tag:blogger.com,1999:blog-25033379122609237612024-02-08T01:23:05.139-05:00(BLOG) - WritingBloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.comBlogger548125tag:blogger.com,1999:blog-2503337912260923761.post-83781863531079171562013-06-09T09:55:00.001-04:002013-06-09T09:55:23.989-04:00Post Script: The Nude ambition of a man and his printer<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/thisislimbo/5139627919/" title="Protecting Ourselves By Protecting Others (Recollecting Recollections)"><img src="http://farm2.staticflickr.com/1133/5139627919_1da091ccf6_m.jpg" alt="Protecting Ourselves By Protecting Others (Recollecting Recollections) by this is limbo" /></a><br/><span style="margin: 0;"><a href="http://www.flickr.com/photos/thisislimbo/5139627919/">Protecting Ourselves By Protecting Others (Recollecting Recollections)</a>, a photo by <a href="http://www.flickr.com/photos/thisislimbo/">this is limbo</a> on Flickr.</span></div><p>Let it never be said that printing isn't rock and roll. A home-made YouTube video, produced by an inventive fan of melancholic rockers Radiohead, has opened people's minds to the hidden talents of an Epson LX-81 dot matrix printer. <br /><br />James Houston, a Glasgow School of Art graduate, employs the defunct model's otherwise unremarkable din to replicate the drum beat in Nude, a track from Radiohead's In Rainbows. <br /><br />It joins a host of obsolete 1980s hardware, including a Sinclair ZX Spectrum computer, a Hewlett-Packard ScanJet and an array of exposed hard drives which impressively recreate Thom Yorke's vocals. <br /><br />Houston's Big Ideas: Don't Get Any has received more than 250,000 hits on YouTube and a wealth of praise. Despite this, he remains modest, telling Creative Review: 'I'm a video maker and not a musician, this has grown out of control.' <br /><br />At this point, Post Script considered inviting readers to send in recordings from their own presses. Frankly, though, the thought of trying to detect Mandy by Barry Manilow in the churnings of a Manroland would be too much for anyone to take. <br /><br />Source Citation (MLA 7th Edition) <br />"Post Script: The Nude ambition of a man and his printer." Print Week 25 July 2008: 63. General OneFile. Web. 9 June 2013.<br />Document URL<br />http://go.galegroup.com/ps/i.do?id=GALE%7CA181790716&v=2.1&u=22054_acld&it=r&p=GPS&sw=w<br /><br />Gale Document Number: GALE|A181790716</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-59427069339915203752013-06-09T09:45:00.001-04:002013-06-09T09:45:07.322-04:00Post Script: The Nude ambition of a man and his printer<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/35157167@N08/5071604123/" title="Printers"><img src="http://farm5.staticflickr.com/4154/5071604123_9c584a1484_m.jpg" alt="Printers by IDIS 110 - Group 4" /></a><br/><span style="margin: 0;"><a href="http://www.flickr.com/photos/35157167@N08/5071604123/">Printers</a>, a photo by <a href="http://www.flickr.com/photos/35157167@N08/">IDIS 110 - Group 4</a> on Flickr.</span></div><p>Let it never be said that printing isn't rock and roll. A home-made YouTube video, produced by an inventive fan of melancholic rockers Radiohead, has opened people's minds to the hidden talents of an Epson LX-81 dot matrix printer. <br /><br />James Houston, a Glasgow School of Art graduate, employs the defunct model's otherwise unremarkable din to replicate the drum beat in Nude, a track from Radiohead's In Rainbows. <br /><br />It joins a host of obsolete 1980s hardware, including a Sinclair ZX Spectrum computer, a Hewlett-Packard ScanJet and an array of exposed hard drives which impressively recreate Thom Yorke's vocals. <br /><br />Houston's Big Ideas: Don't Get Any has received more than 250,000 hits on YouTube and a wealth of praise. Despite this, he remains modest, telling Creative Review: 'I'm a video maker and not a musician, this has grown out of control.' <br /><br />At this point, Post Script considered inviting readers to send in recordings from their own presses. Frankly, though, the thought of trying to detect Mandy by Barry Manilow in the churnings of a Manroland would be too much for anyone to take. <br /><br />Source Citation (MLA 7th Edition) <br />"Post Script: The Nude ambition of a man and his printer." Print Week 25 July 2008: 63. General OneFile. Web. 9 June 2013.<br />Document URL<br />http://go.galegroup.com/ps/i.do?id=GALE%7CA181790716&v=2.1&u=22054_acld&it=r&p=GPS&sw=w<br /><br />Gale Document Number: GALE|A181790716</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-80368346176811754732013-05-24T17:07:00.001-04:002013-05-24T17:07:31.859-04:00Science writing today and tomorrow<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/jjpacres/3293117576/" title="Writing"><img src="http://farm4.staticflickr.com/3447/3293117576_05f43d8305_m.jpg" alt="Writing by jjpacres" /></a><br/><span style="margin: 0;"><a href="http://www.flickr.com/photos/jjpacres/3293117576/">Writing</a>, a photo by <a href="http://www.flickr.com/photos/jjpacres/">jjpacres</a> on Flickr.</span></div><p>I AM TRULY SURROUNDED BY MY work: My computer runs on megabytes and RAMs; my car moves because of sparks and subsequent combusion, and sports more digital equipment than I care to imagine; and even my gym has the latest techno-gizmo to tell me just how many calories I've used up on a five-mile (albeit stationary) "bike ride." I cannot seem to get away from science and technology--but as a science writer, I do not mind, because it is more fuel for my science articles. <br /><br />Science and technology encompass all our lives. If you find your hands sweating during the latest Space Shuttle launch, or you enthusiastically tell your friends the reasons why tsunamis crash along a coastline, you may be a potential science writer. And you do not have to be another Albert Einstein, Richard Feynman, or Isaac Asimov to succeed at it. <br /><br />I became a science writer through the back door. I was a professional scientist who analyzed water samples and plotted flooding along sinuous river systems. A side trip back to college changed my life: The day my professor handed back the first draft of my thesis and said, "This reads like...well...an article for the general audience," sealed my fate. I have thanked her insight for ten years now. <br /><br />You do not have to be a scientist or have a science background to write articles and books about science and technology. In fact, it may be helpful for you not to have a science background, because then you won't be caught up in the science jargon. If you are interviewing an astronomer on interstellar objects who says that MACHOs are found at the periphery of our galaxy, you would not just nod your head. You would ask him or her to explain--not only the acronym (Massive Compact Halo Objects)--but why MACHOs are important to your article. <br /><br />The best part about science and technology writing is the range of topics from which you can choose--and each of those subjects can be further broken down into narrower topics for other articles. Topics include the physical sciences, (geology, chemistry, etc.); biology (plant, human, viral, bacterial); space science; or medical science. Many science writers also delve into technology: computers, robotics, and electronics. Under technology, a science writer may describe remote sensing techniques used to detect and track volcanic eruption plumes across the planet; or under medical science, show how using supercomputer modeling can help us understand how drugs react within the body. <br /><br />Science writing does not have to be about current scientific developments; it can also be about science in the past or future. Science past had its wonderful moments of serendipity; science future has its promise of a better life. And do not overlook science fiction for article ideas. After all, most people know about "warp drive," an idea often referred to on "Star Trek." A science writer might ask, "Can we go faster than the speed of light? If we could, what type of propulsion would be needed to catapult a spaceship to such speeds?" <br /><br />Although there is a myriad of topics to choose from, all science and technology writing must apply to and excite the readers. Will they be able to use the discovery in the present or future? Will it help their children to live happier lives? Does the topic stimulate their imagination, and is it enjoyable to read? Or will the story tell them about a person, place, or thing that they never knew about before? <br /><br />Now that you have decided to try your hand at writing science, you will need the following: <br /><br />* Intense curiosity. When you are curious about a subject in science, you are more apt to dig deeper, ask for more explanation--and your enthusiasm will show in your writing. An editor once told me, "The attention span of the reader is directly proportional to the writer's interest in the story." <br /><br />* An interest in research. You may have all the curiosity about a subject, but you also need the tenacity to do the research. Science writers today have it easier than they did in the past: We have access to tremendous amounts of information, not only in libraries, but through computer communication services, where you can find articles on your subjects and leads to help you find other sources. <br /><br />* Ability to recognize a good idea for a science article. A good idea for a science article is not "DNA"; a good science article idea is how DNA is being used as genetic "fingerprints" in crime investigations--and how it is also under fire because the technique is so new. Article ideas are everywhere, but the science writer has to know how to focus on that one kernel of interest. <br /><br />* Contacts and sources to interview. A science writer's most valued possession is his or her contact/source list: past interviewees (experts in the fields you are writing about), reference librarians, earlier contacts from science conferences, public information offices of science-oriented institutions, organizations, and universities--and, of course, other science writers. <br /><br />* Insistence on accuracy. The science writer's creed, to borrow from Thoreau, should read, "Simplicity, simplicity--not to mention accuracy, accuracy." <br /><br />* Good interpretative skills. Science writers have a serious responsibility to their readers: They must interpret and present what they uncover in their research and interviews in a clear and interesting way. This interpretation is not always straightforward. I have heard it compared to translating Japanese into English: There are nuances of the Japanese culture integrated into their language that cannot be translated into English. It is often the same with explaining science to the general audiences, and as Nobel physicist Richard Feynman once said, not all science can be explained in a basic way. But do not use this as an excuse; a science writer must do the best he or she can to get the subject across to the reader. <br /><br />Coming up with a good science article idea is not as difficult as it seems. There are many sources that spark ideas: newspapers, science journals, news releases, computer communication services (the ubiquitous "information highway"), and numerous publications from universities and science-oriented organizations--also other people's conversations: I began to research my article on microrobots (for Sky Magazine) when I overheard two people joking about "minimachines" taking over the planet Mars. The real microrobots may never take over the red planet, but the suggestion triggered the idea. It also started me on the trail of just how far we have come in space-oriented microrobotic research. <br /><br />After you come up with a specialized science topic, your first stop should be the library to check on magazines. Read through current magazines and explore magazine topics in the Readers' Guide to Periodical Literature (and similar indexes) from the past year or so. This will help you avoid writing about an idea whose time has come and gone; also you will not send a query to a magazine that has just published an article on the same subject with the same angle. If your idea seems to be on track, then gather basic information on the subject from science magazines, brochures, encyclopedias, or books. <br /><br />Next comes the query, usually a less-than-one-page "outline" (in text form) of your proposed article. The query persents your idea, sources, and credentials to the editor. A word of caution: Know your magazine. Do not send a query on industrial robotics to Woman's World, or an idea on the future of the American/Russian cooperation on the Space Station to Sailing; but also remember that certain non-science magazines will take science or technology topics, including some inflight and general audience magazines. Know your science magazines, too: Articles for Omni have a different slant from those for Popular Science. <br /><br />The day the editor says, "Go for it," is the day you take all your basic information and outline-query letter, and get to work. Now is also the time to call on your sources for interviews. Some science writers write a sketchy first draft to their story before the interviews--a way to organize their thoughts and frame the questions to ask the interviewee in some semblance of order; other writers do a first draft after the interview. In either case, you will need a list of questions to ask your experts. Always remember that the only dumb question is the one you did not ask. <br /><br />Writing a publishable science article takes the ability to explain complex concepts without baffling or confusing readers. One of the best approaches is to discuss the subject or idea in terms the reader can relate to. For example, in my article on agriculture in space (for Ad Astra) I wove familiar gardening terms (and references to many gardening problems) into the piece so the readers could relate to growing plants in the Space Station and beyond. <br /><br />Another strategy to give your science article life is to use anecdotes. Usually, your interviewees have interesting stories to tell, such as how their discovery was made, or about the first patient to use their new drug. Since the general public often thinks of science as another world, descriptions of the scientists and their surroundings will "humanize" your article, showing that the expert has the same idiosyncrasies that we all have--right down to worries about money or celebrations of victories. <br /><br />Of course, there are two more qualities that keep all science writers going: patience and perseverance. It takes patience to get an interview with a busy scientist (and sometimes you will not get the interview at all); and patience to see your words in print. Plus, it takes perseverance to understand the intricacies of your science article--and to keep up with the new science discoveries that pop up every week. <br /><br />There is more than enough science to provide you with subjects for science articles. As a science writer just remember that the universe is now your beat. <br /><br />Abstract: Science and technology affect our daily lives and provide a broad range of opportunities for potential science writers. Such writers should bring to their work a curiosity, interpretative skills, accuracy, research interest, and the skill to recognize a good idea. <br /><br />Source Citation (MLA 7th Edition) <br />Barnes-Svarney, Patricia. "Science writing today and tomorrow." The Writer Nov. 1994: 15+. General OneFile. Web. 24 May 2013.<br />Document URL<br />http://go.galegroup.com/ps/i.do?id=GALE%7CA15812453&v=2.1&u=22054_acld&it=r&p=GPS&sw=w<br /><br />Gale Document Number: GALE|A15812453</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-15368662607630510602013-05-24T17:06:00.001-04:002013-05-24T17:06:37.012-04:00Science writing today and tomorrow.<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/phil_g/55025940/" title="Computer Mess"><img src="http://farm1.staticflickr.com/25/55025940_ca38f4e5f2_m.jpg" alt="Computer Mess by phil_g" /></a><br/><span style="margin: 0;"><a href="http://www.flickr.com/photos/phil_g/55025940/">Computer Mess</a>, a photo by <a href="http://www.flickr.com/photos/phil_g/">phil_g</a> on Flickr.</span></div><p>I AM TRULY SURROUNDED BY MY work: My computer runs on megabytes and RAMs; my car moves because of sparks and subsequent combusion, and sports more digital equipment than I care to imagine; and even my gym has the latest techno-gizmo to tell me just how many calories I've used up on a five-mile (albeit stationary) "bike ride." I cannot seem to get away from science and technology--but as a science writer, I do not mind, because it is more fuel for my science articles. <br /><br />Science and technology encompass all our lives. If you find your hands sweating during the latest Space Shuttle launch, or you enthusiastically tell your friends the reasons why tsunamis crash along a coastline, you may be a potential science writer. And you do not have to be another Albert Einstein, Richard Feynman, or Isaac Asimov to succeed at it. <br /><br />I became a science writer through the back door. I was a professional scientist who analyzed water samples and plotted flooding along sinuous river systems. A side trip back to college changed my life: The day my professor handed back the first draft of my thesis and said, "This reads like...well...an article for the general audience," sealed my fate. I have thanked her insight for ten years now. <br /><br />You do not have to be a scientist or have a science background to write articles and books about science and technology. In fact, it may be helpful for you not to have a science background, because then you won't be caught up in the science jargon. If you are interviewing an astronomer on interstellar objects who says that MACHOs are found at the periphery of our galaxy, you would not just nod your head. You would ask him or her to explain--not only the acronym (Massive Compact Halo Objects)--but why MACHOs are important to your article. <br /><br />The best part about science and technology writing is the range of topics from which you can choose--and each of those subjects can be further broken down into narrower topics for other articles. Topics include the physical sciences, (geology, chemistry, etc.); biology (plant, human, viral, bacterial); space science; or medical science. Many science writers also delve into technology: computers, robotics, and electronics. Under technology, a science writer may describe remote sensing techniques used to detect and track volcanic eruption plumes across the planet; or under medical science, show how using supercomputer modeling can help us understand how drugs react within the body. <br /><br />Science writing does not have to be about current scientific developments; it can also be about science in the past or future. Science past had its wonderful moments of serendipity; science future has its promise of a better life. And do not overlook science fiction for article ideas. After all, most people know about "warp drive," an idea often referred to on "Star Trek." A science writer might ask, "Can we go faster than the speed of light? If we could, what type of propulsion would be needed to catapult a spaceship to such speeds?" <br /><br />Although there is a myriad of topics to choose from, all science and technology writing must apply to and excite the readers. Will they be able to use the discovery in the present or future? Will it help their children to live happier lives? Does the topic stimulate their imagination, and is it enjoyable to read? Or will the story tell them about a person, place, or thing that they never knew about before? <br /><br />Now that you have decided to try your hand at writing science, you will need the following: <br /><br />* Intense curiosity. When you are curious about a subject in science, you are more apt to dig deeper, ask for more explanation--and your enthusiasm will show in your writing. An editor once told me, "The attention span of the reader is directly proportional to the writer's interest in the story." <br /><br />* An interest in research. You may have all the curiosity about a subject, but you also need the tenacity to do the research. Science writers today have it easier than they did in the past: We have access to tremendous amounts of information, not only in libraries, but through computer communication services, where you can find articles on your subjects and leads to help you find other sources. <br /><br />* Ability to recognize a good idea for a science article. A good idea for a science article is not "DNA"; a good science article idea is how DNA is being used as genetic "fingerprints" in crime investigations--and how it is also under fire because the technique is so new. Article ideas are everywhere, but the science writer has to know how to focus on that one kernel of interest. <br /><br />* Contacts and sources to interview. A science writer's most valued possession is his or her contact/source list: past interviewees (experts in the fields you are writing about), reference librarians, earlier contacts from science conferences, public information offices of science-oriented institutions, organizations, and universities--and, of course, other science writers. <br /><br />* Insistence on accuracy. The science writer's creed, to borrow from Thoreau, should read, "Simplicity, simplicity--not to mention accuracy, accuracy." <br /><br />* Good interpretative skills. Science writers have a serious responsibility to their readers: They must interpret and present what they uncover in their research and interviews in a clear and interesting way. This interpretation is not always straightforward. I have heard it compared to translating Japanese into English: There are nuances of the Japanese culture integrated into their language that cannot be translated into English. It is often the same with explaining science to the general audiences, and as Nobel physicist Richard Feynman once said, not all science can be explained in a basic way. But do not use this as an excuse; a science writer must do the best he or she can to get the subject across to the reader. <br /><br />Coming up with a good science article idea is not as difficult as it seems. There are many sources that spark ideas: newspapers, science journals, news releases, computer communication services (the ubiquitous "information highway"), and numerous publications from universities and science-oriented organizations--also other people's conversations: I began to research my article on microrobots (for Sky Magazine) when I overheard two people joking about "minimachines" taking over the planet Mars. The real microrobots may never take over the red planet, but the suggestion triggered the idea. It also started me on the trail of just how far we have come in space-oriented microrobotic research. <br /><br />After you come up with a specialized science topic, your first stop should be the library to check on magazines. Read through current magazines and explore magazine topics in the Readers' Guide to Periodical Literature (and similar indexes) from the past year or so. This will help you avoid writing about an idea whose time has come and gone; also you will not send a query to a magazine that has just published an article on the same subject with the same angle. If your idea seems to be on track, then gather basic information on the subject from science magazines, brochures, encyclopedias, or books. <br /><br />Next comes the query, usually a less-than-one-page "outline" (in text form) of your proposed article. The query persents your idea, sources, and credentials to the editor. A word of caution: Know your magazine. Do not send a query on industrial robotics to Woman's World, or an idea on the future of the American/Russian cooperation on the Space Station to Sailing; but also remember that certain non-science magazines will take science or technology topics, including some inflight and general audience magazines. Know your science magazines, too: Articles for Omni have a different slant from those for Popular Science. <br /><br />The day the editor says, "Go for it," is the day you take all your basic information and outline-query letter, and get to work. Now is also the time to call on your sources for interviews. Some science writers write a sketchy first draft to their story before the interviews--a way to organize their thoughts and frame the questions to ask the interviewee in some semblance of order; other writers do a first draft after the interview. In either case, you will need a list of questions to ask your experts. Always remember that the only dumb question is the one you did not ask. <br /><br />Writing a publishable science article takes the ability to explain complex concepts without baffling or confusing readers. One of the best approaches is to discuss the subject or idea in terms the reader can relate to. For example, in my article on agriculture in space (for Ad Astra) I wove familiar gardening terms (and references to many gardening problems) into the piece so the readers could relate to growing plants in the Space Station and beyond. <br /><br />Another strategy to give your science article life is to use anecdotes. Usually, your interviewees have interesting stories to tell, such as how their discovery was made, or about the first patient to use their new drug. Since the general public often thinks of science as another world, descriptions of the scientists and their surroundings will "humanize" your article, showing that the expert has the same idiosyncrasies that we all have--right down to worries about money or celebrations of victories. <br /><br />Of course, there are two more qualities that keep all science writers going: patience and perseverance. It takes patience to get an interview with a busy scientist (and sometimes you will not get the interview at all); and patience to see your words in print. Plus, it takes perseverance to understand the intricacies of your science article--and to keep up with the new science discoveries that pop up every week. <br /><br />There is more than enough science to provide you with subjects for science articles. As a science writer just remember that the universe is now your beat. <br /><br />Abstract: Science and technology affect our daily lives and provide a broad range of opportunities for potential science writers. Such writers should bring to their work a curiosity, interpretative skills, accuracy, research interest, and the skill to recognize a good idea. <br /><br />Source Citation (MLA 7th Edition) <br />Barnes-Svarney, Patricia. "Science writing today and tomorrow." The Writer Nov. 1994: 15+. General OneFile. Web. 24 May 2013.<br />Document URL<br />http://go.galegroup.com/ps/i.do?id=GALE%7CA15812453&v=2.1&u=22054_acld&it=r&p=GPS&sw=w<br /><br />Gale Document Number: GALE|A15812453</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-89462878873090173402013-05-16T13:29:00.001-04:002013-05-20T19:45:43.329-04:00Mythology in art<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/chunyang/428884703/" title="mythology...is the root of culture."><img src="http://farm1.staticflickr.com/154/428884703_a259b1a2aa_m.jpg" alt="mythology...is the root of culture. by ☀Solar ikon☀" /></a><br/><span style="margin: 0;"><a href="http://www.flickr.com/photos/chunyang/428884703/">mythology...is the root of culture.</a>, a photo by <a href="http://www.flickr.com/photos/chunyang/">☀Solar ikon☀</a> on Flickr.</span></div><p>Dragon--that quintessential baddie of folklore and mythology--takes center stage in this month's featured Art Print. Although Saint George is clearly the hero of Peter Paul Rubens' iconic painting, it is the pitch-black, scaly, fire-spewing beast he is attempting to slay that inspires fascination. <br /><br />Dragon references first appeared in the Near East between the Fifth and Fourth Century, B.C., and have continued to this day. Nearly every culture in the world has its own dragon lore and iconography. <br /><br />"Dragons are awe-inspiring patchwork creatures found in the myths and legends of cultures all around the world.... Despite their differences, many of the mythical dragons found throughout the world all began as vague serpentine ideas modeled after real creatures, beginning with a snake or some other fearsome reptile. Over time, they acquired more definite and exotic shapes as they absorbed the hopes and superstitions of the local people and borrowed the traits of local animals." (livescience.com) <br /><br />Yet, not all dragons are the loathsome and feared beasts of Western and Christian mythology, in which they represent Satan, evil and the vanquishing of paganism. Many Asian cultures revere the dragon, such as in China, where dragons are symbols of power, happiness and fertility. Despite the dragon being a product of the ancient world, its image and allure are still inspiring artists today. <br /><br />ABOUT THE ARTWORK <br /><br />"So comes snow after fire, and even dragons have their endings."--J.R.R. Tolkien, The Hobbit. <br /><br />Although many Christian saints could claim the title "Dragon Slayer," it is Saint George who gets all the glory. The Legend of Saint George and the Dragon, which originated during the Crusades, is as follows: A ferocious dragon was terrorizing a kingdom. The dragon demanded to be fed one maiden per day, or it would destroy the land with its scorching flames and putrid vapors. When all the maidens had been consumed, the only one left was the king's only daughter. <br /><br />Now, as Saint George was traveling the land, he heard tell of the dragon and its hold on the people. He decided to confront the dragon and put an end to its terror. Traveling the land, he came upon the dragon's cave, where the princess was being held. The dragon rushed from its cave, where he found the knight on his steed. The two battled until George plunged his spear into the dragon, slaying it and saving the princess. <br /><br />The Flemish Baroque master, Peter Paul Rubens, painted his version of the popular subject while visiting Italy. "This work was made in Ruben's youth ... and is a perfect example of the monumentality of his paintings from that period, with strong, forceful figures. Also characteristic of his work from that time are the use of directed light and very dynamic compositions, as can be seen here in the strong diagonal placement of the horse, which practically divides the canvas into two parts." <br /><br />Ruben's painterly technique serves the energy of this scene, as the dragon struggles to remove the spear piercing its gaping mouth. The symbolism of the white steed rising over the black serpent could not be clearer: the victory of good over evil. <br /><br />Source Citation (MLA 7th Edition) <br />Carroll, Colleen. "Mythology in art." Arts & Activities Apr. 2013: 19. Fine Arts and Music Collection. Web. 16 May 2013.<br />Document URL<br />http://go.galegroup.com/ps/i.do?id=GALE%7CA324397521&v=2.1&u=22054_acld&it=r&p=PPFA&sw=w<br /><br />Gale Document Number: GALE|A324397521</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-10512302394683205252013-05-16T12:55:00.001-04:002013-05-20T19:46:25.152-04:00Living history<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/concord977/8018724757/" title="Julia Child's Kitchen American History Museum Washington, DC"><img src="http://farm9.staticflickr.com/8177/8018724757_75a5ff1f78_m.jpg" alt="Julia Child's Kitchen American History Museum Washington, DC by ✈ concord⁹⁷⁷" /></a><br/><span style="margin: 0;"><a href="http://www.flickr.com/photos/concord977/8018724757/">Julia Child's Kitchen American History Museum Washington, DC</a>, a photo by <a href="http://www.flickr.com/photos/concord977/">✈ concord⁹⁷⁷</a> on Flickr.</span></div><p>Do you remember when history first captured your imagination? A couple members of our staff, and no doubt countless other Americans, caught the history bug while listening to Henry Wadsworth Longfellow's poetry read aloud when they were youngsters. Who can forget "The Midnight Ride of Paul Revere"--"Listen, my children, and you shall hear ..."--or "The Song of Hiawatha"--"By the shores of Gitche Gumee/By the shining Big-Sea-Water ..."? At Longfellow House in Cambridge, Mass. nps.gov/long, the poet's standup writing desk still occupies a corner of his study, his books and personal memorabilia are everywhere, and it is easy to imagine him reading aloud to his own children. "You feel this was a real home," says Stephen Harrigan, who wrote "House of Fatherly Dreams," p. 54. "You feel it is a place your family could move into tomorrow and enjoy a rich domestic life." It is also a place where it is easy to imagine a previous master of the house, George Washington, meeting with his fellow revolutionaries when he lived there during the Siege of Boston in 1775. We're interested in hearing about other places or moments that made history come alive for you. <br /><br />Source Citation (MLA 7th Edition) <br />"Living history." American History 48.2 (2013): 31. Academic OneFile. Web. 16 May 2013.<br />Document URL<br />http://go.galegroup.com/ps/i.do?id=GALE%7CA325891876&v=2.1&u=22054_acld&it=r&p=AONE&sw=w<br /><br />Gale Document Number: GALE|A325891876</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-45401967997314292872013-05-09T18:23:00.001-04:002013-05-15T10:12:19.611-04:00Paperback bestsellers/mass market<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/ntrlwmn/4096335395/" title="I Heart Writing"><img src="http://farm3.staticflickr.com/2581/4096335395_57c1b254c2_m.jpg" alt="I Heart Writing by ValerieMorrisonPhotography.com" /></a><br/><span style="margin: 0;"><a href="http://www.flickr.com/photos/ntrlwmn/4096335395/">I Heart Writing</a>, a photo by <a href="http://www.flickr.com/photos/ntrlwmn/">ValerieMorrisonPhotography.com</a> on Flickr.</span></div><p>Envy is the third entry in Ward's Fallen Angels series. About book one, Covet, PW said, "Ward provides the combination of fun, thrills, and gratuitous sex she's best known for. Fans of the Brotherhood, clear a shelf: your next series addiction has just begun." According to the author's bio, "Writing has always been her passion and her idea of heaven is a whole day of nothing but her computer, her dog, and her coffee pot." (Since today's issue contains our Pets & Animals feature--see p. 24--we feel obliged to mention Ward's beloved golden retriever.) <br />[ILLUSTRATION OMITTED] <br /> <br />In PW's June 6 Romance feature, Singh said, "Writing is so very right for me that even when it's hard, it's still the only thing I can imagine doing, the only thing I want to be doing." About her fourth Guild Hunter novel, PW said, "Singh's vampires, angels, hunters, and archangels engage in global power struggles within a complex larger story that new readers will find challenging. An engrossing narrative, vivid characters, and a well-imagined world mitigate those difficulties, resulting in a heart-pounding and strongly emotional read." <br /> <br />Woods's 19th title to star detective-turned-lawyer Stone Barrington --the first was New York Dead, back in 199l--enjoyed a six-week hardcover run at the beginning of the year. In a recent interview, Woods was asked about the increasing practice of authors co-writing (see today's Fiction and Nonfiction lists). His reply: "I am opposed to collaborating, because then you have to give the other writer half the money." Re the author's next opus, due Sept. 20: far be it from us to spill any plot-related beans ... but the title is Son of Stone. <br />[ILLUSTRATION OMITTED] <br />[ILLUSTRATION OMITTED] <br />"'Could we take his legs off?' 'Take Eddie's legs off? How?' 'I have a hacksaw under the front seat,' Roma added.... Because she was a veterinarian she had a number of things in her vehicle that other people didn't.... 'But don't they detach somehow?' Wrong thing to say. Maggie laid a protective hand on Eddie's thigh. 'Do your legs detach?' she asked." <br />--From Kelly's Sleight of Paw <br />Paperback Bestsellers/Mass Market<br /><br /> Last Weeks<br />September 19, 2011 week on list<br /><br />(1) Port Mortuary. Patricia Cornwell. 3 2<br /> Berkley, $9.99<br /> ISBN 978-0-425-24360-2<br /><br />(2) American Assassin . Vince Flynn. 4 2<br /> Pocket, $9.99<br /> ISBN 978-1-4165-9519-9<br /><br />(3) 1105 Yakima Street. Debbie Macomber. 2 2<br /> Mira, $7.99<br /> ISBN 978-0-778-31251-2<br /><br />(4) Envy. J.R. Ward. -- 1<br /> Signet, $7.99<br /> ISBN 978-0-451-22945-8<br /><br />(5) The Confession. John Grisham. 8 8<br /> Dell, $9.99<br /> ISBN 978-0-440-24511-7<br /><br />(6) Lost Empire . Clive Cussler with 18 2<br /> Grant Blackwood. Berkley, $9.99<br /> ISBN 978-0-425-24361-9<br /><br />(7) Game of Thrones. George R.R. Martin. 11 25<br /> Bantam, $8.99<br /> ISBN 978-0-553-59371-6<br /><br />(8) The Reversal . Michael Connelly. 1 3<br /> Vision, $9.99<br /> ISBN 978-0-446-55675-0<br /><br />(9) Viscount Breckenridge to the Rescue. 9 2<br /> Stephanie Laurens. Avon, $7.99<br /> ISBN 978-0-06-206860-6<br /><br />(10) The Emperor's Tomb. Steve Berry. 17 2<br /> Ballantine, $9.99<br /> ISBN 978-0-345-50550-7<br /><br /><br />(11) Canyons of Night. Jayne Castle. 5 2<br /> Jove, $7.99<br /> ISBN 978-0-515-14988-3<br /><br />(12) Strategic Moves. Stuart Woods. -- 1<br /> Signet, $9.99<br /> ISBN 978-0-451-23445-2<br /><br />(13) A Clash of Kings. George R.R. Martin. 12 22<br /> Bantam, $8.99<br /> ISBN 978-0-553-57990-1<br /><br />(14) Archangel's Blade. Nalini Singh. -- 1<br /> Berkley, $7.99<br /> ISBN 978-0-425-24391-6<br /><br />(15) A Storm of Swords. George R. R. Martin. 15 22<br /> Bantam, $8.99<br /> ISBN 978-0-553-57342-8<br /><br />Source Citation (MLA 7th Edition) <br />Donahue, Dick. "Paperback bestsellers/mass market." Publishers Weekly 19 Sept. 2011: 18. General OneFile. Web. 9 May 2013.<br />Document URL<br />http://go.galegroup.com/ps/i.do?id=GALE%7CA267710085&v=2.1&u=22054_acld&it=r&p=GPS&sw=w<br /><br />Gale Document Number: GALE|A267710085</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-50485756109890421082013-01-21T16:32:00.001-05:002013-05-15T10:13:07.093-04:00How to handwrite a letter<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/jimcaryl/5200381964/" title="Handwritten #1"><img src="http://farm5.staticflickr.com/4103/5200381964_b050426e8e_m.jpg" alt="Handwritten #1 by Jim Caryl" /></a><br/><span style="margin: 0;"><a href="http://www.flickr.com/photos/jimcaryl/5200381964/">Handwritten #1</a>, a photo by <a href="http://www.flickr.com/photos/jimcaryl/">Jim Caryl</a> on Flickr.</span></div><p>The Christmas period offers many opportunities to make new contacts. But beware the free bar if you want to be remembered for the right reasons, writes Nicky Richmond <br /><br />There is an old joke that there's only one letter difference between networking and notworking. <br /><br />And there will always be people who are sceptical about the importance of networking. You will generally find that they are the people who have a very small network. Even experienced professionals will often deride marketing events that they have never been to or which don't suit the way that they network. But all successful professionals have a large, fluid network and it doesn't happen by accident. <br /><br />Also let's not confuse networking and marketing. They are close relatives, but they are not identical twins. Marketing is about selling and winning new business. Networking is about doing that, but in a different way - it is about meeting people who might be useful to you and your business either directly or indirectly, through referrals and for mutual benefit. <br /><br />And at this time of the year, with a plethora of client drinks and Christmas parties, there is more opportunity than at any other time of the year to meet new people. <br /><br />Yes, I am sorry to say, it does sometimes mean going into a room full of strangers and having to actually talk to them. For people starting out, that can be terrifying. And often, to ease the pain, there are free drinks. Often, people drink too many of them, especially at this time of year. Just because you can, doesn't mean you should. <br /><br />Do be wary of getting completely bladdered at client events. You might be the life and soul and, indeed, you might be very entertaining in your Santa hat, but you won't necessarily be taken seriously thereafter. And don't put it on Facebook. <br /><br />Conferences: more than just a jolly <br /><br />What about conferences? Are they worthwhile, or are they just an excuse for a "jolly"? I go to MIPIM every year and I am beyond bored with the amount of times I have been told I don't need to go to the south of France to meet people I could meet at home. This is usually said to me by people who have never been. <br /><br />If I had heeded those words and stayed at home I would never have met a rather colourful property developer at 5am, in the bar of the Martinez, whose first words to me were: "I f***ing hate my bank's lawyers." <br /><br />I happened to act for the bank whose lawyers he hated. Following that meeting at MIPIM he told the bank to change lawyers from the hated firm to my own. He then proceeded to borrow from a number of banks and instructed each one to put my firm on his panel. That meeting wouldn't have happened in London. <br /><br />The message from that little story is that successful networking sometimes happens when you are not expecting it and when it is unplanned, but unless you are out there and actually making some effort, it will not happen at all. <br /><br />It's about making an effort. You have to accept that you are responsible for your own future, however dull that may sound. No-one is going to hand it to you on a plate. The sooner you get that, the better. <br /><br />So how do you do it? Do you really have to stand in that room and work it? Is that the only way? <br /><br />I work with people who can work a room like no one else and it is something to behold. But it is a skill, and if you don't have it, then don't concentrate on that particular aspect of networking. It will only be excruciating to you and if you don't manage to make connections with those strangers, you might feel like a failure. It's about the fear of rejection. We have all been there, trying to enter a group who are merrily chatting away and then stand there, hovering, while no-one speaks to you and no-one makes eye contact. Buttock-clenching. <br /><br />It does get easier the more you do it, but you need a bit of a rhinoceros hide and not everyone has one. You may think that it is a good idea to go with a colleague to one of these events, but that just means you will hang around the edges, talk to each other and drink too much. Or leave after five minutes and go to the pub or go to do your Christmas shopping. <br /><br />The truth is, you are probably networking all the time without even realising it. Every time you go out after a deal for a drink with your opposite number - that's networking. <br /><br />Social media <br /><br />Never mind real life, if the room full of strangers scenario brings you out in a cold sweat, you can create a virtual network online. Unless you are living on another planet, you will have noticed that LinkedIn is becoming more important - it's the grown-up big brother of Facebook. Likewise Twitter. Don't ignore it. Twitter is a great way of finding other people who share common interests. <br /><br />People are very generous online, with both their time and the sharing of information. It cuts through the normal stratifications of professional life. I have had many an interesting conversation with law students and juniors wanting to understand more about a career in the law - they would never have been able to have that conversation with me by phoning up my firm, but through Twitter, if they have something to say, they can make contact in a different way. <br /><br />I have recruited two lawyers and successfully introduced a transaction to an intermediary through Twitter, so it has actually made and saved money in real life. <br /><br />You need to spend time on your social media profile, if you choose to have one. It's not something that you can dip in and out of. What you are really doing is creating your own personal brand and identity. That may make you cringe, but if you are going to network effectively you have to do it. <br /><br />Getting results <br /><br />Don't go to events not relevant to your industry - unless the canapes are brilliant. And don't expect instant results. It takes a while to work out which of your new relationships are going to be beneficial. It often takes years for contacts to come good. Some never do. That's business. <br /><br />If you do go to a function, be it a networking event, or a client dinner, or a wine tasting, or just a few beers, make sure that if you meet anyone interesting you get their card. Remember it's quality not quantity. It's not a card-collecting competition. <br /><br />Having got the magic card, have a system for dealing with it. The most basic thing that you can do is make sure you remember who gave you the business card. Next morning, put that new contact in your Outlook, with a background note and have a diary reminder to follow them up on a regular basis. If you don't do a follow-up e-mail the next day, you probably never will, and if you do it a week later, the person you met will have already forgotten about you. <br /><br />We have all been to business events and not followed up. I am as guilty as the next person. There is no excuse. <br /><br />Networking is not "one size fits all". You have to be clear about what you want to achieve before planning your networking strategy. So many people have no goal in networking; they just have a vague desire to "improve their business" or "meet new people". But most of us are time-poor and don't have the luxury of hours to waste on people and events that are not useful for us. So be focused. Think about why you are there (if not just for the drinks) and don't eat all the pies. <br /><br />Nicky Richmond is managing partner at property law firm Brecher <br /><br />networking Dos and don'ts <br /><br />* Don't be scared about the roomful of strangers. If you don't meet anyone, it doesn't matter. <br /><br />* Do remember to take your business cards and a pen that works - you'd be surprised at how many people fall at that first hurdle. <br /><br />* Don't lose all self-control when faced with free drinks. Don't be the person who they talk about the next day. <br /><br />* Do follow up the very next day - or don't bother. <br /><br />* Don't fake it. If you don't gel with someone, best to move on. <br /><br />* When someone is taling to you, don't look over your shoulder to see who else has come into the room - "Sorry, am I boring you?" <br /><br />* Do take your work-self seriously. If you don't, no-one will. <br /><br />Nicky Richmond <br /><br />Source Citation (MLA 7th Edition) <br />"'Tis the season to be networking." Estates Gazette 1 Dec. 2012. General OneFile. Web. 21 Jan. 2013.<br />Document URL<br />http://go.galegroup.com/ps/i.do?id=GALE%7CA314935075&v=2.1&u=22054_acld&it=r&p=GPS&sw=w<br /><br />Gale Document Number: GALE|A314935075</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-91788408819737719022012-11-05T23:51:00.001-05:002013-05-15T10:13:41.918-04:00Google Handwrite Lets You Scribble Searches With Your Finger<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/resumeserviceplus/5085075575/" title="Cover Letter"><img src="http://farm5.staticflickr.com/4091/5085075575_2e0820482c_m.jpg" alt="Cover Letter by Resume Service Plus" /></a><br/><span style="margin: 0;"><a href="http://www.flickr.com/photos/resumeserviceplus/5085075575/">Cover Letter</a>, a photo by <a href="http://www.flickr.com/photos/resumeserviceplus/">Resume Service Plus</a> on Flickr.</span></div><p>Need to Google something on the go, but find your mobile keyboard too inconvenient? Don't fret. <br /><br />Google on Thursday introduced a nifty new beta feature to its mobile search page called "Handwrite" that lets you write down search queries with your finger. The feature is available in 27 languages and works on Apple devices running iOS 5 and above, phones running Android 2.3 Gingerbread and higher, and tablets running Android 4.0 Ice Cream Sandwich and higher. <br /><br />"Handwrite enables you to search by just writing letters with your finger most anywhere on your device's screen -- there's no keyboard that covers half of the screen and no need for hunt-and-peck typing," Google software engineer Rui Ueyama wrote in a blog post Thursday. <br /><br />Interested? Here's how to get it -- head over to Google.com with your mobile browser, click on "settings" at the bottom of the screen, then enable Handwrite. After you have saved the setting, you might need to refresh the page to see the feature. Note: on tablets, the search settings menu can be found behind the small gear icon. <br /><br />Once the feature is enabled, simply click the cursive "g" Handwrite icon located on the lower right-hand side of the screen to activate the writing surface. Then, you can write your search on the screen. <br /><br />After you write a few letters with your finger, you'll start to see autocomplete options pop up. If you run out room while scribbling out a longer query, just wait a second and Google will clear the screen and let you continue writing. <br /><br />"We designed Handwrite to complement rather than replace typing: with the feature enabled, you can still use the keyboard at any time by tapping on the search box," Ueyama wrote. <br /><br />Because the feature is experimental, Google warned that it will work better in some browsers than others. For Android devices it works best in Chrome. <br /><br />Also, Handwrite only recognizes "legible" characters, so those with chicken scratch might not get the best results. The search giant recommends writing search queries in straight block letters. <br /><br />Google has posted a Help Center article with more tips and tricks on how to use Handwrite. For a preview of Handwrite, check out the video below. <br /><br />Angela Moscaritolo <br /><br />Source Citation (MLA 7th Edition) <br />"Google Handwrite Lets You Scribble Searches With Your Finger." PC Magazine Online 26 July 2012. Educators Reference Complete. Web. 5 Nov. 2012.<br />Document URL<br />http://go.galegroup.com/ps/i.do?id=GALE%7CA297777340&v=2.1&u=22054_acld&it=r&p=PROF&sw=w<br /><br />Gale Document Number: GALE|A297777340</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-25659793255050773662012-06-18T15:28:00.002-04:002012-06-18T15:56:34.099-04:00Professional development and continuing education<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/idasingapore/3683443985/" title="Infocomm Professional Development Forum 2009"><img src="http://farm3.staticflickr.com/2582/3683443985_64392093ca_m.jpg" alt="Infocomm Professional Development Forum 2009 by IDA Singapore" /></a><br />
<span style="margin: 0;"><a href="http://www.flickr.com/photos/idasingapore/3683443985/">Infocomm Professional Development Forum 2009</a>, a photo by <a href="http://www.flickr.com/photos/idasingapore/">IDA Singapore</a> on Flickr.</span></div><p>Professional development remains a key priority for information professionals. However, obtaining continuing education is increasingly a personal responsibility, unsupported by employers. Vendors offer some free services to help customers learn about and effectively use their products. Many also provide more generalized professional development programs. These are, by no means, the only resources that librarians and information professionals tap to keep up with advances in their own field. <br />
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While librarians read journals related to their work (subscribing to ONLINE, for example), they also take advantage of the web and the plethora of resources available in multimedia format, such as videos and presentations available at SlideShare, Inc. (www.slideshare.net). For example, I learned how to exploit Netvibes (www.netvibes.com) in a PowerPoint presentation by someone who ended with a screen shot of the start page of the Shrewsbury and Telford (U.K.) health libraries. <br />
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LEARN DIFFERENTLY <br />
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Everyone learns differently. I find podcasts and webinars to be particularly helpful. I like being able to multitask and often time-shift, listening when I can rather than when meetings are held or sessions are conducted. <br />
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I could probably attend one web-based event a day--and I often find myself conflicted with two events held at the same hour. I've learned to ask which will be archived on the web for access by those who register, so even if I'm not sure that I will be able to attend an event, I register with the intent of listening or viewing it at a later date. I confess that does not always occur. (My apologies to web conference organizers for any difficulties that this may cause.) <br />
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In general, I have two categories of interests, very loosely based on work-related issues. They deal with library management, including the business skills required to run libraries, such as marketing via social networks, and information management (including website development and search optimization). <br />
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The second category can be considered part of "lifelong learning," an extension of my general interests in the world and my more formal liberal arts education. I look for organizations that offer high-quality series of webinars and podcasts, and I cast my net widely. The approach(es) I employ to keep abreast of learning opportunities, whether they are specific skill training or more generally educational, may be of help to readers of this column in developing personal information literacy and lifelong learning efforts of their own. <br />
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SOCIAL NETWORKING <br />
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Social networking has proved a great boon to broadening my learning experiences. Individuals and organizations I follow on Twitter, as well as LinkedIn groups to which I belong, have helped expand the sources of my learning, as well as deepen it within a particular topic. I have TweetDeck set to track several topics that tend to shift as projects are completed and new ones take their place. At the moment, I'm tracking Knowledge Management (KM), Competitive Intelligence (CI), Urban Agriculture, and Thalassemia. I track these topics using other tools, but I continue to be amazed at the number of webinars and podcasts--not to mention articles and white papers--that I would not know about if not for using Twitter. (I'll acknowledge that not all are of high quality, but I can screen through the suggestions pretty quickly each morning.) <br />
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I am a bit more conflicted about the LinkedIn groups I belong to. Many of the Special Libraries Association (SLA) and American Library Association (ALA) units and special interest groups have shifted from discussion lists to their own LinkedIn groups. I question the value of networking among a group of individuals to which I already have access in other ways, although I recognize that some may prefer one vehicle over another for communication. <br />
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Several KM and CI LinkedIn groups have a range of individuals participating, from novice to expert, so that some of the discussions are not as appropriate for my work as they might be if I were more discriminating about the individuals in my network. (I am about to "unsubscribe" from a couple of these that are not really "right" for my work today. Just as we weed our library collections, cleaning up less than excellent tools is equally important today.) <br />
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GROUPS UNRELATED TO LIBRARIES <br />
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Other groups, which address workforce development (training, motivating, morale boosting) and international development, appear more on-target for me. For example, the Society for International Development, Washington, D.C. Chapter (www.sidw.org) has several work groups that have meetings you can join via the web. They are announced through their LinkedIn groups (Knowledge Management Workgroup) or individual lists (Development Information Workgroup at www.sidw.org/development-information-workgroup). <br />
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Community TechKnowledge, Inc. presents a series of free webinars for not-for-profit organizations (www.communitytech.net/webinars). Recent subjects were community impact and outcomes reporting to grantmaking, impact tracking, community engagement, and volunteer management. Leadership training videos on Nonprofit Management, only 15 minutes long, are also accessible via the site (www.communitytech.net/videos/godseycollection). <br />
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LIBRARY ASSOCIATIONS <br />
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Much of my work revolves around libraries, so I rely heavily on library associations for professional development, through print publications, online blogs, topic-specific wikis, discussions lists, and events, both physical and virtual. ALA has many subgroupings that offer learning to members, some of which allow nonmembers to participate at a nominal fee. For example, the Association for Library Collections and Technical Services (ALCTS) offers reasonably priced webinars for nonmembers (www.ala.org/alcts/events/upcoming). Check the site for the range of offerings to see if there's something that would benefit you or someone on your staff. The webinar announcement in my inbox this week is for Steps in Digital Workflow, a 1-hour session priced at $49 for nonmembers; groups get a discount. <br />
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For the past several months, SLA divisions and chapters have been sponsoring an increased number of free webinars. Most recently, there were Rio Grande Chapter's Evolution of the Web: From Static to Semantic in 3 Big Steps; Illinois Chapter's Non-Traditional Library Jobs; Legal Division's Libraries & Knowledge Management: Taming the KM Monster; and CI's Using Win/Loss to Build Competitive Advantage. <br />
<br />
State library associations may offer learning opportunities for librarians in their states, or elsewhere. The Georgia Library Association Carterette series of "how to" webinars are archived at http://gla.georgialibraries.org/mediawiki/ index.php/Carterette_Series_Webinars_Archive. Recent topics include ebooks, Google+, and Podcasting in the Library. All are practical subjects designed for the novices among us. Presenters are Georgia librarians who've recently tried to use a new tool or do something at their library that had never been attempted. They share their stories, warts and all, so if you're looking for tips you can use, listen in. <br />
<br />
Designed for the California library community, others can participate in its online training and webinars (http://infopeople.org). Past training materials and webinars are archived on the site. In fall 2011, Infopeople conducted two online courses: Creating Effective Materials for Your Library Community and Library Marketing and Promotion via Social Media. <br />
<br />
LIBRARY CONSORTIA <br />
<br />
<br />
When it comes to library consortia, few can beat the Amigos Library Services (www.amigos.org). For example, Amigos held an all-day technology conference on Feb. 8, called Technology: Unexpected Consequences of Legislation and Policies in Libraries. I originally thought a whole day of watching PowerPoints and listening online would be terribly difficult to handle, but this was one of the best-managed online events in which I've ever participated. It was free of all technical glitches, and moderators added value to the lectures through the chat window at the right of the screen. All of the presentations were archived for attendees, so I can check what I missed in competing tracks and time slots. <br />
<br />
LYRASIS offers fee-based professional development courses (www.lyrasis.org/Classes-and-Events.aspx). Recognizing that this column is designed to identify free resources, I note that these can be helpful in identifying "hot topics" and series of courses that relate to one another in support of library functions. Staff members can refer to these as they design their individual professional development plans and approach career pathing, understanding the skills they need to acquire to advance. For example, Reference and Related Courses in February 2012 included 20 Questions: Deluxe Edition, Foundations of Reference Service for Non Librarians, Patron Initiated Acquisitions, and Managing Student Assistants in Academic Libraries. <br />
<br />
THE GOVERNMENT IS HERE TO HELP <br />
<br />
Many federal agencies and state libraries offer education and training to their staffs and others who might benefit. For example, a series of three symposia that was sponsored by the Library of Congress between October 2010 and October 2011, Preservation Roadmaps for the 21st Century, took place at the Thomas Jefferson Building of the Library of Congress in Washington, D.C., was broadcast live over the internet, and later archived at http://loc.gov/preservation/outreach/symposia/roadmaps.html. <br />
<br />
The National Information Standards Organization (NISO) "identifies, develops, maintains, and publishes technical standards to manage information in our changing and ever-more digital environment. NISO standards apply both traditional and new technologies to the full range of information-related needs, including retrieval, re-purposing, storage, metadata, and preservation." Its webinars (www.niso.org/news/events are pricier events than the others I've mentioned ($89 for NISO and NASIG (North American Serials Interest Group) members; $119 for nonmembers; with discounts for multiple webinars), but look at these upcoming events--"Making Better Decisions With Usage Statistics," "Content on the Go: Mobile Access to E-Resources," and "Beyond Publish or Perish: Alternative Metrics for Scholarship." It's cutting-edge information, and it's still less expensive than traveling to an onsite location. <br />
<br />
LIBRARY-RELATED ORGANIZATIONS <br />
<br />
Copyright Clearance Center (www.copyright.com/content/cc3/en/toolbar/education.html) offers education on copyright and licensing. The CCC's online events include webinars on "Copyright for the Proprietary Institution," "Copyright for the Academic Institution," and "Challenges of Copyright in the Global Environment." You can browse by topic (e.g., Beyond the book, Copyright in academia, Copyright in motion, Google settlement), type (e.g., podcast, video, webinar, workshop), or date (calendar). <br />
<br />
OCLC announces its podcasts via an RSS feed. In February, the topic was "Your library at Webscale: How radical collaboration is redefining library management services" with George Silvis (University of Delaware) and Marshall Breeding (Vanderbilt University). Virtual reference is the upcoming focus, and registration is free (www.oclc.org/questionpoint/overview/newsessions.htm). <br />
<br />
[ILLUSTRATION OMITTED] <br />
<br />
DuraSpace is another to watch. You may be more familiar with its open source repository solutions, Fedora and DSpace, but it's the series of digital preservation webinars that I find most helpful (www.duraspace.org/web_seminars). <br />
<br />
LISEvents is a beta site for library-community conferences and events (http://lisevents.com). Filter the events to "online only/webinars" to eliminate those that are location-based. Some are free, such as "Big Talk From Small Libraries." Others are low-fee, such as $55 for "Engaging Students With Transliteracy, Technology and Teaching." <br />
<br />
COMMERCIAL VENDORS <br />
<br />
Commercial groups offer webinars on information technology topics. OCLC's WebJunction serves up live programs, aimed at library staff, conducted online via WebEx web conferencing (www.webjunction.org/content/webjunction/events/wj.html). <br />
<br />
[ILLUSTRATION OMITTED] <br />
<br />
For those whose organizations have purchased SharePoint and found the implementation "challenging," a number of entities offer webinars to help you tweak the product. Wall Street Network, Inc. had "Knowledge Management for SharePoint" (www.wsn.net/default.aspx). NewsGator webinars, videos, and case studies often focus on community and SharePoint (www.newsgator.com/resources/agg522_selecttab/2.aspx). <br />
<br />
Turn to Clickz for marketing advice. While there are fees associated with its elearning courses concerning Search Engine Optimization, Email Strategy, Social Media, and Web Analytics, the webinars are free (www.clickzacademy.com/webinars.php). <br />
<br />
OPEN COURSEWARE <br />
<br />
While TED Talks (www.ted.com/talks) and Khan Academy (www.khanacademy.org) attract much attention in the press, I began with the University of California-Berkeley. Marti Hearst's search engine course had some of the top names in search as guest lecturers--Sergey Brin, John Battelle, Peter Norvig, and Hal Varian--making it a terrific and exciting introduction to the subject matter. I enjoyed the use of videotaped lectures for learning. The podcasts for this (and other courses given by Hearst at the iSchool) are online (http://people.ischool.berkeley.edu/~hearst/teaching.html). <br />
<br />
Stanford University's School of Engineering offered three of its most popular computer science courses for free online in the fall of 2011--Machine Learning, Introduction to Artificial Intelligence, and Introduction to Databases--"launching an experiment that could transform the way online education is delivered." Each had a formal course syllabus, readings, a Screenside chat (YouTube video), and weekly exercises to complete, all emailed to my inbox. To get an inkling as to the course work, take a look at Introduction to Databases website (www.db-class.org/course/auth/welcome); additional courses will be available this year. <br />
<br />
[ILLUSTRATION OMITTED] <br />
<br />
Massachusetts Institute of Technology (MIT) was one of the first to offer online courses (http://ocw.mit.edu/courses), but it's now one of many universities making a range of subject matter accessible to those who might not have been able to attend university, or didn't have a chance to take many courses outside their own major. I'm now reviewing some coursework and lectures from University of California-Irvine (http://ocw.uci.edu). <br />
<br />
The increase in open courseware means that iTunes can be a resource for learning as well as music. The iTunes U app puts course materials on students' mobile devices. You can browse and download more than 500,000 free lectures, videos, books, and other resources on any topic an institution has decided to offer. <br />
<br />
How popular are these courses? As an example, approximately 1800 "items" are downloaded from the University of Oxford on iTunes for a total of 130,000 times per week by individuals in 185 countries. Of these, 15% are downloaded by mobile users (including iPad and iPhone). <br />
<br />
Some of my favorite series have been discontinued--Library 2.0 Gang; Longshots: Library-Related Commentary and Interviews; SirsiDynix--but others are always starting up. For example, while the Competitive Intelligence podcasts from August Jackson and Arik Johnson (Aurora WDC) are no longer offered, the third CI Life podcast from Sean Campbell and Steve Swigart of Cascade Insights has just appeared in my Playlist. I've just heard about Flapcast (http://flapcast.com), which allows you to access podcasts that "live in the cloud." <br />
<br />
I'm also a sucker for improving education, so note the following: <br />
<br />
* I often listen in on The Future of Education (www.futureofeducation.com/notes/Past_Interviews). <br />
<br />
* If you're in need of modules to help you teach a subject (e.g., business ethics), try one of the 20,238 available from Connexions, a repository and collaborative platform of educational materials (http://cnx.org). <br />
<br />
* My latest find for free textbooks to augment my learning is OpenStax College (http://openstaxcollege.org); I'm reading Introduction to Sociology now, but then it's on to the sciences. <br />
<br />
* Flat World Knowledge, Inc. also has college textbooks for free (www.flatworldknowledge.com). <br />
<br />
* If the college science texts are too advanced for you, try the high school texts available from FlexBooks (www.ck12.org/flexbook). <br />
<br />
ARTICLES, WHITE PAPERS, AND TECH GADGETS <br />
<br />
I don't mean to exclude interesting reading material beyond what is delivered via RSS feed to my Google Reader, although I do sometimes get a bit behind and have to do a major catch-up on Mashable, Inc. or refer to archived emails from eMarketer, Inc. <br />
<br />
I'll admit that I'm not on the leading edge with most gadgets, but I do like reading about them and seeing what's coming down the pike. So I subscribe to The New York Times RSS feeds (www.nytimes.com/services/xml/rss/index.html), including Bits Blog, Pogue's Posts, and Personal Tech, supplemented by Walt Mossberg and Robert Cringely, and watch BBC Click (http://news.bbc.co.uk/2/hi/programmes/click_online/default.stm), to name but a few of my valued resources and feeds. <br />
<br />
I also have an extensive network of information professionals around the world who point me to resources they find helpful. Library school professors tell me about institutional repositories to which they contribute. (For example, I just learned that publications from 1987 to the present are available from the Institute for Informatics and Digital Innovation at www.iidi.napier.ac.uk/c/publications.) <br />
<br />
At the end of each year and the start of the next, a series of articles appear in journals, magazines, newspapers, and online websites, declaring "the best of ... " For example, on Dec. 21, 2011, Michelle Eggleston provided a "Top Ten Articles" for training at www.trainingindustry.com/articles/top-10-articles-of-2011.aspx. All are useful for librarians who want to improve their presentation skills. <br />
<br />
OTHER DIMENSIONS <br />
<br />
Second Life is a free 3D virtual world where users can socialize, connect, and create using free voice and text chat (http://secondlife.com). Paulette Robinson, assistant dean for teaching, learning, and technology at the National Defense University in Washington, D.C., is the founder of The Federal Consortium for Virtual Worlds, which organizes periodic meetings in Second Life (www.ndu.edu/icollege/fcvw/index.htm). It's a great way to attend a conference if you're a distance away from colleagues who are doing work similar to your own. <br />
<br />
For those interested in information literacy, Sheila Webber's Information Literacy Weblog (http://informationliteracy.blogspot.com has a label dedicated to info lit events on Second Life. The latest event hosted by Sheffield University's iSchool featured Diane Nahl (University of Hawaii) in a discussion of a journal article, "Academic Library Administrators' Perceptions of Four Instructional Skills." <br />
<br />
ACRL Science and Technology Section's Information Literacy Committee uses Tinychat Co. to discuss "building and maintaining liaison relationships between librarians and faculty" in its last Wednesday series (http://tinychat.com/steminfolit). Tinychat provides video chat rooms--no downloads required. At the appointed time, just go to the URL and join the conversation. If your interests include health information technology, go to the National eHealth Collaborative NeHC University (www.nationalehealth.org/program/nehc-university) to register for an upcoming seminar. <br />
<br />
ATTENDING UNCONFERENCES <br />
<br />
Other social networking tools are more nonpassive in nature, allowing participation in unconference sessions. Designed to foster learning, collaboration, and creativity, unconference participants decide the agenda and contribute to session development. <br />
<br />
Don't forget that many of the conferences you do not or cannot attend in person now make speaker presentations (handouts and slides) and sometimes even video available to those who follow the links. For example, LILAC, the Librarians' Information Literacy Annual Conference, archived its 2011 sessions (http://lilacconference.com/WP/past-conferences/lilac-2011). (The 2012 annual conference was held in April, so check the site for access to presentations.) In November 2011, a group gathered in Boston over breakfast to discuss "Social Media Success--Uncovering What Works." It was captured and shared by the local CBS station (http://boston.cbslocal.com/2011/11/11/socialmedia-success-uncovering-what- works). It's long, but worth every minute if you want some great tips. <br />
<br />
PEERING INTO PROFESSIONAL DEVELOPMENT <br />
<br />
Want to meet individuals with similar interests to your own in nonvirtual space, otherwise known as the "real world"? MeetUp's motto sums it up nicely: "Do something--Learn something--Share something--Change something" (www.meetup.com). <br />
<br />
Prefer to remain in the virtual realm but still learn from your peers? Explore the groups P2PU (http://new.p2pu.org/en). TechSoup provides "technology products and information geared specifically to the unique challenges faced by nonprofits and libraries." Just now, TechSoup is running a Digital Storytelling Challenge (http://forums.techsoup.org/cs/p/tsdigs-2012.aspx). Even if you're not going to enter the Challenge, it's worth watching the webinars around the topic (http://forums.techsoup.org/cs/community/b/tsblog/archive/tags/ tsdigs+recap/default.aspx). <br />
<br />
It's helpful to move a bit out of your comfort zone, experimenting with new tools, so continue to bookmark resources of interest and sign up for alerts from organizations, even if you're not sure that you'll be able to make the event. Keeping track of "hot topics" can help you focus on the next move at your institution and give you an idea as to the "experts" to help you succeed. Experiencing this without tuition expenses, travel costs, or pricey continuing education courses--and delivered to you in a fashion that meshes with your learning style--is a boon. <br />
<br />
Now that information professionals are likely to be on their own for professional development and continuing education, maximizing value while minimizing time and expenses is imperative. <br />
<br />
Barbie E. Keiser (barbie.keiser@gmail.com) is an information resources management (IRM) consultant located in the metro Washington, D.C. area. <br />
<br />
Technology Conference: February 8th, 2012 (Online)<br />
<br />
Conference Home Archives Schedule Sessions/Speakers<br />
<br />
Times--all CST Session Presenter<br />
<br />
9:00 am The Changing (or not) John Carlo Bertot<br />
Information and<br />
Telecommunications Policy<br />
Landscape: Implications<br />
for Libraries<br />
<br />
10:00 am Digital Public Library of John Palfrey<br />
America<br />
<br />
Shaping and Responding Gloria Meraz<br />
to Government Technology<br />
Policies<br />
<br />
Wifi Access in Libraries: Anne Prestamo<br />
Issues and Policies<br />
<br />
11:00 am Academic Libraries: Policy Julie Todaro<br />
Initiatives Leading<br />
Change in Access and<br />
Delivery<br />
<br />
Overcoming the Challenges Rachel Vacek<br />
to Creating a Single Online<br />
User Experience<br />
<br />
Libraries and Technology: Rhoda Goldberg,<br />
It is the best of times; Michael Saperstein<br />
it is the worst of times<br />
<br />
12:00 pm Lunch<br />
<br />
1:00 pm HathiTrust: Issues and Jeremy York<br />
Challenges in Preserving<br />
the Published Record<br />
<br />
The Cloud: De-mist-ified Bryan Beaty,<br />
Eddy Smith<br />
<br />
Section 508 Policy, Bruce Bailey<br />
Requirements and Refresh<br />
<br />
2:00 pm Digital Content Frustration: Sarah Houghton<br />
Effects of DRM, Copyright,<br />
and Licensing<br />
<br />
Evaluating Library Resources Nina McHale<br />
for Accessibility<br />
<br />
Internet Archive Edward Betts<br />
<br />
3:00 pm Licensing and contract Anna Wyatt<br />
issues in libraries<br />
<br />
National Landscape (due to Corey Williams<br />
illness)<br />
<br />
Unleashing the power of James Werle<br />
advanced R&E networks in<br />
libraries<br />
Keiser, Barbie E. <br />
<br />
Source Citation <br />
Keiser, Barbie E. "Professional development and continuing education." Online May-June 2012: 20+. Expanded Academic ASAP. Web. 18 June 2012.<br />
Document URL<br />
http://go.galegroup.com/ps/i.do?id=GALE%7CA288979712&v=2.1&u=22054_acld&it=r&p=EAIM&sw=w<br />
<br />
Gale Document Number: GALE|A288979712</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-19748321874955750722012-06-11T15:20:00.002-04:002012-06-11T16:40:22.803-04:00Non-news is good news; The magazine industry<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/hectoralejandro/3967217852/" title="Magazines"><img src="http://farm3.staticflickr.com/2571/3967217852_5cc9ee9db7_m.jpg" alt="Magazines by hectorir" /></a><br />
<span style="margin: 0;"><a href="http://www.flickr.com/photos/hectoralejandro/3967217852/">Magazines</a>, a photo by <a href="http://www.flickr.com/photos/hectoralejandro/">hectorir</a> on Flickr.</span></div><p>The threat of the internet has forced magazines to get smarter <br />
<br />
"PRINT is dead" was a common refrain a couple of years ago. The costly print advertisements that kept magazines and newspapers alive were migrating to the web, where they earned only pennies on the dollar. To publishers, it felt as if a hurricane was flattening their business. <br />
<br />
But as the storm has cleared, a new publishing landscape has emerged. What was once a fairly uniform business--identify a group of people united by some shared identity or passion, write stories for them to read and sell advertising next to the stories--has split into several different kinds. <br />
<br />
Hard news is perhaps the hardest to make profitable. It is increasingly instant, constant and commoditised (as with oil or rice, consumers do not care where it came from). With rare exceptions, making money in news means publishing either the cheap kind that attracts a very large audience, and making money from ads, or the expensive kind that is critical to a small audience, and making money from subscriptions. Both are cut-throat businesses; in rich countries, many papers are closing. <br />
<br />
But among magazines there is a new sense of optimism. In North America, where the recession bit deepest (see chart), more new magazines were launched than closed in 2011 for the second year in a row. The Association of Magazine Media (MPA) reports that magazine audiences are growing faster than those for TV or newspapers, especially among the young. <br />
<br />
Unlike newspapers, most magazines didn't have large classified-ad sections to lose to the internet, and their material has a longer shelf-life. Above all, says David Carey, the boss of Hearst Magazines, a big American publisher, they represent aspirations: "they do a very good job of inspiring your dreams." People identify closely with the magazines they read, and advertisers therefore love them: magazines, says Paul-Bernhard Kallen, the chairman of Hubert Burda Media, a large German publisher, remain essential for brand-building. <br />
<br />
Which is why luxury magazines are doing particularly well, as are those in emerging markets, where a fast-growing middle class is coming into those advertisers' sights. In Brazil, for example, the Abril Group has made Minha Casa, a home-improvement magazine, the leader of its kind in two years thanks to a careful focus on new homeowners. <br />
<br />
Back in the United States, the number of ad pages in magazines has dropped for three quarters in a row, according to the Publishers' Information Bureau. But that is partly cyclical, says Nina Link, the MPA's head, and it doesn't account for the growing number of ads in digital form. <br />
<br />
Once, digital ads would have been scant comfort. On the web they are typically worth a small fraction of what they were in print. But tablets, such as Apple's iPad, could change this. <br />
<br />
They have been around for only two years and most magazine subscriptions on them for less than a year; the MPA suggested measurement standards for advertising on tablets only in April. Yet already there are signs that advertisers are accepting higher rates on tablets than on the web, because magazines on tablets are more like magazines in print: engrossing, well-designed experiences instead of forests of text and links. <br />
<br />
Publishers are still experimenting with formats: some are little different from their print versions, while others are more interactive, perhaps too much so. Hearst's Cosmopolitan launched the digital-only Cosmo for Guys, which purports to shed light on feminine psychology for baffled males; an early issue included 3-D models of sexual positions that you could rotate to view from every possible angle. Who says glossy mags aren't educational? <br />
<br />
But the wiser publishers are finding ways to rely less on advertising. They are looking to make more not only from subscriptions but also from other sources. Today, "you need five or six revenue streams to make the business really successful," says Mr Carey. Spurred by necessity and enabled by technology, magazines "innovate in ways they never dreamed of a few years ago," says Ms Link. <br />
<br />
What else a magazine can do besides sell copies depends on its audience and subject matter. Many are turning themselves from mere carriers of ads into marketing-services companies, giving their advertisers a range of new ways to reach readers. Travel magazines' websites can track if their readers end up buying the holiday packages they write about, and take a cut. "I count that as advertising," says Mr Kallen. "What many people call advertising…is definitely declining, but advertising in the broader sense isn't." <br />
<br />
Other commercial branchings-out include a growing range of conferences or celebrity events, the licensing of magazines' names to products such as cosmetics, and tie-ups with deal and coupon websites such as Groupon. Successful new magazines have been launched on the back of TV programmes, such as Hearst's "Food Network" and "HGTV" (a home-improvement show) and the BBC's "Top Gear" (a show about macho cars). With so many countries now boasting a big middle class, international franchises often work well; Hearst's Cosmopolitan now has 66 different country editions. <br />
<br />
There are also more esoteric business models. Monocle, a global magazine for the insufferably stylish, claims that the online radio channel it launched last autumn has been profitable from the start, since normal commercial radio stations never deliver the kinds of listeners its high-end advertisers want. The Atavist, an American iPad magazine that publishes one long piece of narrative journalism each month, says it makes money largely because it licenses its iPad publishing software to other people. <br />
<br />
Loyalty is lucrative <br />
<br />
The ability of magazines to inspire fierce loyalty among readers means there are also lots of small-time, quirky successes. XXI, a French quarterly of long-form reportage, is profitable despite carrying no ads, not putting its text online and being sold only in bookshops; it seems to capitalise on French intellectual traditions and the concentration in Paris of voracious readers. Germany's Landlust, which extols the virtues of living at a relaxed pace and in close contact with nature, is another print-only holdout, with a circulation of 1m after seven years. As long as there are coffee tables, people will want things to put on them. <br />
<br />
Source Citation <br />
"Non-news is good news; The magazine industry." The Economist [US] 9 June 2012: 74(US). Educators Reference Complete. Web. 11 June 2012.<br />
Document URL<br />
http://go.galegroup.com/ps/i.do?id=GALE%7CA292200768&v=2.1&u=22054_acld&it=r&p=PROF&sw=w<br />
<br />
Gale Document Number: GALE|A292200768</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-45670504705390356062012-05-21T14:37:00.002-04:002012-05-21T14:39:59.058-04:00Winners on winning<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/aigle_dore/7052753377/" title="Reading"><img src="http://farm8.staticflickr.com/7265/7052753377_fcd9d5420a_m.jpg" alt="Reading by Moyan_Brenn" /></a><br />
<span style="margin: 0;"><a href="http://www.flickr.com/photos/aigle_dore/7052753377/">Reading</a>, a photo by <a href="http://www.flickr.com/photos/aigle_dore/">Moyan_Brenn</a> on Flickr.</span></div><p>FROM A DISTANCE, the rewards of winning a writing contest can seem pretty clear-cut: A book is published; a writer receives some cash. But the benefits of coming out on top aren't always so obvious. We caught up with five recent winners of book-publication prizes to find out what the money, exposure, and validation from the literary community has meant to them and their careers. <br />
<br />
[ILLUSTRATION OMITTED] <br />
<br />
<br />
Elana Bell, winner of the 2011 Walt Whitman Award for Eyes, Stones. <br />
<br />
The award has allowed me the opportunity to connect with and have my work read by poets whom I greatly admire--Naomi Shihab Nye, for example.... Winning the award was like a steroid shot. It has given me some courage to begin applying for college-teaching positions, to create a website, and, even more important, to take the risk of realizing some long-term artistic visions. I also have visions of the work I want to do as an educator: I think creative writing can be used as a tool when working with people from regions in conflict. Winning the award gave me confidence to develop that curriculum and pedagogy. <br />
<br />
<br />
[ILLUSTRATION OMITTED] <br />
<br />
Khadijah Queen, winner of the 2010 Noemi Book Award for Poetry for Black Peculiar. <br />
<br />
Winning the award did give my work a lot more exposure. I was asked to do several paid readings and solicited to submit to literary magazines.... I used much of the prize money to pay a bill, honestly, but once that was paid, I was later able to fund my way to attend two summer writers retreats where I made important new connections and deepened old ones.... I felt the work was validated, which was important to me because of its experimental nature. This book is much bolder in style and content than my first book. It felt good to have that boldness rewarded. <br />
<br />
<br />
[ILLUSTRATION OMITTED] <br />
<br />
Douglas Light, winner of the 2010 Grace Paley Prize in Short Fiction for Girls in Trouble. <br />
<br />
As far as prizes go, the money was substantial. Unfortunately, the financial demands of life are even more so. I thought of using the money to cover my mortgage for a couple of months, or maybe using it to buy a new computer. I even contemplated tossing my responsibilities and taking to the road for a bit. Instead, I launched a new project that was beyond my expertise: theater. I used the money I'd won to book a sixty-seat theater in lower Manhattan and stage an evening of actors performing stories from my collection, all set to the lush, captivating music of a four-piece band. If I gauge the event on number of books sold, then the production was a failure. I sold eight books. But against all other metrics, the night was a grand success. The theater sold out, the actors and musicians were brilliant, and everyone is still talking about how great the night was. And as a direct result of the production, I received a grant to turn one of the stories from the collection into a short film. <br />
<br />
[ILLUSTRATION OMITTED] <br />
<br />
Katie Umans, winner of the 2010 Saint Lawrence Book Award for Flock Book. <br />
<br />
I don't think I'll do anything especially career oriented with the prize money, which I'll receive with the publication of my book this summer, but I'll probably spend a small portion of it on new poetry books. I think it's really important to purchase a good share of new poetry books and support authors, especially as I root for my book to be bought by others! However, all funds ultimately help a writing career by buying time and peace of mind--which both mean the chance to write more.... I couldn't say whether alerting journals in my cover letter that I have a book coming out has affected their decision to publish or not publish my poems. I still get accepted sometimes and rejected sometimes. I have had journals accept poems and then offer to try and push up publication to align with the release of the book, which is nice.... I still have a day job and don't feel like I have the credentials to seek a fulltime, stable, teaching job, which I'd eventually love to do. What winning the prize did do is seal off the first book as a finished work. No more tinkering, no more tweaking, no more writing new poems and feeding them to the manuscript like it's an insatiable monster. I feel like I've shed many earlier versions of myself as a poet by casting off that book. You are proud of your first book, but you also want to move on from it as a writer. <br />
<br />
[ILLUSTRATION OMITTED] <br />
<br />
Diane Simmons, winner of Ohio State University Press's 2010 Prize in Short Fiction for Little America. <br />
<br />
The prize has, to my surprise, changed the way I understand myself as a short story writer. Previously I thought of my stories as stand-alones, each a world unto itself. I was shocked when readers of the collection seemed to view it differently, discussing how the stories were "linked," even assuming that I had written them in some carefully thought-out order. I value my stories more now; I see more in them, see connections I didn't understand before. Which leads me to this thought: Many of us look to short stories as a stepping-stone to the grand prize--the novel. That's fine. But maybe, too, our stories, if we are lucky enough to have them all read in one place, create the longer, fuller work we aspire to.... I used the prize money to promote the book, primarily by going out West, where the stories are set, to do readings and signings.... I've heard from several agents, but don't quite have my present project ready to show. I haven't heard from any magazines [soliciting work], but I do believe the rejections are getting much more respectful! <br />
<br />
Source Citation <br />
"Winners on winning." Poets & Writers Magazine 40.3 (2012): 57+. Academic OneFile. Web. 21 May 2012.<br />
Document URL<br />
http://go.galegroup.com/ps/i.do?id=GALE%7CA288873935&v=2.1&u=22054_acld&it=r&p=AONE&sw=w<br />
<br />
Gale Document Number: GALE|A288873935</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-45618541686808955222012-05-14T17:17:00.002-04:002012-05-14T17:35:15.595-04:00People who hate long weekends: some can't wait for that extra day; forothers it feels like there's a big party going on and they weren'tinvited<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/monochromatic/3685408998/" title="Vitalogy"><img src="http://farm3.staticflickr.com/2427/3685408998_bc66a7771a_m.jpg" alt="Vitalogy by pa(i)geturner" /></a><br />
<span style="margin: 0;"><a href="http://www.flickr.com/photos/monochromatic/3685408998/">Vitalogy</a>, a photo by <a href="http://www.flickr.com/photos/monochromatic/">pa(i)geturner</a> on Flickr.</span></div><p>THOUGH THE CONDITION isn't in any medical book, it could unofficially be called the "Long Weekend Blues," or, perhaps, LWAD (Long Weekend Affective Disorder). Many people, it turns out, do not look forward to long weekends. In fact, they dread them. <br />
<br />
As a 37-year-old Vancouver lawyer says, "Every long weekend feels to me like everyone else has big, unusual fun plans. I dread it. It's a reminder that my life is a little slow or empty or something. The last long weekend, there was a truck of people dressed up with brass instruments having the time of their lives. As I watched them drive by, I was like, 'Where are all you people going and how come I don't know about it?' It just feels like a long weekend is one big party I had no idea about." <br />
<br />
Another woman, 41, from Toronto, says long weekends depress her because she ends up doing chores; she also feels like she's missing out on some sort of party, which makes her feel lonely. "I just try and get ahead for the week, making my lunches, doing groceries, going to the dry cleaner. Long weekends aren't attached to anything meaningful except maybe some dead queen." Still, she jokes, "They should call it 'No Suicide Long Weekends.' "She adds, "I get really sad because my daughter is all grown up and isn't around and all my friends seem to go visit their families. One of my friends said, 'We're going to visit my in-laws so my husband can fix their roof.' They weren't looking forward to it, but on my end I thought, 'That's nice that you have something to do.' Not that I would want to fix their roof either. But what was I going to do? Buy another book?" <br />
<br />
Alyson Pancer, a clinical social worker and therapist in Toronto, says that any change in routine, like adding that third day when you don't have anything specific to do, or another day with children and no break, raises people's anxieties. Just as with other holidays, like Christmas, says Pancer, people get their expectations up. "They think the long weekends are going to be all fabulous and positive, but the reality is that it's not always great. Some people dread seeing their families." <br />
<br />
Pancer can see why people feel like they're missing out on some sort of party. "You turn on the news in your car and it's all about how busy the airport is or there are traffic reports on highways to cottages. Well, not everyone can go away. Not everyone has a cottage. Some people don't have the type of financial means to have those plans. So when you get back to the office and people ask, 'How was your weekend?' it can be brutal," she says. Kind of like asking a single person how their night was the day after Valentine's Day. <br />
<br />
One 44-year-old woman also feels like everyone is doing something better than she is. "I feel so whiny when I talk about it. But when my child was little, that extra day of no help whacked me out. But now, it's even worse. I hear the fireworks going off and I think, 'Well, I don't want to be there,' but there must be a lot of people there and I just feel sad. And you do go back to work feeling like a chump when everyone else seemed to have a great weekend." <br />
<br />
According to psychotherapist Barry Rich, humans may not be wired to deal with that one extra day, because it's just not enough time. "We might do things, sometimes things we don't even want to, that involve travelling out of town for instance, when we would rather just chill at home and do nothing for three days instead of two. Research has shown that it takes the average Westerner at least a week to even begin to unwind, so that extra day gets us not a whole lot of 'real relaxation.' It might just mean an added six hours of being bumper-to-bumper in traffic." (Maybe that's why even some of my friends who go to cottages are depressed when long weekends roll around.) <br />
<br />
Rich does say that long weekends are definitely harder on lonely single people, because of "enforced frivolity." We have been led to believe that on long weekends we are supposed to have a really great time, and if we haven't, then we have screwed up big time. "God forbid you really just want to stay at home," says Rich. His suggestion for those who suffer from the long-weekend blues is to "not make a big deal out of it and if you really truly don't want to go somewhere or do something or spend a lot of extra money because of the extra 24 hours of leisure, stay home and enjoy that third day with a friend you haven't seen in ages, or something else you've been meaning to do." Part of what he stresses is that attempting to have a good time, or forcing yourself to have a good time, just becomes "an added stressor" in our lives. <br />
<br />
A 37-year-old Torontonian who works in social media tries not to make a big deal out of it, but says, "I just end up feeling guilty about not doing anything. Then I get depressed for feeling guilty. And also, when you go back to work, the week seems longer even though it is shorter. Why is that? All I can say is that I hate long weekends." <br />
<br />
There are seven long weekends in Canada. <br />
<br />
Eckler, Rebecca <br />
<br />
Source Citation <br />
Eckler, Rebecca. "People who hate long weekends: some can't wait for that extra day; for others it feels like there's a big party going on and they weren't invited." Maclean's 1 Aug. 2011: 64. Expanded Academic ASAP. Web. 14 May 2012.<br />
Document URL<br />
http://go.galegroup.com/ps/i.do?id=GALE%7CA263349157&v=2.1&u=22054_acld&it=r&p=GPS&sw=w<br />
<br />
Gale Document Number: GALE|A263349157</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-52825551136829493742012-05-12T14:59:00.002-04:002012-05-12T20:37:05.854-04:00Speech<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/sovietuk/3256995099/" title="Speech"><img src="http://farm4.staticflickr.com/3388/3256995099_6abc6732c4_m.jpg" alt="Speech by tricky (rick harrison)" /></a><br />
<span style="margin: 0;"><a href="http://www.flickr.com/photos/sovietuk/3256995099/">Speech</a>, a photo by <a href="http://www.flickr.com/photos/sovietuk/">tricky (rick harrison)</a> on Flickr.</span></div><p></p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-86019452477793899212012-05-08T20:43:00.000-04:002012-05-08T20:43:48.922-04:00sites.google.com/site/writing2013<a href="http://www.kqzyfj.com/click-3570722-10413460" target="_top"><img alt="Subscribe to USA TODAY" border="0" height="60px" src="http://www.awltovhc.com/image-3570722-10413460" width="420px" /></a> <embed allowfullscreen="true" allowscriptaccess="always" height="250" src="http://www.youtube.com/v/m47A0AmqxQE&hl=en&fs=1&" type="application/x-shockwave-flash" width="420"></embed> <br />
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<form action="https://www.paypal.com/cgi-bin/webscr" method="post"><input name="cmd" type="hidden" /> <input name="business" type="hidden" /> <input name="lc" type="hidden" /> <input name="item_name" type="hidden" /> <input name="item_number" type="hidden" /> <input name="currency_code" type="hidden" /> <input name="bn" type="hidden" /> <input alt="PayPal - The safer, easier way to pay online!" border="0" name="submit" src="https://www.paypal.com/en_US/i/btn/btn_donateCC_LG.gif" type="image" /> <img alt="" border="0" height="1px" src="https://www.paypal.com/en_US/i/scr/pixel.gif" width="1px" /> </form>(Album / Profile) <a href="http://www.facebook.com/album.php?aid=10035&id=1661531726&l=f3f19215d0">http://www.facebook.com/album.php?aid=10035&id=1661531726&l=f3f19215d0</a> <a href="http://www.kqzyfj.com/click-3570722-10690178" target="_top"><img alt="Shop the Official Coca-Cola Store!" border="0" height="60px" src="http://www.lduhtrp.net/image-3570722-10690178" width="420px" /></a> <a href="mailto:leonard.wilson2008@hotmail.com">leonard.wilson2008@hotmail.com</a>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-72833218443055478702012-05-08T20:13:00.002-04:002012-05-08T20:42:59.190-04:00Become sodium savvy and reduce your heart risks: most sodium comes fromsources besides table salt, so read food labels carefully and exploremore healthful alternatives<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/dsugden/3220023222/" title="food label misleads"><img src="http://farm4.staticflickr.com/3101/3220023222_3ab350d919_m.jpg" alt="food label misleads by touring_fishman" /></a><br />
<span style="margin: 0;"><a href="http://www.flickr.com/photos/dsugden/3220023222/">food label misleads</a>, a photo by <a href="http://www.flickr.com/photos/dsugden/">touring_fishman</a> on Flickr.</span></div><p>Your doctor told you to cut back on your sodium, so you've put away the salt shaker and the salty snacks. Chances are you're still getting too much sodium each day. <br />
<br />
Most of the sodium you consume comes not from the salt you sprinkle on your meals, but from the food itself. While some foods, like potato chips and pretzels, are obvious sodium sources, others may not taste salty but are high in sodium. <br />
<br />
<br />
"Even milk and cheese are things that most people don't think have sodium in them," says Laura Jeffers, RD, LD, with Cleveland Clinic's Department of Nutrition Therapy. <br />
<br />
"So, you have to look at what you're eating and consider the total sodium load in your diet." To reduce your sodium intake, carefully read the labels of the products you buy and choose lower-sodium options. And, as much as possible, opt for fresh fruits, vegetables, meats, and whole grains. <br />
<br />
<br />
SODIUM IN YOUR DIET <br />
<br />
Too much sodium causes fluid retention and contributes to high blood pressure. The American Heart Association and other experts recommend limiting dietary sodium consumption to 2,300 mg (about one teaspoon of table salt) a day for healthy younger adults and 1,500 mg a day for people age 51 or older, African-Americans, and those with high blood pressure, diabetes, or kidney disease. Unfortunately, many Americans consume five or more teaspoons of sodium daily. <br />
<br />
Among the biggest sodium culprits are processed meats (e.g. hot dogs, bacon, sausage, deli meats) and "convenience" foods, such as prepared meals, canned soups, and rice, pasta, or potato mixes. If your food comes in a box, can, or plastic packaging, odds are it's high in sodium. <br />
<br />
Other sodium sources are more surprising. Cookies and other goodies made with baking soda seem like sweet treats, but they can easily drive up your sodium load, as a teaspoon of baking soda contains more than 1,200 mg of sodium. Also, be careful with condiments. When you go to the ballgame this summer, a tablespoon of ketchup will add 167 mg of sodium (mustard, 56 mg) to the 513 mg of sodium in your average hot dog. <br />
<br />
If you think you're making the right choice with canned beans, vegetables, or tuna, they typically are high in sodium. "Anything canned should be washed to get rid of the excess sodium," Jeffers advises. <br />
<br />
Similarly, low-fat varieties may sound more healthful, but some products still contain ample sodium. For instance, a cup of fat-free milk has 127 mg of sodium, compared to 98 mg in whole milk. <br />
<br />
BE SMART ABOUT SODIUM <br />
<br />
Read the Nutrition Facts label of each product to see how much sodium it has per serving, and multiply the sodium amount by the number of servings per container. (Experts generally recommend avoiding products containing more than 200 mg of sodium per serving.) And, check the ingredients list for hidden sodium sources, such as baking soda/powder, monosodium glutamate, and compounds containing the word sodium. "Look at the foods you normally consume, and then go to the store and find an alternative, or choose the low-sodium version of your product," Jeffers says. "That's a good place to start." <br />
<br />
Be careful when you read sodium-related terms on the product labeling (see "Sodium Semantics"). For instance, although a product marketed as "reduced sodium" has 25 percent less sodium than the regular version, that still amounts to 750 mg if the regular variety contains 1,000 mg of sodium. <br />
<br />
SACRIFICE SODIUM, NOT FLAVOR <br />
<br />
Face it, if you're like most men, you enjoy salty foods, and you might think you'll lose out on flavor if you abandon the salt. Fact is, you can overcome your salt craving within a few weeks of replacing it with herbs, spices, and other flavor aids. If you opt for salt substitutes, tell your doctor. Many of these products contain potassium chloride and may raise your potassium to harmful levels if taken with certain blood pressure medications. <br />
<br />
"There are so many seasonings and flavor enhancers that don't have sodium. It's just about getting that idea out of your head that you need salt and changing the way you think about what you eat," Jeffers says. <br />
<br />
"As with anything, take baby steps. If you want to succeed, give yourself time to make the transition," she adds. "Serving size could be your first step. If you're completely over-eating sodium-rich foods, don't just switch to low-sodium foods, but also eat less so you get less sodium." <br />
<br />
RELATED ARTICLE: SODIUM SEMANTICS <br />
<br />
[ILLUSTRATION OMITTED] <br />
<br />
Here's a look at what the sodium-related terms on food packaging mean: <br />
<br />
Sodium/salt-free: Less than 5 mg of sodium per serving <br />
<br />
Very low sodium: 35 mg of sodium or less per serving <br />
<br />
Low sodium: 140 mg of sodium or less per serving <br />
<br />
Reduced sodium: Product has at least 25 percent less sodium than regular version <br />
<br />
Light: Product has at least 50 percent less sodium than regular version <br />
<br />
SOME TIPS TO LOWER YOUR SODIUM INTAKE<br />
<br />
Food group Instead of ... Try eating ...<br />
<br />
Meat/protein Bacon, hot dogs, Lean fresh or frozen<br />
sausage, deli meats, unsalted beef,<br />
canned meats, all poultry, pork, veal,<br />
processed meats fish, and lamb<br />
except low-sodium<br />
varieties<br />
<br />
Starches Rice/pasta/potato Whole-grain breads<br />
mixes, potato chips, and pasta, brown<br />
pretzels, popcorn, rice, fresh potatoes,<br />
seasoned bread unsalted crackers,<br />
crumbs, tortilla chips, pretzels, and<br />
chips, corn chips, popcorn<br />
crackers<br />
<br />
Dairy Regular cheese Low-sodium cheese<br />
<br />
Fruits and Canned vegetables, Fresh, frozen, or<br />
vegetables vegetable juices, canned fruits; fresh<br />
pork and beans, or frozen vegetables<br />
canned dried beans (without sauce);<br />
(e.g. kidney, pinto unsalted canned<br />
or chickpeas), vegetables<br />
sauerkraut<br />
<br />
Condiments/ Pickles, olives, Lettuce, onions,<br />
flavor aids salt, garlic or onion tomatoes, garlic or<br />
salts, ketchup, onion powders,<br />
mustard, soy/teriyaki vinegar, lemon juice,<br />
sauces, relish, steak salt substitutes<br />
or barbecue sauce (with doctor's<br />
guidance)<br />
<br />
Source: Laura Jeffers, RD, LD, Cleveland Clinic Department of<br />
Nutrition Therapy<br />
Source Citation <br />
"Become sodium savvy and reduce your heart risks: most sodium comes from sources besides table salt, so read food labels carefully and explore more healthful alternatives." Men's Health Advisor 14.5 (2012): 6+. Expanded Academic ASAP. Web. 8 May 2012.<br />
Document URL<br />
http://go.galegroup.com/ps/i.do?id=GALE%7CA288430316&v=2.1&u=22054_acld&it=r&p=EAIM&sw=w<br />
<br />
Gale Document Number: GALE|A288430316</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-56623361945316877942012-05-01T15:04:00.002-04:002012-05-08T20:43:20.452-04:00Scare Quotes from Shakespeare: Marx, Keynes, and the Language ofReenchantment<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/iain/327215944/" title="Quoted"><img src="http://farm1.staticflickr.com/141/327215944_2670bf334a_m.jpg" alt="Quoted by Iain Farrell" /></a><br />
<span style="margin: 0;"><a href="http://www.flickr.com/photos/iain/327215944/">Quoted</a>, a photo by <a href="http://www.flickr.com/photos/iain/">Iain Farrell</a> on Flickr.</span></div><p><br />
Martin Harries. Scare Quotes from Shakespeare: Marx, Keynes, and the Language of Reenchantment. Stanford: Stanford UP, 2000. Pp. 209. $69.50.<br />
<br />
<br />
In Scare Quotes from Shakespeare: Marx, Keynes, and the Language of Reenchantment, Martin Harries argues "that a particular aspect of modernity, reenchantment, discovers its image in appropriations of supernatural aspects in Shakespeare's plays" (9). As evidence for this contention, he points to the covertly reenchanting elements of "The Eighteenth Brumaire" and The Economic Consequences of the Peace by analyzing their use of "scare quotes" (simultaneously acknowledging and distancing allusions to supernatural moments) from Hamlet and Macbeth, respectively. Following the logic of allusion in each case, Harries begins with the more recent text and proceeds backwards to the source text, using the insights gained from his analysis of Marx and Keynes to read the supernatural elements of the Shakespeare plays.<br />
<br />
<br />
His basic argument takes two forms. The first is that Marx and Keynes allude to the supernatural at moments when their analyses falter in the face of the seemingly irrational course of events. Confronted with the inexplicable, Harries contends, Marx and Keynes appeal to culturally-authoritative instances of the supernatural not as explanations for, but as markers of, the irrationality lurking behind the ostensibly rational (and rationalized) processes of modernity. The second, and more interesting, component of Harries's argument concerns the subversion of this simultaneously acknowledging and distancing tactic. Harries argues that Marx's use of supernatural imagery to describe the coming revolution and Keynes's use of it to characterise his prophetic capabilities radically undercut their demystifying projects.<br />
<br />
<br />
The strongest part of Harries's discussion is his excellent textual analysis and close reading. His argument that Marx's scare quotes from Hamlet capture, prefigure, and embody "the coexistence of the archaic and the future, the residual and the emergent" (92) is both convincing and illuminating. In particular, his reading and (re-)translation of the phrase, "Well said, old mole! Canst work i' th'earth so fast?" (80) as it appears in Schlegel, Marx, and Hegel is fascinating. Harries's attention to the ways in which the various translations rework the original to serve particular political and philosophical ends is one of the book's highlights.<br />
<br />
<br />
The subsequent discussion of Hamlet partakes of the same critical rigour, using a brand of "historical allegory" (9) to characterize the play as a dramatic conflict between the residual and the emergent. His reading of the scene in which Hamlet encounters the Ghost is spectacular. Bringing together the language of mining with that of military conflict, coinage, and wealth-generation, this part of Harries's book shows him at his best. His linguistic assiduousness meets his awareness of the play's central themes and its cultural context in a manner that both illuminates the play and reinforces his claim that "it is precisely Hamlet's figuring a modernity inextricably linked to ghostly injunctions that makes the play so telling an icon of modernity" (118).<br />
<br />
<br />
The second half of Scare Quotes from Shakespeare begins by analyzing Keynes's reliance upon Macbeth as a source for images of witches and witchcraft. Harries argues that in both works there is a tension between endorsing a supernatural power if it appears to reinforce the "natural" state of things, and vilifying it if it appears to reinforce an "unnatural" state of affairs. Keynes participates in this activity by calling the designers of the Treaty of Versailles witches even as he claims clairvoyant power for his critique of the Treaty. Harries extends his discussion to the question of whether a prophesy merely predicts an event or if it has some power to cause it by relating Keynes's belief that his ostensibly disenchanting book foresaw the rise of the Nazi party to Banquo's simultaneous rejection of the prophesy which guarantees Macbeth's success and endorsement of the prophesy which guarantees his own.<br />
<br />
<br />
In his reading of Macbeth, Harries argues that the play's construction of history not only illuminates Keynes's use of the supernatural, but also ratifies his larger argument. By setting the witches' supernatural predictions for Macbeth off against their prophesy of the future success of Banquo's line (leading up to James I in 1603 [171]), Harries demonstrates precisely how supernatural authority can simultaneously be evoked to delegitimate one version of history and to legitimate an alternative history. Coming after his incisive discussion of the same strategies in "The Eighteenth Brumaire," Hamlet, and The Economic Consequences of the Peace, this chapter sums up the book's thesis and provides a definitive example of the kind of historical consciousness Harries illuminates throughout.<br />
<br />
<br />
In his final chapter Harries argues that the scare quote from Shakespeare is no longer possible. Citing the extinction of a monologic cultural tradition in which rote knowledge of Shakespeare is a given, he insists on the historical specificity of the scare quote from Shakespeare. He suggests that at most its presence in works by Marx and Keynes sets the stage for a more sophisticated cycle of demystification and reenchantment in the remainder of the twentieth century and into the twenty first. His study provides an exemplary response to this cycle, reading against the grain of historical narratives to reveal the regressive tendencies concealed beneath their progressive formulations. The true measure of its success is that, in addition to providing us with an insightful look at the cycle of demystification and reenchantment in prominent works of modern political economy, Scare Quotes from Shakespeare also furnishes a basis for reading through the less clearly marked mystifications of contemporary culture.<br />
<br />
<br />
<br />
Ross, Stephen <br />
<br />
Source Citation <br />
<br />
Ross, Stephen. "Scare Quotes from Shakespeare: Marx, Keynes, and the Language of Reenchantment." ARIEL 36.1-2 (2005): 247+. Literature Resource Center. Web. 1 May 2012.<br />
<br />
Document URL<br />
http://go.galegroup.com/ps/i.do?id=GALE%7CA157081692&v=2.1&u=22054_acld&it=r&p=LitRC&sw=w.<br />
.<br />
<br />
<br />
Gale Document Number: GALE|A157081692</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-37311659933340254492012-04-24T13:49:00.002-04:002012-04-24T14:47:47.532-04:00Technology and people with disabilities<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/christianaidimages/5592188232/" title="Living with Disability in Lebanon"><img src="http://farm6.staticflickr.com/5175/5592188232_d56cc4f2be_m.jpg" alt="Living with Disability in Lebanon by Christian Aid Images" /></a><br />
<span style="margin: 0;"><a href="http://www.flickr.com/photos/christianaidimages/5592188232/">Living with Disability in Lebanon</a>, a photo by <a href="http://www.flickr.com/photos/christianaidimages/">Christian Aid Images</a> on Flickr.</span></div><p>This column has a simple purpose but a difficult goal--discuss issues that affect the lives, well-being, and state of mind of those who must live and cope with a disability and do so in a humorous way. Not an easy thing to do, since there is certainly nothing funny or humorous about having a disability or in the obstacles that those with chronic disabilities encounter daily (I've had multiple sclerosis [MS] for 40 years and use a wheelchair). However, I've personally found that humor has, to a great extent, helped me cope with my disability, and I hope this column helps others with disabilities to do so as well. <br />
<br />
[ILLUSTRATION OMITTED] <br />
<br />
It would be a gross understate-ment to say that I'm "technologically challenged." "Technologically inept," as my sons repeatedly remind me, is a more precise characterization of my (in)ability with today's gadgets. Terms such as "iPhone," "iPad," and "iPod Touch" mean little to nothing to me, a person who's still trying to figure out how to operate the remote control for the TV (that I've had for three years). <br />
<br />
A recent conference here in San Diego put on by Cal State University Northridge--the International Technology & Persons with Disabilities Conference--really shocked me out of my electronic malaise and opened my eyes to the many ways today's tech advances can help individuals with disabilities. <br />
<br />
Technology Designed for People with Disabilities <br />
<br />
In the first demonstration at the conference, a man who was blind demonstrated his use of an iPhone 4S by holding it close to his ear and placing his finger over the phone's display screen. The smartphone voiced the particular application his finger was above. The man then scrolled through other applications, a description of each similarly being read to him, until he found the application he wanted. He then simply tapped the app to open it. <br />
<br />
This smartphone allowed the man to use a touch screen without the necessity of a keypad and without having to buy other costly software. <br />
<br />
Other Innovations <br />
<br />
Other technological innovations demonstrated at the conference included the following: <br />
<br />
* Eye-Pro GS Eyegaze from Words+. This technology permits individuals, who do not have the use of their arms or hands, to use a computer by moving a cursor with eye movements and without a mouse. To accomplish this, a small camera is installed on a magnetized base just about where the keyboard would be on a standard PC. The user then performs a calibration procedure, usually with the help of a technician, by staring at dots in different areas of the monitor screen until the dots turn green. The user then selects something either by staring at it for several seconds or by blinking hard. Cost: $7,480. <br />
<br />
* Topaz XL HD Magnifier by Freedom Scientific. This is a high definition desktop video magnifier that provides sharp, magnified images of print of all sizes. The magnifier is sold with its own 17-to-24 inch screen and software that allows users to view magnified images on their computer monitors. Because it can be difficult for a user to find their place on a page when working at high magnification, the topaz magnifier contains a Find button that allows the user to zoom out for an overview of the page. Crosshairs allow the user to center the section of interest, and a release button then zooms the user back in to their working magnification level. Cost: $2,195 to $3,695. <br />
<br />
* Proloquo2Go Software from AssistiveWare. This software enables people with autism, or who have difficulty verbalizing, to communicate by tapping symbols that are contained on small tiles. Sentences are then verbalized in natural-sounding adult or child voices. For instance, if the user wants to communicate "I am happy to see you," he or she would touch six tiles: the first being a stick figure pointing to itself (for "I"), the second being an equals sign (=) (for "am"), the third being a happy face (for "happy"), the fourth being a red arrow pointed to the right (for "to"), the fifth being a face with an arrow pointing to the eye (for "see"), and the sixth tile being two stick figures pointing to each other (for "you"). This app is loaded on an iPhone, iPod Touch or iPad. Costs $190. <br />
<br />
* PlexTalk Pocket DAISY Player PTP1. This pocketsized gadget is a DAISY (Digital Access Information System)-compliant music, voice, and book player/recorder that's designed for people with vision impairments or dyslexia. It features a high quality built-in microphone for easy DAISY structured voice recording, and voice memo recording capability to help users remember telephone numbers, appointments, "To Do" lists, etc. An additional built-in large speaker allows playback of voice recordings, voice memos, DAISY audio books, text-based DAISY books and MP3's. Playback can be accessed from the External USB Drive, as well as using the Embedded Text-To-Speech Engine. Cost ranges from $275 to $350. <br />
<br />
* Human Information Management Systems Braille Edge 40. This is a keyboard display that is linked to a personal computer, smartphone or tablet wirelessly using Bluetooth. Designed for the blind and visually impaired, it also helps users manage their daily activities by taking advantage of a built-in Notepad, Scheduler, Alarm & Clock, and Calculator. This is a new product. No pricing for it has as yet been released. <br />
<br />
Levinson, Jerry <br />
<br />
Source Citation <br />
Levinson, Jerry. "Technology and people with disabilities." The Exceptional Parent Apr. 2012: 56. Psychology Collection. Web. 24 Apr. 2012.<br />
Document URL<br />
http://go.galegroup.com/ps/i.do?id=GALE%7CA287391748&v=2.1&u=22054_acld&it=r&p=PPPC&sw=w<br />
<br />
Gale Document Number: GALE|A287391748</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-76079577877468173422012-04-22T22:50:00.002-04:002012-04-23T15:27:21.767-04:00STORAGE INSIDER: Brocade's SAN Health makes house calls; An expertopinion on SAN performance and configuration isn't far away -- if youuse Brocade switches<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/89225504@N00/6810521179/" title="writing kit at starbucks 2012"><img src="http://farm8.staticflickr.com/7018/6810521179_d140501bed_m.jpg" alt="writing kit at starbucks 2012 by wvancamp" /></a><br />
<span style="margin: 0;"><a href="http://www.flickr.com/photos/89225504@N00/6810521179/">writing kit at starbucks 2012</a>, a photo by <a href="http://www.flickr.com/photos/89225504@N00/">wvancamp</a> on Flickr.</span></div><p>It may sound obvious, but the larger a storage network gets, the more difficult it is to keep it well documented and, more importantly, well tuned. Sooner or later, administrators in charge of large storage structures will welcome -- and actually ask for -- an expert opinion on configuration, topology, and performance of their SAN. <br />
<br />
Steve Wynne, now technical marketing manager at Brocade (and formerly chief SAN architect for the Asia and Pacific areas) knows that all too well. "Almost every customer I visited asked me to inspect their network," he explains. <br />
<br />
Wynne was glad to oblige those requests, but after numerous similar sessions, he decided to write a program to automate the long and tedious network-inspection process. This is how the first version of SAN Health was born, a little more than two years ago. <br />
<br />
Brocade was so pleased with the first version that it assigned other resources to help Wynne make SAN Health a sophisticated analytic tool, available free of charge to all customers. <br />
<br />
Learning how SAN Health works is fascinating. After downloading this Windows application from the Brocade Web site, you just enter the IP address of one or more switches, and SAN Health will accurately discover the rest of the network using console commands. <br />
<br />
SAN Health captures just about any information you will ever need to know for each of your SANs, including name and model of each switch, their speeds, the overall number of ports, which ports are being used, and what devices are attached to them. <br />
<br />
The application will also take the pulse of your network, collecting critical indicators such as fan speed, internal temperature, and the status of power supply modules in each enclosure. You also have the option to gather performance statistics, timed according to a custom schedule. <br />
<br />
The database captured by SAN Health is then uploaded to Brocade's report-generation servers, where it's formatted into an Excel spreadsheet that contains a summary table of the entire network, a diagram in Visio format, and detailed information on each switch and each SAN. <br />
<br />
Depending on the load, customers receive their spreadsheet by e-mail after a few hours. Interestingly, the spreadsheet cells are color-coded to mark areas that need attention. For example, in the test that Wynne ran for me a faulty power supply was colored orange, while a less severe condition -- a zone disconnected from the rest of the fabric -- was marked in blue. <br />
<br />
SAN Health reports also include recommendations on what you should improve and how, as well as charts showing performance data. Can't get enough of XML? For the joy of your developers, SAN Health delivers the same detailed data in XML format, too. <br />
<br />
Wondering if Brocade is going to use the data collected by SAN Health? Of course it is; those databases are invaluable to better understanding how the switches are used in the field, which helps in planning for new Brocade products and features, Wynne explains. <br />
<br />
Despite his new technical marketing manager position, SAN Health is still keeping Wynne busy. "I had to bring up new report-generation servers to cope with the demand," he tells me. <br />
<br />
Apparently SAN Health is an offer that customers find difficult to refuse, and understandably so: It's the fastest and most affordable way to get excellent documentation and an expert opinion for your SAN. Unfortunately, it collects data only from switches made by Brocade or by its OEMs. One can only hope that other vendors take note; there are lots of SAN admins desperate for this type of application. <br />
<br />
By Mario Apicella <br />
<br />
Source Citation <br />
"STORAGE INSIDER: Brocade's SAN Health makes house calls; An expert opinion on SAN performance and configuration isn't far away -- if you use Brocade switches." InfoWorld.com 11 Oct. 2004. General OneFile. Web. 22 Apr. 2012.<br />
Document URL<br />
http://go.galegroup.com/ps/i.do?id=GALE%7CA123096794&v=2.1&u=22054_acld&it=r&p=GPS&sw=w<br />
<br />
Gale Document Number: GALE|A123096794</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-85842832245848060072012-04-20T16:55:00.002-04:002012-04-20T17:56:02.200-04:00Hardcover bestsellers/nonfiction<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/cubagallery/6068879224/" title="Art"><img src="http://farm7.staticflickr.com/6182/6068879224_b87d71167f_m.jpg" alt="Art by ►CubaGallery" /></a><br />
<span style="margin: 0;"><a href="http://www.flickr.com/photos/cubagallery/6068879224/">Art</a>, a photo by <a href="http://www.flickr.com/photos/cubagallery/">►CubaGallery</a> on Flickr.</span></div><p>Back to Search ResultsPrevious 10 11 12 13 14 15 16 17 18 19 NextSave this document<br />
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Results for Advanced Search Keyword (Van Gogh) <br />
<br />
Title: Hardcover bestsellers/nonfiction Author(s): Dick Donahue Source: Publishers Weekly. 258.44 (Oct. 31, 2011): p13. Document Type: Article <br />
Full Text: <br />
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"Our Intellectual and cultural elites reject the God our parents believed In," asserts Buchanan. The bestselling author of such books as The Death of the West. How Dying Populations and Immigrant Invasions Imperil Our Country and Civilization has been on a media blitzkrieg tour touting his latest: consecutive nights last week on Sean Hannity, and stops with Glenn Beck, Laura Ingraham, Imus, Dobbs, Liddy, and many more. He's getting the word out and finding his audience as the political season heats up. Copies in print: 85,000. <br />
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So Van Gogh didn't kill himself? That's the shocking theory proposed by Naifeh and Smith, who won a Pulitzer for their bio of Jackson Pollock. They argue that the great and tortured impressionist ran afoul of a couple of bizarre teenage boys on a long walk home, ending in his accidental shooting death. The book is selling well based on reviews only, as the author tour doesn't begin till this week--mostly at museums: the Met in New York, Boston Museum of Fine Arts, the High in Atlanta, Dallas Museum of Art, LACMA in L.A., the Art Institute of Chicago, along with Politics & Prose in D.C. and Tattered Cover in Denver. <br />
<br />
Jerry West is one of the NBA greats--both for his performance on the court with the takers and his spectacular career as a front office executive. He is the very image of the National Basketball Association--literally, his driving-to-the-basket silhouette is the NBA logo. Publically known as intense yet reticent, West, along with Jonathan Coleman, has written a story hailed for its candor and its remarkably measured notion of happiness. As he told the New York Times, "I'm hoping the book will be inspirational because you can overcome a lot of things in life and do something that makes you feel good--for a moment." What West did overcome, or come to terms with--a death in Korea of a beloved brother, an abusive father, unremitting self-criticism, not to mention six losses to the Celtics in the NBA finals--has resonated with reviewers and audiences, reports Little, Brown. "He's been tremendous and tireless," said a publicist. And that will surely resonate with those who remember no. 44 on the hardwood. 70,000 in print. <br />
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[ILLUSTRATION OMITTED] <br />
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Hardcover Bestsellers/Nonfiction<br />
<br />
October 31, 2011 Last Weeks<br />
week on list<br />
<br />
(1) Killing Lincoln. Bill O'Reilly & 1 4<br />
Martin Dugard. Holt, $28<br />
ISBN 978-0-8050-9307-0<br />
<br />
(2) Boomerang. Michael Lewis. 2 3<br />
Norton, $25.95<br />
ISBN 978-0-393-08181-7<br />
<br />
(3) Suicide of a Superpower. -- 1<br />
Patrick J. Buchanan.<br />
Thomas Dunne/St. Martin's, $27.99<br />
ISBN 978-0-312-57997-5<br />
<br />
(4) Paula Deen's Southern Cooking Bible. 3 2<br />
Paula Deen with Melissa Clark.<br />
Simon & Schuster, $29.99<br />
ISBN 978-1-4165-6407-2<br />
<br />
(5) Nearing Home: Life, Faith and. -- 1<br />
Finishing Well. Billy Graham Thomas<br />
Nelson, $19.99<br />
ISBN 978-0849948329<br />
<br />
(6) Unbroken. Laura Hillenbrand. 9 49<br />
Random House, $27<br />
ISBN 978-1-4000-6416-8<br />
<br />
(7) Seriously... I'm Kidding. 5 3<br />
Ellen DeGeneres. Grand Central, $26.99<br />
ISBN 978-0-446-58502-6<br />
<br />
(8) Jacqueline Kennedy. Caroline Kennedy. 7 6<br />
Hyperion, $60<br />
ISBN 978-1-4013-2425-4<br />
<br />
(9) That Used to Be Us. Thomas L. Friedman 8 7<br />
& Michael Mandelbaum.<br />
Farrar, Straus & Giroux, $28<br />
ISBN 978-0-374-28890-7<br />
<br />
(10) West by West. Jerry West and, -- 1<br />
Jonathan Coleman Little, Brown, $27.99<br />
ISBN 978-0-316-05349-5<br />
<br />
(11) Van Gogh: A Life. Steven Naifeh and -- 1<br />
Gregory White Smith. Random House, $40<br />
ISBN 978-0375507489<br />
<br />
(12) I Never Thought I'd See the Day! 6 3<br />
David Jeremiah. FaithWords, $24.99<br />
ISBN 978-0-446-56595-0<br />
<br />
(13) Every Day a Friday. Joel Osteen. 11 6<br />
FaithWords, $24.99<br />
ISBN 978-0-8929-6991-3<br />
<br />
(14) Great by Choice. Jim Collins & 10 2<br />
Morton T. Hansen. Harper, $29.99<br />
ISBN 978-0-06-212099-1<br />
<br />
(15) In the Garden of Beasts. 20 24<br />
Erik Larson. Crown, $26<br />
ISBN 978-0-307-40884-6<br />
<br />
Source Citation <br />
Donahue, Dick. "Hardcover bestsellers/nonfiction." Publishers Weekly 31 Oct. 2011: 13. Fine Arts and Music Collection. Web. 20 Apr. 2012.<br />
Document URL<br />
http://go.galegroup.com/ps/i.do?id=GALE%7CA271595904&v=2.1&u=22054_acld&it=r&p=PPFA&sw=w<br />
<br />
Gale Document Number: GALE|A271595904</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-47322879994773612762012-04-15T17:42:00.002-04:002012-04-15T17:50:38.223-04:00Don't Cry for Them; As two revivals arrive on Broadway, a criticrevisits Lloyd Webber and Rice<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/cubagallery/3391876100/" title="Art"><img src="http://farm4.staticflickr.com/3419/3391876100_c036a14493_m.jpg" alt="Art by ►CubaGallery" /></a><br />
<span style="margin: 0;"><a href="http://www.flickr.com/photos/cubagallery/3391876100/">Art</a>, a photo by <a href="http://www.flickr.com/photos/cubagallery/">►CubaGallery</a> on Flickr.</span></div><p>The megamusical, that old British invader, has crept back into the theater district. No panicked talk of Broadway's colonization this time: This is just a reunion tour. Jesus Christ Superstar, the pioneering rock opera that helped usher in the Age of Amplification, has returned in a very earnest, vaguely ridiculous, vocally relentless production from the Stratford Shakespeare festival. Evita is back, as well, cloaked in fathomless imperial shadow by director Michael Grandage and featuring both the affable, translucent presence of pop star Ricky Martin (as Che) and the unique voice of Elena Roger, a de gustibus proposition if ever there was one. Both of these shows are proto-megas, predating the true Reagan-era behemoths Cats, Les -Miserables, and, of course, The Phantom of the Opera, which still haunts the Majestic after a quarter century and claims the mantle of Most Profitable Entertainment of All Time, in Any Medium. This being the first time since the mid-nineties that Andrew Lloyd Webber, forefather and chief metonym of the megamusical, has had three shows running concurrently on Broadway, I visited all of them in the past two weeks, trying to determine what the mega is--or rather, what it was, why we loved it, and why we feared it. I came away with my ears ringing and my nostalgia abuzz: It all looks so innocent now. <br />
<br />
It certainly didn't 25 years ago. America was afraid of many things in the eighties: AIDS, crack, Soviet Russia, the Japanese, killer bees, Willie Horton, and splashy British theater, to name just a few. In New York, megamusicals easily ranked No. 3 on that list. The triumvirate of Cats, Phantom, and Les Miz--immense, plastic, through-sung stage spectacles all produced by one diabolical Anglo-Scotsman, the gold-fingered Cameron Mackintosh--was seen as a shot across the bow of the great American book-musical tradition (which had been tirelessly cultivating its self--destruction by the time Mackintosh came along to stop Broadway's bleeding). The problem with megamusicals, American critics complained, was not their bald commercialism, reliance on technical dazzle, or reductio ad Casio derivations of opera. It was that they were not really musicals at all, but Met-lite-lite spectacles, with gesture in lieu of character and image in lieu of storytelling. "You come out humming the scenery," Clive Barnes famously carped. Stephen Sondheim, in his annotated--lyrics compendium Look I Made a Hat, declares these shows modern "operettas," characterized by "grandiosity, humorlessness, romantic sweep, melodramatic stories which take place in long-ago times and faraway places, brimming with spectacle and recitative." This, he coolly claims, is "not a criticism, merely a description of a phenomenon, which in turn is now receding--it would seem. There will always be a public for the past." <br />
<br />
So what, exactly, was the "megamusical"? That eighties coinage, with its Sharper Image techno-sheen and unmistakable suggestion of excess, actually refers to a trend that began in 1969, when a pair of Brits named Tim Rice and Andrew Lloyd Webber synthesized the lessons of Hair and the Who's Tommy to produce a concept album called Jesus Christ Superstar, then turned it into a stage show. The mega-musical and the rock opera are distinct (well, as distinct as these artificial categories get), but with the second Rice/Lloyd Webber production, Evita, the Who-vian DNA had begun to mutate into something newer, more ambitious, and, above all, more marketable. By the time Cats opened on Broadway in 1982, the transformation was complete--and the backlash began. Today, despite the return of a few adored curios and the ascent of Les Miz to the big screen (in an adaptation starring Hugh Jackman, Russell Crowe, and Anne Hathaway), the megamusical's cell line is, for the most part, dead. (Though I await David Henry Hwang's inevitable Sino-centric reimagining of Chess.) When Sondheim revivals suffuse Broadway, we talk about timelessness. When Lloyd Webber marches back to town, three shows abreast, we mostly just feel old ... and I mean Grizabella-old. Why is that? <br />
<br />
Despite a childhood spent pilfering my parents' record collection for theater-cheese (out of the way, Graceland! Avant ye, Dan Fogelberg!), I didn't actually see a megamusical in an actual theater until my junior year of high school. The show was Phantom, and I was fatally disappointed, despite a deep (and abiding!) attachment to the score. The problem was this: I'd been listening to the original cast album for years, and it had done its work too well. Megamusicals--which function more like film scores with words than classic musical-theater storytelling---implicitly promise the cinematic, not the theatrical. Thus, I thought the chandelier should plummet! Instead, it glided, on sturdy guide wires, gently downward, Glinda in her soap bubble. The Phantom should sweep Christine down to his lair, a la Batman. No dice: The romantic leads scampered back and forth on what appeared to be a series of slowly descending jet bridges. The gondola was kinda nifty, but if you squinted (through the eyes of the young and literal-minded), you could peer through the dry ice and see where the black hull met a highly unromantic mechanical track assembly. I did find "Masquerade" to be suitably awesome. But that was the extent of my breathlessness. It had promised a world without limitations, a world as free of weight and mass as it was free of irony, complexity, and depth. Instead, Phantom proved to be just a bigger theater piece, not entirely unlike the ones I knew from my high-school stage. <br />
<br />
Photographs: from left, Joan Marcus; Terry O'Neill/Getty Images; Joan Marcus (3); Richard Termine <br />
<br />
This world of massless massiveness began to vanish in the early nineties, and the correction has been felt for years, in such also-rans and never-weres as Sunset Boulevard, Martin Guerre, Whistle Down the Wind, and The Woman in White. The Disney musical replaced the megamusical, substantially reembraced the "book" tradition of the American Golden Age, and implicitly declared children's entertainment off-limits for adults: There would be no more bloated fairy tales for yuppie grown-ups (bankers weren't taking their dates to Beauty and the Beast), and jukebox musicals would eventually prove safer bets for low-impact musical satisfaction--who'd risk $250 on dangerously untested new tunes? On top of that, the genre's great melodists--Lloyd Webber and Claude-Michel Schoenberg, principally--were no longer cranking out great melodies at their peak rate. Say what you wish about Sir Andrew, call him a thief and an opportunist, but the man can shape a phrase. He is a pop compositor, yes, but that describes many talented composers. The allegations of his wholesale lifts from Puccini, Mendelssohn, et al., have always been somewhat overblown. As for the megamusical's lyrics, well, they were always kind of beside the point, weren't they? Personally I've never understood the appeal of Tim Rice, dubious wordsmith of Superstar and Evita. What -Jessica Sternfeld calls his "efficient, pointed slang" in her excellent treatise / apologia The Megamusical, I'd characterize as casual sloppiness, Bernie Taupin-esque arbitrariness, and total metrical suicide. I present this unforgettable, unforgivable refrain from Evita: "I want to be / a part of B.A. / Buenos Aires / Big Apple!" <br />
<br />
In a pileup like that, performance is every-thing--another reason why megamusicals, while they can be effectively and profitably cloned (a process perfected in country after country by Mackintosh), can't be easily revivified from the ground up. These shows, as functional drama, are very shaky mirages, and attempts to alter them at the genetic level depend critically on the star-leads. (Phantom has been through many a Phantom, for example, but they're all doing a Michael Crawford impression.) Consider Michael Grandage's imposing new vision of Evita at the Marquis, an achievement of scale and dynamism, thanks in large part to Rob Ashford's whirligig (and only occasionally muddled) choreography. Grandage has cast newcomer Elena Roger as Eva Peron, the sainted First Lady of mid-century Argentina (really, a distaff version of the fame-haunted Christ from Superstar). London went mad for Roger: her elfin apoplexies and unique vocal interpretation were met with bouquets. Personally, I found her performance almost too good a fit with Rice's jagged, herky-jerky lyrics: She is memorable in part because she is irritating. Her upper register sometimes approximates a subway-gate alarm, and her quick-runs in tricky passages throw all normal concepts of pitch to the wayside. It's as if her voice breaks a heel and just keeps hobbling at high speed. There's pungency and pathos in this approach, but it all felt a tad shambolic to me. One place it works well: her plaintive yet needling "Don't Cry for Me Argentina," which she delivers with a hypodermic. Finally, there's a version of this song that doesn't allow you to luxuriate in its melodic velour. Roger, whatever else she's doing up there, keeps us on our toes. (The same cannot be said for Ricky Martin's narrator-gadfly Che, who, despite his grinning avidity and entirely competent singing, fades into the scenery almost instantly.) <br />
<br />
There is no scenery to speak of in Des McAnuff's brisk, dour, darkly dorky interpretation of Superstar. The show amounts to a mild apostasy: We're presented with a stripped down Power Christ (the lank, note-perfect wailer Paul Nolan) who refuses to play to the arena at all. Maybe that's because he's tired of the spotlight (his constant theme); maybe it's because he's tired of being dance-mobbed by the cast of Waterworld. This Superstar's constant brow-furrowing is so cosmically at odds with the intrinsic goofiness of its design and execution--fake Rasta-payess wiggery, silly leather dusters and plastic armor, and the kind of lazy postapocalypticism that blends Blade Runner with the bargain rack at Ricky's--I often wondered whether someone was pulling my leg. But one glance at Griefer Jesus told me, definitively: "We are not amused (and by 'we' I mean the Trinity)." The new -Superstar isn't a dud, just a bit of a grind, as we wait for a wink that seems implied, but never arrives. (One place where the graveness works like gangbusters: Bruce Dow's furious, self-loathing Herod.) No worries: The kids will love it. <br />
<br />
Because kids do--and should--love megamusicals. They certainly still love Phantom, which I caught at a Wednesday matinee last week. The Majestic was packed with hormonal teens and preteens, and these txt-gen moppets--weaned on Avatar and Transformers and the Spider-Man killing, er, thrilling machine--weren't there for the chandelier. They were there for the fat spatters of hummable romance, for the seat-shaking shock chords, for the great fondue pot of nonsensically swirling motifs. They were there for, and visibly rapt by, the music--yes, the mega-music. And also because someone put them on a charter bus, at a steep discount. Either way, it'll be a memory, even if it's a hand-me-down, for the future public of the past. <br />
<br />
Scott Brown <br />
<br />
Source Citation <br />
Brown, Scott. "Don't Cry for Them; As two revivals arrive on Broadway, a critic revisits Lloyd Webber and Rice." New York 16 Apr. 2012. Fine Arts and Music Collection. Web. 15 Apr. 2012.<br />
Document URL<br />
http://go.galegroup.com/ps/i.do?id=GALE%7CA285724281&v=2.1&u=22054_acld&it=r&p=PPFA&sw=w<br />
<br />
Gale Document Number: GALE|A285724281</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-58131770186866854272012-04-13T17:02:00.002-04:002012-04-13T17:03:41.985-04:00Learn to write e-mail style<div style="margin: 0 0 10px 0; padding: 0; font-size: 0.8em; line-height: 1.6em;"><a href="http://www.flickr.com/photos/kinkyink/2507768204/" title="huh. I wrote some books"><img src="http://farm3.staticflickr.com/2267/2507768204_f0c9efba36_m.jpg" alt="huh. I wrote some books by mrsexsmith" /></a><br />
<span style="margin: 0;"><a href="http://www.flickr.com/photos/kinkyink/2507768204/">huh. I wrote some books</a>, a photo by <a href="http://www.flickr.com/photos/kinkyink/">mrsexsmith</a> on Flickr.</span></div><p>Computer monitors are harder on the eyes than pen is on paper, so make your message easy on both the eye and the mind. To communicate more effectively, take the strain off your reader's brain by adopting a concise writing style for the body of your message that suits this speedy form of communication. Grab the attention of the person you are writing, with a meaningful phrase in the subject line. Either there or in the first paragraph, immediately identify your purpose for writing. Keep your reader's attention by being short and specific. Necessary background information can come after the main idea. If you supervise staff, insist that they follow the same style. <br />
<br />
For visual ease, use short sentences and bullet points; leave space between paragraphs; and do not type in upper case--not only is it difficult to read, but in "Netiquette," all caps means you are screaming. When you have to write a long, complicated message, suggest in the first paragraph that the recipient print out a hard copy since it may be easier to read a long document on paper than on a computer monitor. <br />
<br />
Before sending, re-read your message, checking for mistakes as well as for clarity. Would you grasp the idea on first reading if you received the message? If not, fix it. And always save a copy of your sent e-mail messages in an appropriate file. <br />
<br />
Frings, Christopher S. <br />
<br />
Source Citation <br />
Frings, Christopher S. "Learn to write e-mail style." Medical Laboratory Observer May 2007: 38. General OneFile. Web. 13 Apr. 2012.<br />
Document URL<br />
http://go.galegroup.com/ps/i.do?id=GALE%7CA164587368&v=2.1&u=22054_acld&it=r&p=GPS&sw=w<br />
<br />
Gale Document Number: GALE|A164587368</p>Bloghttp://www.blogger.com/profile/14376246730794207024noreply@blogger.com0tag:blogger.com,1999:blog-2503337912260923761.post-36510874178515380552012-04-11T20:13:00.003-04:002012-05-08T20:42:04.991-04:00sites.google.com/site/writing2013<a href="http://www.kqzyfj.com/click-3570722-10413460" target="_top"><img alt="Subscribe to USA TODAY" border="0" height="60px" src="http://www.awltovhc.com/image-3570722-10413460" width="420px" /></a> <br />
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