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2021/2022 Training Classes

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Silas Mitchell
Silas Mitchell

Donna Summer This Time I Know Its For Real Dim Zach Edit

We're now past both the end of the broadcast network TV season and Memorial Day, so while the calendar might insist that summer is nearly a month away, the summer TV season is absolutely here. Dan and I have already run through some of the new and returning summer shows we're most interested in, and now it's time for me to tell you the classic TV season we'll be revisiting on the blog this summer. (That is, if the picture on this post hasn't already given it away.)

Donna Summer This Time I Know Its For Real Dim Zach Edit

As we approached this summer, I gave a lot of thought to what show to use, considering the usual criteria: 1)It had to be a season I hadn't already reviewed; 2)It had to be 13 episodes or less so I could finish by September; 3)It had to be readily accessible by at least one streaming service; 4)It had to be a show I would enjoy revisiting; and 5)It had to be a show enough of you would enjoy revisiting to make it worth the time and effort.

One of the most exciting developments in cognitive neuroscience in recent decades has been the growing realization that perception/experience is far more multisensory than anyone had realized (e.g., Bruno & Pavani, 2018; Calvert et al., 2004; Levent & Pascual-Leone, 2014; Stein, 2012). That is, what we hear and smell, and what we think about the experience, is often influenced by what we see, and vice versa (Calvert et al., 2004; Stein, 2012). The senses talk to, and hence influence, one another all the time, though we often remain unaware of these cross-sensory interactions and influences. In fact, wherever neuroscientists look in the human brain, activity appears to be modulated by what is going on in more than one sense, leading, increasingly, to talk of the multisensory mind (Ghazanfar & Schroeder, 2006; Talsma, 2015). The key question here must therefore be what implications this growing realization of the ubiquity of multisensory cross-talk has for the field of architectural design practice?

Yes correct and the firmament is heaven within our atmosphere according to the Bible. And if you believe Jesus is our lord than you should certainly believe it is possible the earth is flat. Everything we know to be reality has been controlled, sensored, and exposed over time by rich and power humans and the war of good and evil is as real as it gets.

One study was done on the flattest known part of the world on the north american plains, where researchers placed levels across the plain as far as one could see and all the levels gave a level reading. Later, the researchers went into a hot air balloon high above the same plane and observed the curvature of this alleged flat surface. This is indicative that gravity pulls objects of mass towards the epicenter of large bodies of mass. To change your weight, you have to get to a higher or lower elevation, which would make you lighter or heavier respectively under the law of gravitation and can be confirmed experimentally as well. Now calculus is the mathematical study of rates and some ancient greek philosophers contributed to the understanding of calculus by understanding that anytime you zoom in on a curve, the curve will appear to be flat, like a tiny insect experiencing a flat environment while crawling around ones curved arm.

This is an outstanding speech made at a very crucial time. I feel that one of the major points is that many speakers of this time were very focused on retaliatory a acts, and specific incidences for relations to people. Though there are a few geographical references in Dr. Martin Luther Kings speech, what set it apart to me is that he took a collection of many local problems, categorized them into regions, then into speaking about the state of the nation as a whole. By doing this he gives everyone a feeling of unity and purpose, followed by relating this now entire group of people to other major historical events that people can relate to. By referring to Lincoln, this was something that people had heard personal stories and first hand accounts about their own ancestors fighting for justice. Then relating the same group to the trials of the people and perseverance of biblical characters, which are very well known, helps give credibility, a sense of relation, and a foundation to build up and succeed just as others who faced towering obstacles had overcome them. By referencing these groups and making repetitive notations from their trials to those of the current situation makes this a great speech. It not only motivated the intended audience but became, in itself, the next story that future generations could refer to in times of trial.

English 2220: Introduction to ShakespeareInstructor: Shaun Russell Shakespeare is everywhere. Though the title of this course is "Introduction to Shakespeare," the truth is that almost everyone has been introduced to Shakespeare in some form or another, whether in a high school English course, in a local theatre production, through one of the many film adaptations or just through sheer cultural osmosis. So what does an "introduction to Shakespeare" actually mean? In this course, you will be reacquainted with some of Shakespeare's more familiar dramatic works in new ways, and you will be introduced to some of Shakespeare's lesser-known dramatic works in such a way that you'll probably wonder why they're not more popular. You won't need to have any prior training in Shakespeare, as this course will build upon what you already know about the acclaimed playwright and help to develop that knowledge into a deeper understanding. Through it all you'll learn about Shakespeare's life and the world he lived in, as well as some key formal considerations such as style and genre. As this is a full-term, in-person summer course, we will read five or six plays. Assignments will include small weekly reading quizzes, two essays and a midterm exam, as well as the expectation of regular participation via class discussion.

English 4540: Nineteenth-Century British Poetry Instructor: Jacob Risinger Set down on a darkling plain, Romantic and Victorian poets raged against the dying of the light. In this course, we will explore poets who tried to make sense of the nineteenth century and its tumultuous changes. Poets ranging from Wordsworth to Oscar Wilde were some of the first writers to grapple with the modern world as we know it. Their century was rocked by the invention of the train, the telegraph, the photograph and the bicycle. The industrial revolution gave rise to a broad but unpredictable social realignment and Darwin's evolutionary hypothesis disrupted religious convictions and comfortable visions of nature. Revolutionary political ideas prompted the reconsideration of tradition, custom and order. As the British Empire expanded to cover a quarter of the globe, both the Romantics and the Victorians confronted an increasing disjunction between local culture and a globalized world. Over the course of the semester, we will think about how these developments resulted in the formal and thematic transformation of British poetry.

English 4520.01 (10): Shakespeare Instructor: Hannibal Hamlin As Robert Bridges wrote, "The remarkable thing about Shakespeare is that he is really very good -- in spite of all the people who say he is very good." Shakespeare was one of the greatest playwrights who has ever lived and one of the greatest creative artists. As an artist, Shakespeare's medium was language - words, sentences, metaphors, puns and allusions. The Oxford English Dictionary credits Shakespeare with introducing more words into the English language than any other person ever, including "dwindle," "bedroom," "bloodstained," "anchovy," "skim milk" and "foul-mouthed." He also invented dozens of phrases we now use every day, like "full circle," "foregone conclusion," "wild-goose chase" and "with bated breath." This course will explore Shakespeare's plays from many different perspectives, but we will pay particular attention to their language, beginning with a cluster of particularly rich poetic plays written in the mid-1590s and then turning to several of the greatest Jacobean tragedies. Plays will include A Midsummer Night's Dream, Romeo and Juliet, Richard II, Othello, King Lear and Macbeth. We'll also read some contextual material and critical essays which will be available via Carmen. Assignments will include two critical papers, a midterm test and a final exam.

English 2220H: Introduction to ShakespeareInstructor: Sarah NevilleThis class for honors students will approach a selection of Shakespeare's most and least-known plays through several methods, examining these works not only as historical artifacts rooted in the time and place of their creation, but also as spectacles that are best illuminated by live performance. In order to better enable us to consider the ways that staged properties and special effects are crucial parts of Shakespeare's stagecraft, this section of "Introduction to Shakespeare" is especially interested in the practical means through which Shakespeare's plays (and the earliest printed books they appeared in) resonate with both historical and contemporary audiences and readers. Through in-class exercises, field trips, and assignments in costuming, casting, producing and directing, we will seek to answer questions like:

English 3361: Narrative and MedicineInstructor: Jim PhelanThis course explores the idea that narrative competence increases medical competence. In other words, it investigates the hypothesis that medical practitioners who become aware of the importance of stories and storytelling and knowledgeable about how stories work will become more effective caregivers. As we test that hypothesis, we will address the following questions: How does narrative give us greater insight into illness, medical treatment, doctor-patient relationships and other aspects of health and medicine? How do illness and other experiences within the realm of medicine influence ways of telling stories? How do doctors' perspectives and patients' perspectives differ, and what, if anything, should be done to close those differences? In order to increase our own narrative competence, we will look at narrative in different media--drama, print (fiction and nonfiction), comics and film--and consider core concepts of narrative (plot, character, space, time, perspective, dialogue, ethics and aesthetics). We will also consider a range of medical conditions and issues from mortality to ethics, from cancer (illness and treatment) to kidney transplants. Since the course is populated by students majoring in a great variety of disciplines, we will also consider how our different disciplinary perspectives relate to each other: to what extent do they overlap, complement or occasionally conflict with each other as we think about the nexus between narrative and medicine?GE: Literature 041b061a72


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