groups acquired at this time all the essential features it has at the present day. But later it became clear that the finiteness of a group is a restriction that is too strong and not always natural. It was of particular importance that this restriction very soon led to conflicts with the needs of neighbouring branches of mathematics: in several parts of geometry, the theory of automorphic functions, topology, in all of these one again and again came across algebraic structures similar to groups, but infinite, and so demands were made upon the theory of groups that the theory of finite groups was not in a position to satisfy. Moreover, from the point of view of algebra itself - of which the theory of groups is a part - a situation could hardly be regarded as normal in which such very simple and important groups as, for example, the additive group of integers remained outside the limits of the theory. The finite group must therefore be a special case of the general concept of a group, and the theory of finite groups must be a chapter in the general theory of "infinite" (that is, not necessarily finite) groups.
An exposition of the elements of group theory without the assumption that the groups under consideration were finite was, for the first time in the whole literature, made in the book Abstract Theory of Groups [in Russian] by 0 J Schmidt (Kiev 1916), a book which even now remains a reference work for all Soviet algebraists. But the broader development of the general theory of groups began somewhat later and was linked with that radical reorganization and transition to a set-theoretical foundation in algebra which occurred in the twenties of the present century (Emmy Noether). It was from here that the new concepts of operator systems and chain conditions were introduced into the theory of groups.
Subsequently the work on the general theory of groups became very vigorous and varied, and at the present time this part of mathematics hasbecome a wide and rich science occupying one of the foremost places in contemporary algebra. Clearly this development of the general theory of groups could not ignore the achievements of the theory of finite groups. On the contrary, many results sprang from the corresponding parts of the theory of finite groups; the guiding principle was the endeavour to replace the finiteness of the group by other natural restrictions under which a given theorem or a given theory remain valid but without which they cease to hold. Furthermore, very often a problem that is simple and completely solved in the case of finite groups changes to a broad theory, yet far from complete, this happens, for example, in the theory of abelian groups, one of the most important parts of contemporary group theory. At the same time a number of new branches arose, linked essentially with the study of infinite groups - the theory of free groups and of free products. Finally, in some cases, above all in the problem of giving a group by defining relations, the theory of groups achieved for the first time a clarity and rigour that had been lacking in the preceding stage of its development.
The theory of groups is far from complete. The variety of concrete problems confronting it and the fact that in some directions the research work has only recently begun justify us in assuming that the general theory of groups has not yet passed the climax of its growth. Nevertheless the time has come to systematize the rich material already accumulated and thus to present to a wide circle of mathematicians the basic trends of contemporary group theory, its methods, its principal achievements, and finally, the immediate problems facing it and the paths along which it will necessarily develop in the near future.
The present book does not pretend, obviously, to range over the whole theory of groups; but almost all the main branches of our science are presented in it, to an extent sufficient to show the reader the wealth of its contents and the variety of its methods.
The reader is not required to have a preliminary acquaintance with the elementary concepts of the theory of groups. A basic course of higher algebra is a prerequisite only for some initial examples of groups, such as matrices, permutations, roots of unity. As to the theory of numbers, the reader need only know the elements of the theory of congruences. On the other hand, the reader should be thoroughly acquainted with the elements of the theory of sets, as far as the first four chapters of the book Set Theory by Hausdorff (Chelsea, 1956). In particular, in many constructions and proofs transfinite induction is an essential tool.
The bibliography contains, as far as possible, a complete list of papers on the general theory of groups, including some that have come out recently but have not influenced the book. Of the rich literature on finite groups the bibliography includes only a few directly connected with the contents of the book. References to the bibliography are given in the text by the name of the author and (in brackets) the number of the paper quoted.
Moscow, October 1940
JOC/EFR March 2006
The URL of this page is:


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- Singapore Grand Prix
Vettel wins in Singapore after Hamilton retires
- News:
Webber penalised 20 seconds for Kobayashi incident
- News:
Massa rues missed opportunity
- News:
Fifth an unexpected bonus for Rosberg
- News:
Force India able to challenge bigger teams - Di Resta
- News:
Button rues soft tyre pace
- Race:
- Singapore Grand Prix
- Drivers:
- Fernando Alonso
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- Jenson Button
- |
- Sebastian Vettel
Sebastian Vettel won a gruelling Singapore Grand Prix after Lewis Hamilton's championship hopes took a bitter blow when he retired from the lead on lap 23.
Hamilton led from the start, but after a series of frantic radio messages to his team he retired with a gearbox problem and handed the lead to Vettel. The Red Bull driver then had Jenson Button in his mirrors for the remaining 36 laps, but despite two safety cars, he managed to win with relative ease. Championship leader Fernando Alonso took a comfortable third place after staying out of trouble and easing clear of fourth-place Paul di Resta in the closing stages.
The race hit its two hour limit, with the lap count two short of the full 61 when the chequered flag fell, but with accidents, contact and some ragged driving further down the field, none of the drivers would have felt short changed. The first safety car period, brought about when Narain Karthikeyan made a clumsy mistake at turn 18 and parked his car in the stadium tunnel, was well timed with the second pit stops of Vettel and Button and the pair made their stops in tandem.
However, the caution period did not help Pastor Maldonado, who had been running third after Hamilton's retirement, as he had made his second stop a few laps earlier and then felt compelled to stop again under the safety car to ensure he had enough grip to last him to the end of the race. In the end his efforts proved futile and what looked like a redeeming drive for the Venezuelan ended with a hydraulic issue.
Just ahead of the restart, Button came perilously close to Vettel's rear wing as the Red Bull driver appeared to bolt at the end of the lap but then slowed up. The McLaren avoided contact and then resumed its position in second, but Button made his feelings known over the radio. The incident was investigated after the race but no action was taken.
On the next racing lap Michael Schumacher ploughed into the back of Jean-Eric Vergne at turn 14 and caused another safety car. It appeared as though Schumacher simply made a mistake and locked up behind the Toro Rosso driver, whose attention was focused on finding a way past the Sauber ahead. After reviewing the incident the stewards slapped Schumacher with a 10-place grid penalty for the next race in Japan.
Once the debris had been cleared the race restarted and ran to its conclusion. The top three held their positions, with di Resta putting in a career-best performance to finish fourth and just four seconds shy of Alonso. Nico Rosberg came through to finish fifth after a relatively quiet race, while Lotus shuffled Kimi Raikkonen ahead of Romain Grosjean in sixth and seventh to try to boost the Finn's ailing championship hopes.
Felipe Massa finished a strong eighth after a puncture on the first lap dropped him 16 seconds behind the back of the field. After the second safety car he made use of some fresh tyres to bundle his way past Bruno Senna at the Anderson Bridge in one of the boldest and bravest overtaking moves of the season. Senna left Massa no space over the narrow bridge and forced the Ferrari into a slide, but Massa gathered his slewing car together to take the position and then chased down Daniel Ricciardo for eighth.
Ricciardo went on to finish ninth ahead of Sergio Perez, who took tenth place after the race when Mark Webber was penalised for passing Kamui Kobayashi off the track earlier in the race. Webber, who was out of position due to some bad luck with the timing of the safety car earlier in the race, is now 63 points off Alonso in the standings and appears to be out of the title race.
His team-mate Vettel has closed his gap to Alonso to 29 points, with Raikkonen third in the championship 45 points off the lead and Hamilton 52 points shy.
Of significance at the other end of the standings, Timo Glock finished 12th, moving Marussia up to tenth place in the constructors' standings.


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Rockin' Shams
Every holiday I'm forced to wonder: must we anthropomorphize everything?
The answer of course is yes - yes we must. Thanks for clearing that up, Becky F.
Not only is this next incredibly hulking blob supposed to be a shamrock, it's also got quite an infestation going on:
[sucking air through teeth] Hoo boy! Christy M., I'm not gonna lie to you: this is bad. Bad bad bad.
[hitching britches up] Now, what we've gotta do here is get them there lil' buggers out before they start "compromising" your "substructure", you follow? 'Cuz once THAT happens, well.. [shaking head mournfully] Let's just say it's "bye bye birdie". Now, fortunately for you, I just so happen to have a special runnin' this week... [hurrying out to fetch calculator from Hummer]
Aaand the "Worst Attempt at a Shamrock" goes to... [opening envelope]
[announcer voice] "This is Alison H.'s first win in the Sham category. Her previous nominations include 'Dog Paws on Poo', 'Head's Up! It's Edible!' and the critically acclaimed 'Santa's Sticky Surprise'."
Wow, these St. Patrick's Day cakes are driving me a bit buggy. How 'bout you guys?


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Skip Hire Dumbleton from YourLocalSkipHire.co.uk
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There is a revolution of African farmers responding to improved opportunities resulting from higher global food prices and increased local demand from growing African cities. Agricultural growth rates in Africa are exceeding the rest of the world, according to the Regional Economist in the Western & Central Africa division at the UN's Independent Fund for Agricultural Development (IFAD).
Following successful implementation of Green Revolutions in Latin America and Asia, there was a dramatic jump in productivity levels. As a result, the number of undernourished people in Asia tumbled from 41% in 1960 to 16% in 2000. And, due to the consequent drastic improvements in productivity and crop yields, disastrous famines predicted in India and China never took place.
Now, all eyes are on Africa. At a governmental level, there has been a remarkable shift in terms of prioritization of agricultural development. In 2003, Africa reached a turning point in the form of the Maputo Declaration on Agriculture and Food Security. In the Maputo Declaration, signed by heads of states and government in Africa, countries committed to allocating at least 10% of their national budgets to agriculture within a five-year time frame.
Africa has huge potential to feed itself. Lots of land. Lots of labor. Temperate weather in specific regions.
Yet it still lags behind all other continents in food security. An estimated one third of the continent's population is malnourished and famines are a recurring nightmare in several countries.
African governments are being urged to invest in the ag sector not only for food security, but also because it has a huge potential to reduce the unemployment rate.
The Bill & Melinda Gates Foundation publicly challenged African governments to allocate at least 10% of their national budget towards agriculture to support small farmers.
"Everything we are talking about today is to put farmers at the center," Melinda Gates said, adding that they need to be connected to a larger market and not put their produce on market when price is low, so that they can get more revenue. She spoke this spring at the 3-day African Green Revolution Forum 2012.
Agriculture offers a real opportunity not only to feed ourselves, but also to create employment opportunities for young people and generate revenue in rural areas, notes Kofi Annan, former head of the UN and now chairman of The Alliance for a Green Revolution in Africa (AGRA).
"If we can do that, people are not going to continue rushing to cities to live in slums the way they are doing," Annan said at the African Green Revolution Forum.
Uncertainty the Name of the Game with Wheat
Market Snapshot, 10:00 CT (VIP) -- November 7, 2012


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In order to haven´t the half of the first page full of stickys, i made this thread, where you can find all important threads, see it like this: If a thread is linked here, it´s the same as a sticky.
Basic Gothic modding thread
(This thread is made for the editing-beginners, for the very universally questions, i.e. "What programs do I need to make scripts?")
Before asking for help thread
(A FAQ (work in progress.))
Characterhelper: Translation
(The thread-title should say it all.)
Eastereggs in NotR (Spoiler!)
(The thread-title should say it all.)
Editing - All about scrpiting, leveldesign and compiling
(In here it is the right place to ask the more advanced questions about scripting, leveldesign and compiling, in the case to make a Gothic modification.)
Feedback and Suggestions
(This is the place to tell us what you think of this Forum and Site what works and doesn't work, what you like and don't like, what improvements you'd like to suggest.)
Modification: Diccuric! (and other)
(Like a database, if you want to talk about a modification, please feel free, to open a special (new) thread for that special mod!)
Modifications: Solutions for some Mods
(Complete solutions, hints and maps for some of the mods.)
Need help with Gothic I, Gothic II or TNOTR?
(Before you open a new thread, please take a moment to look at these help resources WoG.com is offering!)
Strength training guide for NoTR
(This guide is for those who don't like cheating but can't find their own way through the game and need a little help training their str.)
The Marvin Database
(A complete documentation of the Gothic test mode, Alpha Version 1.0)
Newbies Guide to Gothic
(It wont be so much a quest walkthrough, at least not yet, so much as general good ideas, skill builds, etc.)
[compendium] Developing a Gothic-Mod (sure for a long time in progress )
(It should be a help for people who want to lern the Gothic-modding.)
TGA File Thumbnails
(A handy plug-in for any G2 Modders doing work with Textures.)


text: These are the 10 Newest Real Estate Properties for sale in Tennessee listed and offered by Exit Realty, its brokers, and agents. Feel free to request more information – our Real Estate Agents will be happy to accommodate your needs. These Selected listings include Homes, Condos, Townhouses, and Land for Sale in Tennessee with additional links to peruse all of our statewide listings.


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94 N. Main Street, Jasper, GA - (706) 253-2457
The board of education last week banned smoking on all of its campuses and athletic fields, saying kids don't need to see adults and role models around them practicing such a harmful vice. That's true.
Indisputable studies define the link between cancer and smoking. Each year in the United States, some 443,000 people die, because of issues related to cigarette smoking––that's according to the Centers for Disease Control.
Smoking is bad for us. If you don't know that, you've been living in denial since 1950, the year the first major study showed the link between smoking and lung cancer. It is estimated that in that same year more than half of the U.S. population smoked. Today the number has dropped. Just 19.8 percent of Americans light up. Enormous public pressure has reduced smoking in the United States over the past decade.
The school board is jumping late onto this bandwagon and playing it safe in its choice of which health problem to address. Smokers already are outlawed or at least vilified in public spaces across the country. With the exception of two school board members, few defend smoker rights.
But if the school board sees itself as needing to set a role model standard, here's something else to chew on, if you'll pardon the pun.
Hasn't the school board bugled the attack on one vice while turning a blind eye to a more pressing health problem: obesity?
Smoking is a bad habit for students and adults, and the board is right to discourage it, but the policy is not a courageous stand. If the board really wants to show it is serious about influencing the community, how about some attention to diet, exercise, plus healthy food and drink choices?
In 2012 our most pressing health challenge is obesity, particularly for the youngest students. During the past 20 years, a dramatic obesity increase has bulged in the United States with more than one-third of adults (some 35%) tipping the scales in the obese range. The obesity rates among adults and children, even children as young as toddlers, are staggeringly high. And the South and the Appalachians rank as the worst of the worst, according to a recent study published by the CDC.
But when the state started to address student obesity with mandatory weigh-ins last year, local administration officials and board members either decried the move as an intrusion of government into private lives or remained silent.
It seems our board would rather choose an easy target like smoking, ignoring the at-the-moment more serious health bomb obesity poses. Far better for the board to battle against extra calories––changing bake sales to fresh apple sales––or forcing teachers to offer something besides soft drinks, cookies and ice cream at school parties. But that would take some serious political courage. Look at the reaction when other public agencies tried to limit portion size.
With studies piling up to show our health is at serious risk because of our eating habits, perhaps the board should crack the whip on what booster clubs sell from campus concession stands. And yes, we are talking about those beloved nachos, those deliciously bad corn chips with melted fake cheese that boast a whopping 1,100 calories plus 60 grams of fat.
Obesity-related maladies include heart disease, stroke, type 2 diabetes and certain types of cancer, some of the leading causes of preventable death. In 2008, according to the CDC, medical costs associated with obesity were estimated at $147 billion. The latest study by the CDC shows the South has the highest prevalence of obesity, more than any other part of the country, though it's doubtful northern concession stands sell anything much different from what ours sell.
We're not asking that school concession stands start stocking only organic Granny Smith apples, but if the school board wants to convert our school system into a role model for healthy living, it cannot just throw its weight around against an already maligned group of smokers while ignoring a worse problem for students.


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COP17 Press Briefing – "How Long Until We Power the Globe with Renewables? Insights from REN21's 2011 Global Status Report"
Renewable energy continues to gain ground. While annual growth in fossil fuels remains in the single digits and nuclear's share shrinks further, renewable energy sources are experiencing growth rates of up to 70 percent every year. Half of last year's electric capacity additions were renewables. Today, renewables already account for 25 percent of total global power capacity and 20 percent of worldwide electricity production. The sector's undeterred growth has been a positive constant despite the economic recession and public finance crises in many parts of the world. Among the fastest-growing renewable energy markets in 2010 were China (up 26 percent), Germany (up 10.4 percent), and the United States (up 5 percent). For the first time, developing-country investments in renewables surpassed those in the developed world. The two main drivers of renewables' success are technological developments that make renewable energy sources more effective and less expensive, and supportive policies. Today, 119 countries have renewable energy targets or support policies, compared with only 55 in 2005.
On Tuesday, December 6th from 2:00 to 2:30 pm, Worldwatch and Renewable Energy Policy Network for the 21st Century (REN21) Executive Secretary Christine Lins will launch REN21's annual Global Status Report, the most frequently referenced report on renewable energy policy and business since its first publication in 2005 at COP17. The report serves a wide range of audiences from investors and government decision makers to students, project developers, researchers, and industrial manufacturers. At the briefing, speakers will present the latest numbers on alternative energy, discuss the United States' performance in the global market, and explain what can be done on a state, federal, and international level to accelerate the transition to a green economy.


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|May 13, 2008
Underfloor-Air-Distribution Design Concepts
The Return of Johnny Tundra, Another Engineering Whodunit From the Frozen North
"I have a feeling your cooling problem isn't in your unit ventilator; it's in your machine room!"--Johnny Tundra
Troubleshooting MEP systems in cold climates can be an urgent matter. Fortunately, there are engineers such as Johnny Tundra roving the northern-tier states and tackling the flintiest of facility problems. Join Johnny through his travels in wintertime Montana, and match wits with him as he looks to keep the frozen northland outside, where it belongs...MORE
Free HPAC Engineering Webinar:
We have all heard the famous adage, "Form follows function." It is a basic tenet of designing a successful building or facility.
Such is the case for aquatic centers, too. Environmental conditions within these facilities are unlike those found in most large buildings and structures. Major differences that affect the indoor environment include the vast amount of exposed and treated water in pools, the airflow and humidity levels within the facilities, and the rigorous activities that are conducted within them. Understanding how these factors affect your facility and knowing how to design for their impact directly affect the longevity and long-term success of your natatorium.
Join a special Webcast presented by John McIlhargy, director of the Facility Development Department for USA Swimming, along with Harry Milliken III, Northeast regional sales manager for Desert Aire, as they discuss these important issues and provide practical solutions to help you develop and maintain a successful aquatic center. To learn more about our presenters, click here.
This Webinar will cover:
HPAC Engineering Webinar Series Archive
Protecting Building Environments From Airborne CBR Attacks
LEED for Existing Buildings: Operations-and-Maintenance Templates Now Available
Design/Build Seminar Set to Return in October
Fastrack May 13, 2008
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A sneak peek trailer from last week for Ghost Recon Future Soldier takes a look at multiplayer support in Ubisoft's tactical shooter sequel. The clip is narrated by creative director Tommy Jacob, who shows off footage of the game as it was shown off at E3, and explains the elements that they hope will make for a compelling multiplayer experience. He says the game's three areas of emphasis are shooting mechanics, the intel loop ("a unique aspect of gameplay that gives players a new and visceral way to play a support role"), and teamwork, as the clip demonstrates various ways they will reward players who play well with others. He describes the factions in the game, the three roles each includes, and shows off cover mechanics, suppressing fire, equipment, and much more. Thanks MCV. The embedded version follows.
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NASCAR Camping World Truck Series Tickets
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The NASCAR Camping World Truck Series (formerly the NASCAR SuperTruck Series presented by Craftsman and the NASCAR Craftsman Truck Series) is a pickup truck racing series owned and operated by the National Association for Stock Car Auto Racing. It is the only series in all of NASCAR to race modified production pickup trucks and is one of the three national divisions of NASCAR, together with the Nationwide Series and the top level Sprint Cup Series.Get great tickets to all NASCAR Campion World Truck Series races from Gold Coast Tickets!
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It always amazes us how poorly Michigan auto insurance companies handle Lansing motorcycle accident claims, especially after a serious motorcycle accident in Lansing, Michigan. Clients injured in Lansing motorcycle accidents often turn to Buchanan & Buchanan because they do not get straight answers from motorcycle insurers. We understand the frustration and help provide expert legal help for those injured in Lansing motorcycle accidents. Our Lansing motorcycle accident lawyer professionals will immediately identify the negligent parties ultimately responsible for injuries suffered in the motorcycle accident. We answer questions for victims of Lansing auto accidents, and we are best positioned to answer yours.
Buchanan & Buchanan is considered among the top Lansing motorcycle accident law firms.
Lansing motorcycle Accident Attorney Professionals Have Experience With:
|Crash Type
|# Crashes
|125 (0%)
|Single vehicle motorcycle accidents
|50,459 (27%)
|Head-on motorcycle accidents
|2,720 (1%)
|Head-on/left-turn motorcycle accidents
|6,720 (4%)
|Motorcycle Angle Accidents
|34,837 (19%)
|Rear-end motorcycle accidents
|49,921 (27%)
|Rear-end/left-turn motorcycle accidents
|2,139 (1%)
|Rear-end/right-turn motorcycle accidents
|2,447 (1%)
|Sideswipe/same-direction motorcycle accidents
|20,549 (11%)
|Sideswipe/opposite-direction motorcycle accidents
|3,811 (2%)
|Other/unknown motorcycle accidents
|10,408 (6%)
|Hazardous Motorcycle Action
|# Motorcycle Crashes
|247,933 (25%)
|Motorcycle Speeding too fast
|20,694 (2%)
|Motorcycle Failed to Yield
|30,404 (3%)
|Motorcycle Disregarded traffic controls
|8,101 (1%)
|Motorcycle Drove wrong way
|289 (0%)
|Motorcycle Drove left of center
|1,600 (0%)
|Improper passing of Motorcycle
|1,681 (0%)
|Improper lane use by Motorcycle
|7,122 (1%)
|Improper turn by Motorcycle
|3,428 (0%)
|Improper/no signal by Motorcycle Driver
|384 (0%)
|Motorcycle Unable to stop
|49,165 (5%)
|Other Types of Motorcycle Accidents
|13,985 (1%)
|598,296 (60%)
|Reckless driving by motorcycle driving
|1,336 (0%)
|negligent driving by motorcycle driver
|6,056 (1%)
|Total Motorcycle Accidents
Motorcycle accident claims in Lansing, involving death or serious injuries require the highest level of attorney skill and experience. But that's just half the equation. Lansing motorcycle accidents causing brain injury, paralysis, disfigurement, burns, death, or catastrophic injury require medical expertise, too. Buchanan & Buchanan, considered by many as Michigan's top personal injury law firm, has managed many Lansing motorcycle accident lawsuits for injured people and their families, from beginning to end, providing the expertise of a medical doctor to oversee the complex medical issues that are at the core of serious auto injury claims in Lansing, Michigan.
Click Here To Learn More About Lansing Motorcycle Accidents
At Buchanan & Buchanan, P.L.C., our Lansing motorcycle accident attorney professionals use their experience in handling motorcycle accident cases to investigate contributing causes of Lansing motorcycle accidents to ensure that you will receive full compensation for your injuries. All of the factors involved in the cause of Lansing motorcycle accidents need to be clearly identified and organized for presentation in Michigan traffic courts. We will handle the investigation so you can concentrate on recovering from your injuries. We also interact with Michigan medical motorcycle providers on your behalf as we gather key information and details concerning your Lansing motorcycle accident case preparing for settlement or trial.
Lansing motorcycle accidents are generally evaluated under the law of negligence in the state of Michigan. A person found to have negligently operated a motor vehicle in Lansing, Michigan may be required to pay any damages including personal injury caused by driver negligence, either to person or property. Generally, people who operate motorcycle s in Lansing, Michigan must exercise "reasonable motorcycle e under the circumstances." Failure to use reasonable care when operating a motorcycle is the basis for damage claims in most Lansing motorcycle accident lawsuits.
Michigan courts look to a number of factors in determining whether a motorcycle driver was negligent. Some examples of factors evaluated to determine motorcycle driver negligence in Lansing Michigan can include, but are not limited to, the following:
A motorcycle driver may also be liable for a Lansing motorcycle accident if a Michigan traffic court determines that the auto accident was caused by intentional or reckless conduct.
A driver who is reckless is one who drives unsafely, with willful and wanton disregard for the probability that the driving may cause a motorcycle accident or a multi-vehicle accident involving a motorcycle and/or related injuries.
In another example, if a mechanic fails to properly repair a motorcycle, and the failure causes a motorcycle accident in Lansing Michigan, the person who improperly repaired the motorcycle, and his motorcycle repair shop, may be liable for injuries sustained. Other motorcycle driver negligence factors such as poorly maintained roads and malfunctioning traffic control signals can also contribute to the cause. Improper design, maintenance, construction, signage, lighting or other highway defects, as well as improper striping on the road's passing lanes, a sharp obstruction or problem with the roadway that obstructs drivers' vision, or poorly placed trees and utility poles can also cause serious motorcycle accidents in Lansing Michigan. Finally, if a motorcycle accident in Lansing Michigan is caused by an intoxicated driver, a bar or social host may be liable for damages sustained if they served an obviously intoxicated guest, who then drives and causes a motorcycle accident in Lansing Michigan.
In Lansing motorcycle accident cases, it is essential that measures be taken promptly to preserve evidence, investigate the motorcycle accident in question, and to enable physicians or other expert witnesses to thoroughly evaluate any injuries sustained. If you or a loved one has suffered an injury in a Lansing motorcycle accident, call Buchanan & Buchanan, P.L.C. now at 1-800-272-4080. The initial consultation is free of charge, and if we agree to accept your case, we will work on a contingent fee basis, which means we get paid for our services only if there is a monetary award or recovery of funds. That is our No Fee Promise to you.
Don't delay! You may have a valid claim and be entitled to compensation for your injuries, but a Lansing motorcycle accident lawsuit must be filed with Michigan courts before the statute of limitations expires.
The above is not legal advice. That can only come from a qualified attorney who is familiar with all the facts and circumstances of a particular, specific case and the relevant law.


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The Epiroc Master Driller program for mining and construction is designed to help operators perform at 100% of their ability. The Master Driller program combines theory and practical training for operators on three distinct levels. The program is built around the many conditions and tasks that operators face in mining and construction operations.
We are continuously improving our service offering to meet the market demand, please contact your local Epìroc Customer Center to find out what is available for your machine model on your market.