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sale Learners Kiwifakeid Fake Nz Restricted Fulls Inc And Id Buy The Solstice Low-Residency MFA in Creative Writing Program at Pine Manor College offers concentrations in fiction, creative nonfiction, poetry, comics & graphic narratives, and writing for children & young adults. Our mission is to help students reach their full potential as writers through a demanding curriculum that balances the workshop experience with the study of literary craft, criticism, and theory, and to prepare students for the rigors of being a professional writer after graduation. The Solstice Program provides a learning environment that fosters community and celebrates the individual, and ensures that all students have access to professional development opportunities— including an optional Applied Track in Pedagogy for those who wish to teach at the college level. Working with some of the best writers in the country, students of Pine Manor College's MFA program emerge with a deep, well-rounded knowledge of their art, a strategy for continuing the development of their creative vision, and a supportive circle of peers and mentors. We are co-educational, inclusive, and affordable; our diverse and dedicated faculty is committed to helping students of all backgrounds achieve their writing goals. At Solstice, students are in residence on campus for ten days, twice a year, for a total of five residencies over two years. During the 10-day residencies, students and faculty gather on Pine Manor College’s lovely, wooded campus —a mere five miles from downtown Boston— and attend workshops, classes, panel discussions, and readings. At the end of the residency, each student is matched with a faculty mentor with whom he or she will work individually during the six-month semester to follow. One-on-one communication with faculty mentors during the semester —because our student-faculty mentor ratio is never more than one to five, students receive highly focused attention from some of our nation’s best authors. Independent learning, a flexible schedule, and autonomy. Solstice students are able to pursue their writing goals while balancing the demands of work and family —we believe that learning to do so is essential for any writer who wishes to establish a sustainable creative practice. We believe that—in order to create a truly diverse environment—it is essential that program faculty members come from a variety of different backgrounds, and are themselves committed to achieving diversity of race, class, and creed in the classroom. It is our mission to create opportunities for ALL writers to pursue their creative goals. When we talk about diversity, we mean it in every sense of the word. Our students and faculty represent a wide variety of ethnic, social, and geographic backgrounds, creating a truly vibrant cross-section of America. I also think that if I hadn't gone to Solstice, I would have spun my wheels and continued to do what I was good at, and avoided grappling with those things I didn't do well. "..addition to helping me discipline myself to write regularly, my MFA experience helped me learn my craft.

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Director of undergraduate studies: Christiana Purdy Moudarres, 82–90 Wall St., 432-0597, christiana purdymoudarres; language program director: Anna Iacovella, 82–90 Wall St., 432-8299, anna iacovella; edu The major in Italian explores Italy's vital role in the formation of Western thought and culture. The core language courses bring students to a high level of aural, spoken, and written proficiency; provide a solid literary and historical background in the language; and prepare students for study in Italy. Other offerings build on the core courses to explore Italian literature, film, history, culture, and art. The Italian major is of particular relevance to the fields of art, economics, film and media studies, history, history of art, international relations, linguistics, literature, philosophy, and theology. Candidates for the major should have completed a course in Italian at the level of 130 (L3) or should have received credit for equivalent work by the end of their sophomore year. Exceptions may be made in the case of outstanding students who have not satisfied this requirement. All students who have not taken Italian at Yale are expected to take the departmental placement test, with the exception of students who have no previous knowledge of Italian. The placement examination is completed online during the summer; see the and the departmental website for details. The major normally consists of eleven term courses beyond the prerequisite. Eight term courses in the Italian department numbered 140 or above (including graduate courses) are required, at least five of which must be conducted in Italian. The courses in the department must include either ), one in the Renaissance, and two in Italian literature after 1600. The aim of these six foundation courses is to provide students with both a broad acquaintance with the major works of Italy's literary tradition and a more detailed knowledge of specific periods in Italian literature. Students are also strongly encouraged to use their elective courses to expand their knowledge of either the (sixteenth century). No more than three Italian department courses taught in English may count toward the major. Students intending to major in Italian should consult the DUS. In completing their programs, students are required to elect two courses in other languages and literatures, history of art, history, or philosophy that are related to their field of study and approved by the DUS. Any graduate course in another national literature or in linguistics may be substituted for one of these two courses. In the fall or spring of the senior year, all students majoring in Italian must present a departmental essay written in Italian and completed under the direction of a faculty adviser in . The essay should demonstrate careful reading and research on a topic approved by the adviser in consultation with the DUS. A recommended length for the essay is thirty pages. Prospectus and draft deadlines are determined by the adviser; the final deadline is determined by the DUS. The senior requirement culminates in a meeting with department faculty to discuss the thesis and the student's overall experience of study in the major. The department's course offerings vary greatly from year to year. See "Simultaneous Award of the Bachelor's and Master's Degrees" under Special Arrangements in the Academic Regulations. Students interested in planning course work in Italian that extends beyond the current academic year should consult the DUS. Interested students should consult the DUS prior to the sixth term of enrollment for specific requirements in Italian. Related majors In addition to the major in Italian literature, the department supports the applications of qualified students who wish to pursue a course in Italian studies under the provisions of a Special Divisional Major. For information about the Year or Term Abroad program, see under Special Arrangements in the Academic Regulations. Majors can devise a broad program in social, political, economic, or intellectual history as related to and reflected in Italian literature, or pursue special interests in architecture, film, art, philosophy, music, history, linguistics, theater, political theory, or other fields especially well suited for examination from the perspective of Italian cultural history. degree program Exceptionally able and well-prepared students may complete a course of study leading to the simultaneous award of the B. Prerequisite ), 1 in Renaissance, and 2 in Italian lit after 1600, at least 5 of these conducted in Italian; 2 courses in other langs or lits, hist of art, hist, or phil approved by DUS Substitution permitted Any grad course in another national lit or in linguistics for 1 of the 2 courses in other depts, with DUS permission Senior requirement Senior essay (The core language courses bring students to a high level of proficiency in reading, writing, speaking, and comprehension skills; provide a solid literary and historical background in the language; and prepare students for study in Italy. Discussion of social, political, and literary issues in order to improve active command of the language. Majors in Italian studies must design their programs in close consultation with the DUS and seek the guidance of an additional member of the department whose interests closely coincide with the proposed program of study. Admission to the program is limited, and students should apply through the director of undergraduate studies (DUS) no later than the last day of classes in their fifth term of enrollment in Yale College. Emphasis on advanced discussion of Italian culture through authentic readings (short stories, poetry, and comic theater) and contemporary films. Development of advanced reading skills through magazine and newspaper articles, essays, short stories, films, and a novel; enhancement of writing skills through experiments with reviews, essays, creative writing, and business and informal Italian. For further information, see under Special Divisional Majors. Giuseppe Mazzotta, Jane Tylus Assistant Professor Christiana Purdy Moudarres Senior Lectors Michael Farina, Anna Iacovella Lector Simona Lorenzini Lecturer Serena Bassi Affiliated Faculty Roberto González Echevarría ( A beginning course with extensive practice in speaking, reading, writing, and listening and a thorough introduction to Italian grammar. Classroom emphasis on advanced speaking skills and vocabulary building. Activities include group and pairs work, role-playing, and conversation. This workshop examines the intersection of translation and hermeneutics through praxis. Introduction to Italian culture through readings and films. The first half of a two-term sequence designed to increase students' proficiency in the four language skills and advanced grammar concepts. In-class group and pairs activities, role-playing, and conversation. Development of advanced writing and speaking skills. Individual and group work in translation, interpretation, and performance of short texts. Genres include the novella, opera, and film—with emphasis on the creation of a new translation for an opera being performed at Yale. Meaningful practice of creative writing and translation. Historical phenomena and literary and cultural movements that have shaped the city of Naples, Italy, from antiquity to the present. The linguistic richness and diversity that characterizes Naples; political, social, and cultural change; differences between standard Italian and the Neapolitan dialect in literature, film, and everyday life. A study of important Italian films from World War II to the present. Consideration of works that typify major directors and trends. Topics include neorealism, self-reflexivity and metacinema, fascism and war, and postmodernism. Films by Fellini, Antonioni, Rossellini, De Sica, Visconti, Pasolini, Bertolucci, Wertmuller, Tornatore, and Moretti. Strategies employed by filmmakers who adapt literary works to the screen. Detailed comparisons between cinematic adaptations and the novels, plays, and short stories on which they are based. Case studies of literary works that pose a variety of challenges to filmmakers. Introductory survey of the interaction between Catholicism and Western culture from the first century to the present, with a focus on pivotal moments and crucial developments that defined both traditions. and selections from the minor works, with an attempt to place Dante's work in the intellectual and social context of the late Middle Ages by relating literature to philosophical, theological, and political concerns. Key beliefs, rites, and customs of the Roman Catholic Church, and the ways in which they have found expression; interaction between Catholics and the institution of the Church; Catholicism in its cultural and sociopolitical matrices. Medieval understandings of womanhood examined through analysis of writings by and/or about women, from antiquity through the Middle Ages. Introduction to the premodern Western canon and assessment of the role that women played in its construction.

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Duke Kunshan University Humanities Research Center (HRC) promotes research and creative expression in the arts and humanities, and encourages interdisciplinary efforts. Working in close partnership with Duke’s Franklin Humanities Institute, the HRC functions as a key research bridge between faculty and students at Duke and DKU. In addition, the HRC facilitates co-curricular research training, treating the entire DKU campus as a laboratory for humanities research. The HRC lies at the core of DKU’s mission to reinvent liberal arts and science education in a 21st century global context. We bring students, researchers and faculty together to investigate the fundamental questions of human being, and to bring the power of the humanities to bear on the pressing questions of the present age. In particular, humanities research contributes to DKU’s seven animating principles. Humanities Research Center Suite CC2114 Duke Kunshan University 8 Duke Avenue Kunshan, Jiangsu 215316 China James Miller: [email protected] Carlos Rojas: [email protected] Zhang: [email protected] by Sinan Farooqui Philosophy, Ethics and Technology. Three fields which have been interwoven into the fabric of time, overlapping increasingly due to the unstoppable tide of globalization in the modern era. The latest in the series of colloquiums hosted by the Humanities Research Center saw a conversation between two highly respected academics––Dr. Continue reading by Sinan Farooqui Over the eons, the incessant ticking of time has culminated in our present reality: the Anthropocene, or the age of humans. This title comes with implications and indications about the state of the world, its hierarchies and underlying attitudes. And it is upon these very concepts that our distinguished speaker, Professor Whitney Bauman … Continue reading Duke Kunshan University is pleased to announce its first Undergraduate Humanities Research Conference from April 19-21, 2019. All topics broadly within the humanities and interpretive social sciences will be considered. Panels will be formed around themes based on the applications. The Humanities Research Center funds a number of labs and projects from DKU and Duke faculty with a DKU connection. Humanities Labs engage undergraduates in advanced research alongside faculty and graduate student mentors/collaborators from DKU and Duke. Organized around a central theme, each lab brings together at least two faculty and students from the humanities and other disciplines in interdisciplinary, vertically integrated research projects. Book Manuscript Workshops support DKU professors in the tenure and promotion process. Research Workshops support the production of an edited book or special issue of a journal by bringing researchers together for meetings on the DKU campus. All students at DKU are eligible to apply for positions as student fellows in a number of activities and research labs at the Humanities Research Center. Applications are now being accepted for the following projects and activities: The Humanities Research Center is led by two co-directors, James Miller at Duke Kunshan University, and Carlos Rojas at Duke University. The co-directors work with an advisory board of scholars from both universities. The center welcomes the involvement of all Duke faculty, DKU faculty, and affiliated scholars whose work has a humanistic dimension. James Miller, Ph D James Miller is a member of the undergraduate program inaugural faculty and Professor of Humanities at Duke Kunshan University. He is co-director of the Humanities Research Center and responsible for fostering interdisciplinary research in the arts, humanities and interpretive social sciences at DKU. His research lies at the intersection of religion, philosophy, culture and ecology, and he is a noted expert on Daoism, China’s indigenous religion. He has published six books including, most recently, Carlos Rojas, Ph D Carlos Rojas is Professor of Chinese Cultural Studies; Gender, Sexuality, and Feminist Studies; and Arts of the Moving Image. His research focuses on issues of gender and visuality, corporeality and infection, and nationalism and diaspora studies, particularly as they relate to China, Hong Kong, Taiwan, and the global Chinese diaspora. He works primarily in the early modern, modern, and contemporary periods. He is the author of three books: Writing Taiwan: A New Literary History (with David Der-wei Wang), Rethinking Chinese Popular Culture: Cannibalizations of the Canon (with Eileen Cheng-yin Chow), The Oxford Handbook of Chinese Cinemas (with Eileen Cheng-yin Chow), The Oxford Handbook of Modern Chinese Literatures (with Andrea Bachner), and Ghost Protocol: Development and Displacement in Global China Ttitas Chakraborty, Ph D Assistant Professor of History at Duke Kunshan University Member of the Advisory Board Chris Chia, Ph D (ex officio) Associate Director of the Franklin Humanities Institute at Duke University Michaeline Crichlow, Ph D Professor in the Department of African and African American Studies and Sociology at Duke University Thomas J.

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I’m from the small town of Hamilton, MT, located in a beautiful valley with lots of good fishing, hiking, and camping (which coincidentally are some of my favorite activities). I am an English education major, and a psychology minor, hoping to become a high school English teacher someday. My long answer would be the explanation of the numerous places that I moved as a child. My favorite part of my major is that reading and writing give you an opportunity to explore different worlds, different cultures, and different ideas. I am a breakfast connoisseur; writing food critiques is one of my many dreams. My name is Arnold, and I currently study computer science. And I would love to hear about yours here at the Writing Center! I have also dreamed of becoming an interior designer, a restaurant owner, a professional blogger, a published author and an investigative journalist. I grew up in rural Montana, and I chose MSU because of their fantastic engineering program. Born and raised in northern New Mexico, I still call the high desert home and go there often to hang out with my brother, liam, and his service dog, Bonnie. I spend most of my time in the library or the SUB, either hanging out with my friends, studying, or reading a good book. After a couple of years taking time off from school and starting college in Western Massachusetts, I landed here at MSU last fall. I am a liberal studies major in the quaternity option, and I’m most interested in the intersection between conservation and environmental and social justice in the American West. I’m Ellese and I was raised in the mountains of Steamboat Springs, Colorado. Unable to surrender the idyllic lifestyle that ski towns provide, I admittedly moved to Bozeman because it was the school with the closest skiing. When the snow’s not falling I love to mountain bike, surf, do yoga, binge read, play guitar, and occasionally trail run. Here at MSU, I am a junior studying English writing and pre-med. My name is Emma, and I am a Post-Bac in my first semester at MSU. I graduated from Seattle University in 2017 in English literature and women & gender Studies, and I’m excited to be back in school and taking classes in preparation for my application to graduate programs in psychology. I want to meet every writer where they are and help them be confident in their writing. I am a junior studying elementary education and pursuing a reading K-12 endorsement and honors degree. Originally from Hsinchu, Taiwan, I love tea (particularly jasmine green with honey), singing, rainy days, Chinese painting, and passion fruit. And I just can’t get enough of culture and the arts. I can’t wait to dive into new learning adventures with this year’s community of inquirers and creators! I was raised by the dank forests of southeast Alaska. I’m a senior majoring in English literature and English writing, minoring in women and gender studies. I believe in writing, collaboration, and sweet, angel-faced goats. My weekends are spent on goat farm, and I love my goats more than anything. I’m from Dillon, MT, but I’ve never successfully ridden a horse or managed to sit through an entire football game. I’m a huge advocate of smelly ski socks, steaming pots of green curry, and hidden huckleberry patches. As a senior(ish) studying English education, women and gender Studies, and some art, I love interdisciplinary learning and all types of writing. I’m a mathematics major with a focus in mathematics, the university’s way to say I really love math. I’m writing all the time, whether it’s proof work, model papers, poems, or short stories. The core of mathematics is presenting your work clearly, concisely, and elegantly, and I am ecstatic to both foster my own skills in it and develop new ways to hone it in others. I’m a sophomore majoring in English lit with a minor in small business and entrepreneurship. I hail from the Crazy Mountains, the crowning jewel of MT. I chose to stay close to my dear dogs: Chief, Grace, and Reggie (all of which I’m guaranteed to mention at least once). I’m deeply in love with huckleberry hot chocolate, all things Halloween, and mindful meditation practices. I’m Isaac, and I’m glad to be back at MSU, and at the Writing Center! I’ve spent much of the last few years working on ranches in eastern California, Wyoming, and Montana. I also studied at Deep Springs College and earned a degree in animal science from MSU. Now I’m here as a post-baccalaureate, completing the courses required to apply to medical schools. When not on campus, I work as a carpenter, prepare playlists for my radio show on KGLT, spend more time than I should playing various instruments, and enjoy making useful things. My name is Jake, and I am a sophomore majoring in history and pre-med. It came about due to a combination of my love of history and a couple of shoulder surgeries. I’m from Scottsdale, Arizona and was originally drawn to Montana for the outstanding snowboarding and beautiful vistas. One of my favorite parts of life and writing is getting to meet new people and discover new forms of study. Outside of the Writing Center, I enjoy snowboarding at Big Sky, mountain biking the flatter hills around town, and hiking whenever and wherever I can. I’m Jordan, a third-year English writing and literature major. I’m excited to be working with so many people from different perspectives. I am a sophomore at MSU, and I’m majoring in cell biology and neuroscience. I am also working towards a minor in English literature. I grew up in Whitefish, MT, and so I love all things outdoors! My favorite activities are: trail running, playing soccer, hiking, and traveling. This is my first year at the Writing Center, and I’m super excited to be here! My name is Juliana and I am a junior studying English lit and writing. This will be my second year working at the Writing Center, and I’m super excited for it. In my free time I will most likely be found spending time with my puppy, Teddy. I also love creative writing, skate skiing, and lazy days. I’m Kaden, an émigré from mountain-swaddled Alaska who sought a college campus equally blessed by tectonics. I’m a senior, majoring in mechanical engineering, minoring in writing, and thinking about adding another. When not in class, I love slack-lining, skiing, dancing with flammable objects (think Lilo and Stitch), and being completely non-functional until I’ve finished the latest book I’m devouring. Born in Cedar City, Utah but having spent the majority of my childhood in Belgrade, Montana, I’m now pursuing degrees in English, economics, and honors. I’m currently trying to talk myself out of allowing the Writing Center to take over my academics, but it’s hard because I love the Writing Center—mostly because of the people who come into it but partly for its cookies and couches, too. I’m convinced it is a place for meaningful relationships, and I’m looking forward to a full semester of them! My name is Maddie, and I am a junior in political science. This will be my second year as a tutor, and I can’t wait to read what you guys have for me! My name is Madison, and I am a fourth-year student studying economics and global and multi-cultural studies. I am extremely coffee addicted (buying a coffee grinder and French press will do that to you), love backpacking, and bake like it’s going out of style. I adore Montana so much that I stayed in Bozeman, my hometown, for college. I love painting, listening to True Crime podcasts, baking mini desserts, tending to my many plants, and backpacking! On campus, I am an advocate with the VOICE Center and have been involved with Sustained Dialogue. This is my second semester at the Writing Center, and I am so excited to begin tutoring! I came to Bozeman a few years ago and am falling in love with this different, beautiful mountain landscape. I love mountains and exploring them whether it be hiking, running, or skiing. I am double majoring in civil engineering and English literature. It may seem like a funky combination, but it aligns with my passions perfectly: caring for and exploring our planet and learning through reading and writing. My name is Natalie, and I am a sophomore studying writing, literature, and French. I was born and raised in Denver, Colorado, and I hope to go back there one day. As far as activities and interests go, I absolutely enjoy doing nothing. I spend most of my weekends watching movies, binge watching shows, reading, and writing... I look forward to working with you in the Writing Center! My name is Nathan, and I’m a recent addition to the Writing Center and a sophomore studying history and accounting. My passions include hiking, climbing, reading, cribbage, and meeting new people. I’m fascinated by people’s wonderful ideas and the ways they choose to express their thoughts with words. I thoroughly enjoy listening to people talk about themselves and their passions. I have an intense passion for community and want nothing more than to positively impact the world. We can (respectfully) talk politics, podemos hablar un poco de español, drink some tea or coffee, and, of course, discuss your writing! I am Soumilee, and I know that name’s difficult to pronounce, but nonetheless I relish the effort that goes behind it. The majority of my writing is in the form of academic papers and written letters. I am from an over populous city in India, Kolkata, and that’s where the base of my foundation lies. My main academic concentration is neuroscience, additional to biochemistry and an honors degree. Apart from being a voracious reader, I love— talking on insanely bizarre issues, swimming, taking long walks and blissfully forgetting to do most of regular lifestyle stuff (like paying bills ^_^).

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since the early thirties, when Charles (Lucky) Luciano tamed the more anarchic impulses of the Mob, it has been an article of local faith that the greater metropolitan area is controlled by the Five Families. Melfi, started working on a therapist’s-office scene in which Tony despairs of his son and of his failures in school. “That way of waving her hand in disgust, that comes from her, too. There are, as it happens, five and a half—the half being the De Cavalcantes of Union County, the only freestanding Mob family in New Jersey. Gandolfini appears in practically every scene and, as a result, often works shooting days that run fourteen, sixteen hours. And all those lines: ‘I wish the Lord would take me now’; ‘I won’t talk to anyone on the phone after dark.’“I used to tell people stories about talking to my mother, and I got endless laughs with the shocking things she said—how she made a mandate of ‘I have to speak my mind’ and ‘Do you think you’re going to change me now? I felt sometimes that she was like a performance artist, and her act was her level of pessimism about everything.”In “The Sopranos,” the Mafia life is not so much the central subject as it is the intensifying agent. Like their more powerful cousins across the river, the De Cavalcantes have in recent years suffered the indignities of federal investigation and the decimation of their numbers, so much so that they are experiencing the of existential dread. He calls his ex-wife and begs her to take the kids off his hands. Like certain athletes, he psychs himself into concentration through a weird verbal violence: a shout, a snort, a nasty, self-directed epithet. ’ and ‘I’m no phony,’ all under the banner of honesty. The conventions of the Mob heighten the conventions and contradictions of a modern family. Tony tries to help his friend Artie Bucco, so he burns down his restaurant. National franchisers now haul most of the trash; the pharaonic earners of Florham Park and Belleville are sweating over subpoenas; and, in the city, Little Italy dissolves into Chinatown while tourists stand on Mulberry Street summoning the memory of Crazy Joe Gallo’s last supper. As the late columnist Murray Kempton once asked, “Where are the scungilli of yesteryear? planted a bug in the Kenilworth offices of the don, Simone Rizzo De Cavalcante, known as Sam the Plumber—plumbing supplies being one of his favored businesses. When he blows a scene, his reaction can be volcanic. Chase leans over and whispers, “It’s the last week of school.”Bracco has pulled such stunts before. I remember she told me, in front of my wife, ‘You’ll get bored with her.’ We’re married thirty-three years. The violence, which is horrific but rare, undermines everyone’s ambition to be normal. Carmela is full of churchly moral posturing (“What’s different between you and me is you’re going to Hell when you die! ”The first blow to the De Cavalcantes came in the early sixties, when the F. Already, in those wiretaps, one could sense that the Mob’s influence was not quite what we believed it to be. His kid needs a therapist; his girlfriend wants breast implants. Bracco was as lighthearted as Gandolfini was fierce. It began with Tony expressing his concern for a friend of the family, Jackie Aprile, Jr.“Twenty-two years old, living in a housing project. ” All the while, Gandolfini is twitching, scratching his earlobe, working out a crick in his neck, wincing, every gesture another betrayal of anxiety and dread.“In the end,” Tony says, “I failed him.” He shrugs, shrugs magnificently. ” This is Tony’s customary reaction to death, to disaster: his defense mechanism. ”And then Lorraine Bracco lets rip with a whoopee cushion that she sneaked onto the set. Not long ago, in another therapy scene, she stuck hair extensions under her skirt, and, just as Gandolfini was delivering a line, she crossed her legs, a parody of Sharon Stone in “Basic Instinct.”“I don’t think we’ve got anything here yet,” John Patterson said. At least they’re not the silent, stinky ones.”They settle down. ”), but she happily spends Tony’s blood money, and, with his skill for threat, she shakes down a woman to write a college recommendation for her daughter, Meadow. “We got thirty-one or thirty-two soldiers,” De Cavalcante is overheard saying. Gandolfini, it can be fairly said, loses his concentration.“Next line! (“I want you to write that letter,” she says evenly.) And at Meadow’s school, Verbum Dei, the soccer coach turns out to be a child molester. “Most of them are old people who ain’t making much.” In another tape, he sounds like a salaried municipal worker computing his pension: “If I can continue for two or three years, I will be able to show forty thousand or fifty thousand dollars legitimately and can walk out. learned of the family’s grandest designs, their plans to sell everything from stolen Viagra tablets on the Internet to an ersatz “original” screenplay for “The Wizard of Oz.” One can hardly imagine the omnipotent Corleones planning, as the De Cavalcantes did, to forge “vintage” Superman comic books and sell them. The great surprise is that Tony, blissed out on Vicodin and booze, doesn’t have Coach Hauser killed. An episode of “The Sopranos” typically has a primary and a secondary plot, with thirteen or so scenes, or “beats,” each; there is a tertiary plot, with five or six beats; and there are, possibly, one or two additional mini-plots, with just a couple of beats. Then my family situation will be resolved.” Sam the Plumber’s plans for his golden years were derailed only slightly—he spent 1971 through 1973 in prison. “That would kill the comic industry,” an associate named Sal Calciano says with evident satisfaction. Nobody ever [expletive] thought of it before.”Perhaps all that will be left of the De Cavalcante legacy is the plaintive tone of their wiretaps. In one of the shapeliest of Chase’s episodes, “College,” from the first season, Tony takes Meadow on a trip to look at schools in Maine. In the car, Meadow asks her father, “Are you in the Mafia? A few years after his release, he abandoned north Jersey for a condo in Fort Lauderdale. The De Cavalcante family is centered in Elizabeth, with branch offices at the Jersey shore, in Toms River, and in southern Brooklyn. took the snitch out of action, spirited him away to the witness-protection program, and arrested fifty-eight men, among them one of the family’s acting bosses, Vincent (Vinny Ocean) Palermo. Joseph (Joey O) Masella, Palermo’s driver, seems typically forlorn, an emblematic mobster at the fin de siècle. This is a signal event for a parent and child of the upper-middle classes, a period of enforced intimacy, just as the child is about to leave home forever. ” Tony confesses, up to a point, but protests that if he wasn’t doing what he was doing he’d be selling patio furniture on Route 22. ”) Meanwhile, at home in Jersey, Carmela, played with deadpan brilliance by Edie Falco, feeds baked ziti and red wine to the parish priest, Father Phil—and they have a one-night stand as they watch the repressed lovers in “The Remains of the Day” on DVD. In January of 1998, investigators started to undermine the De Cavalcantes as thoroughly as they had the Five Families. Dozens of members will come to trial soon on charges of murder, extortion, loan-sharking, bookmaking, robbery, mail fraud, and trafficking in stolen property. In Maine, Tony encounters a former rival who was in the witness-protection program, and, while Meadow is interviewing at Colby, he garrotes the rat with an electrical cord. This season, the parental theme has got even more pronounced as Anthony, Jr., descends into the murk of adolescence and Meadow, now a freshman at Columbia, dates a half Jewish, half African-American young man, whom Tony refers to, alternately, as “Sambo” and “Buckwheat.” The Soprano kids are not, as kids are elsewhere on television, funny, triumphant, or powerful; they are grotesquely, realistically confused. Federal agents wired an informer, who proved so cunning a rat that he almost won his stripes as a made man. A few days after shooting ended, I met Chase for coffee. He sat behind the director, John Patterson, as Gandolfini and Lorraine Bracco, who plays Dr. He takes a long sip of Coke and makes a call on his cell phone. “My mother was so downbeat, so relentlessly pessimistic—and that, in Livia, all comes from her,” Chase said. For all that, Chase is still dubious about television—“I always wanted to get out of the television business and would still like to”—but on the set he seemed to work in a warm zone of engagement and satisfaction. ”Gandolfini gets out of his chair and walks to the office’s antechamber. Tony’s mother, Livia (the name of Tiberius’s harridan mother in “I, Claudius”), is modelled on Chase’s own, he told me, “though I should point out that she never tried to have me killed.” Nancy Marchand, who died last year, played the role so chillingly that, with the mere wave of her hand, sons across the nation, Italian or otherwise, could feel the zing of guilt along their spines. Like the late Joey O Masella, Tony Soprano is everywhere persecuted by circumstance and the dramatis personae of his life: his demonic mother, Livia, despises him; his uncle Junior betrays him; his sister, Janice, exploits him; his wife, Carmela, lectures him; his sullen children, Meadow and Anthony, Jr., ignore him; and the F. At HBO, Chase has nearly unlimited creative control and “The Sopranos” wins, by cable standards, unprecedented ratings. Gandolfini’s Jersey accent (he’s from middle-class Park Ridge, in Bergen County) is softer than Tony’s, but it is not entirely clear from the sound of his voice who is talking. And yet the most powerful autobiographical presence in “The Sopranos” derives not from the Mob but from family. The show, a creation of a television writer and producer from north Jersey named David Chase, has none of the operatic moralism and ambition of “The Godfather” pictures but, rather, combines the camaraderie of “Good Fellas,” the free-associative comedy of “Portnoy’s Complaint,” and the kitchen-table agonies of “The Honeymooners.” Tony Soprano, played sublimely by the Gleasonesque James Gandolfini, is paterfamilias to both his crew (Big Pussy, Silvio, Paulie Walnuts, et al.) and his extended suburban family. Fox, CBS, NBC, and ABC all turned down Chase’s pilot for “The Sopranos.” And a good thing, too: with commercial breaks and network censors, “The Sopranos” undoubtedly would have become castrati. In school, he knew the son of a mobster, and he read transporting crime stories in the now defunct Newark about the Boiardo family, a Genovese crew working in Essex County. “You know, by rights, I gotta kill you,” Palermo says. On October 10, 1998, Masella was found dead in a parking lot in Marine Park with bullet holes in his pancreas, stomach, spleen, and intestine. A couple of months later, Home Box Office began broadcasting a new series about a New Jersey crime family, “The Sopranos.” Their domain is Essex County, not Union—a critical difference. And I mostly have not followed that.” Then he revamped a lingering idea: to portray a suburban American family and cloak the story in the details of an ancient genre—the gangster film. His father had a hardware store, and his mother worked for the telephone company. In June, 1998, Palermo, by way of warning, kicks Masella in the groin and tells him he’d better get square. There were some close calls with the likes of Ridley Scott and Michael Mann, but, he said, “I could never get anything going.” Soon he was making money, quite a lot of money, working in television, including some decent shows like “The Rockford Files” and “Northern Exposure,” and yet he complained all the while, to his wife, to his daughter, to his therapist. “The most important piece of career advice my wife gave me was, If it’s fulfilling for you, do it. His family, which changed its name from De Cesare to Chase, was middle class. He owes a hundred thousand dollars to various gangsters, who are not likely to forgive him or his debt. He has nightmares and panic attacks; he sees a therapist; he takes Prozac and Xanax. They wanted to distribute it as a legitimate picture, but if it failed they would do some ‘insertion footage.’ ”Over the years, Chase has written nine feature scripts, none of which have been produced. ” He goes out, and says, “I don’t know what I’m fucking talking about.”Finally, Gandolfini returns to the analysand’s chair and nails the scene. He watched “The Untouchables” on Thursday nights and “The Public Enemy” on Million Dollar Movie. On March 3, 1999, some De Cavalcante members, an enforcer named Joseph (Tin Ear) Sclafani and a capo named Anthony Rotondo, are overheard on the wiretaps remarking on the uncanny resemblance between this thing of ours and this thing of theirs. In the beginning, he worked on the crew of a few soft-core features, “pussycat-theatre stuff.” Chase said he had a job on one film “with two legitimate actors, about a senator’s daughter who meets a handsome guy at a ski lodge. David Chase grew up on Mob movies, and even with a considerable awareness of Mob reality. “I only watched it as a kid.” At Stanford film school, Chase made a gangster movie, for twelve hundred dollars, called “The Rise and Fall of Bug Manousous,” about a man who is fed up with life, escapes into a fantasy of being a twenties mobster, and then dies in his own fantasy.“I thought that maybe one day I would get to smoke Gauloises and make little dark enigmatic pictures,” Chase said. He has spent his adult life working in television, all the while dreaming of making feature films. “Television is crap, and I don’t watch it,” he told me. Chase is fifty-five, a trim, wary, almost expressionless man with hooded eyes and the sardonic wit of one who seems utterly distrustful of his current success. I visited the set a few weeks ago, as Chase was filming the thirteenth and final episode of the season. Melfi, Tony’s therapist—are shot in Queens, at the old Silvercup bakery, which has been a television studio since 1983. The interiors—the Soprano house, the office in the Bada Bing strip club, and the office of Dr. One week it was Corky, one week it was, well, from the beginning it was Albert G.”Sclafani, however, feels ignored, a Jersey guy’s anxiety. The producers of “The Sopranos” shoot the exteriors in Lodi, North Caldwell, Verona, Newark. Great acting.” He adds, “Every show you watch, more and more you pick up somebody. We talked about a particularly good scene in the season opener in which Anthony, Jr., is trying to figure out “Stopping by Woods on a Snowy Evening.” Meadow, with a few weeks of Columbia behind her, helps out with all the critical self-possession of Northrop Frye. She tries to get him to see that the whiteness, the snow, in Robert Frost’s scheme is symbolic of death. Anthony, Jr., cries out, “But I thought meant death! ” In “The Sopranos,” even homework is ominous.“Instead of doing ‘Eight Is Enough’ or something, we set it in a situation of life and death,” Chase said. “The Mob provides an essential set of contradictions in Tony Soprano’s character. It also gives you the possibility of danger and then hours of non-danger. And it gives you a world that is something allegedly private and secret.“I thought the Mob was expired as a movie form before we ever started,” Chase went on. I have nothing invested in Mob movies.”Does “The Sopranos,” with all its postmodern self-awareness, with all its evidence of decline, signal the end of the Mafia movie? Will the Mob movie go the way of the Western, revived rarely and only then as something nostalgic (“Unforgiven”), sensational (“The Wild Bunch”), or comic (“Blazing Saddles”)? It is remarkable to think now how such a rich movie genre came out of such a small, violent, and hermetic world. There were a few silent Mob pictures of distinction—D. Griffith’s 1912 short “The Musketeers of Pig Alley,” Raoul Walsh’s “The Regeneration” (1915), and Josef von Sternberg’s “Underworld” (1927)—but the first golden age was ushered in by two events: the advent of sound, in 1927, which gave us the jolt of gunfire and the bite of the gangsters’ slang and wit, and the St. Valentine’s Day Massacre, in 1929, which made Al Capone a national media figure. Three films released between 19—Mervyn Le Roy’s “Little Caesar,” William Wellman’s “Public Enemy,” and Howard Hawks’s “Scarface”—set the standard. Both David Chase and Tony Soprano adore them and the theme they established. As Robert Warshow pointed out in his 1948 essay “The Gangster as Tragic Hero,” the appeal of these pictures, beyond their visceral excitement and their opportunity for escapism, resides in “that part of the American psyche which rejects the qualities and the demands of modern life, which rejects ‘Americanism’ itself,” the comfort and conformity, the sunny optimism and unbounded opportunity. The gangster in these movies is a man whose response to harsh circumstance is brutal and ultimately doomed. He is possessed of perverse ambition and perverse nobility. With our ids, we enjoy his murderous ascent, we delight in his malapropisms and limitless appetites, and with our superegos we are satisfied by his inevitable fall, we feel a sense of superiority and relief. The enjoyment of gangster pictures is a guilty pleasure, and, in the early thirties, Hollywood could not distribute these movies without at least making a show of contrition. Both “The Public Enemy” and “Little Caesar” begin with warning labels in the guise of sermons. for all they that take the sword shall perish with the sword.”In both pictures, the hero (or antihero, as he would be called later on) rises from small-time criminal to singular status in the big city and is then pursued and killed. After seeing the name James Cagney and the rest of the cast list for Wellman’s picture, we read the message “It is the ambition of the authors of ‘The Public Enemy’ to honestly depict an environment that exists today in a certain strata of American life, rather than glorify the hoodlum or the criminal.” “Little Caesar” begins with a quotation from the Book of Matthew printed on faux parchment: “ . This is, more or less, the arc of all Mob pictures: the brutal man who believes himself invulnerable and then ends up dead in the gutter. Robinson, as Enrico Bandello—clearly a Capone figure—is dying and breathes the immortal line “Mother of Mercy! ”Howard Hawks, in trying to make “Scarface,” suffered worse than Wellman and Le Roy. Hawks and his main screenwriter, Ben Hecht, wanted to make a picture that somehow combined Al Capone and the Borgias. But the Hays Office, headed by the former Republican Party chairman Will Hays and his deputy, Colonel Jason Joy, would not give a movie the production seal of the Motion Picture Producers and Distributors of America without a thorough review. Hays and Joy scoured scripts for any traces of amorality. Joy’s reading of the script of “Scarface” was particularly damning and left Hawks despondent. For weeks, it seemed that there would be no movie at all, according to Todd Mc Carthy’s biography of Hawks. Hays, for example, complained that Scarface’s mother was a “grasping virago, distinctly an Italian criminal type mother”; he insisted that the mother “present to the son a dialogue telling him what the Italian race has done for posterity and that he, Scarface, is bringing odium and shame upon his entire race.” Most galling of all to Hawks, the Hays Office threatened to withhold the production seal unless he added a finale scene with a judge condemning Scarface on the gallows. “You’ve commercialized murder to satisfy your personal greed for power,” the judge intones. “You’ve killed innocent women and children with brutal indifference. There is no place in this country for your type.” Hawks and his producer, Howard Hughes, battled with Hays and Joy for nearly a year, but there was no getting around most of these compromises. In 1933, with the end of Prohibition, the image of the mobster as a misbegotten freedom fighter became obsolete; in 1934, with the formalization of the Hays Code, it became untenable. In “Dead End” and “Angels with Dirty Faces,” the gangster became an object of sociological study and audience pity; in comedies like “The Amazing Dr. Clitterhouse” and “Ball of Fire,” he became the butt of the joke; and in Raoul Walsh’s “The Roaring Twenties,” made in 1939, the mobster became a figure of nostalgia. Crime films headed off in two main directions: treating the psychopathic lone criminal (Walsh’s “White Heat,” Henry Hathaway’s “Kiss of Death”) or highlighting the private detective. From John Huston’s “The Maltese Falcon” to Howard Hawks’s “The Big Sleep” and Edward Dmytryk’s “Murder My Sweet,” Sam Spade and Philip Marlowe and their like were freelance survivalists in the crepuscular urban jungle. They were quick-witted and not averse to violence, and their instinct for survival was inhibited by an internal code of ethics that pushed them, if only grudgingly, to the side of order. The first important Mafia film after “Scarface” was “On the Waterfront” (1954), in which the Mob appears in its new, postwar guise as a monkey wrench in the machinery of liberal capitalism. As the has-been fighter, Marlon Brando sacrifices himself in a last (and seemingly futile) stand against Lee J. The big-time Mafia, the Mafia of great American Romans running New York, is the subject of Francis Ford Coppola’s “The Godfather” (1972). Nearly thirty years later, “The Godfather” is still terrifying and remains, in many ways, the best of all gangster films—we are not likely to forget the solemn one-liners, the oaths, the assassinations of Luca Brasi and Sonny Corleone, or the Don’s sunlit death in his tomato garden—but, like the many operas it recalls, the film is generously dressed with the tinsel of camp. To watch “The Godfather” now is not unlike going to hear Puccini; soap opera coexists with high art. Similarly, when you see Brando in the opening scene of “The Godfather,” dispensing favors in his gloomy study, you can’t help thinking of all the parodies that followed, including Brando himself as a bulked-up version of Don Corleone in the Matthew Broderick vehicle “The Freshman.”The characters in “The Sopranos” are obsessed with “The Godfather,” but their maker is obsessed with Martin Scorsese and his street-level view of things. David Chase thought the Mafia movie had finally exhausted itself in 1990 with “Good Fellas.” Scorsese’s gangster films, beginning with “Mean Streets,” in 1973, are about guys who sit around all day eating, gabbing, and collecting money in bags, guys who intimidate truck drivers and mailmen, guys for whom no petty scam is an indignity. Chase pays homage to “Good Fellas” by having the actor Michael Imperioli, who was shot in the foot in Scorsese’s film, do the same thing to a bakery clerk in the series. Most of the criticism of Coppola’s “Godfather III” focussed on the script, which was inferior to the first two. But, by the nineties, the problem was a proper suspension of disbelief. Somehow, the sight of Al Pacino, as the aging Don, trying to lean on the Vatican in “Godfather III” is no less funny than Pacino, as a nudnik gangster in “Donnie Brasco” (1997), trying to bust open parking meters with a sledgehammer. Chase’s creative leap was to grasp the transformation of the Mob genre, its passage from tragedy to farce, and, against all odds, make something new. There are still mobsters today in racketeering, labor unions, and gambling, but no one questions that Cosa Nostra, the real one, is fast expiring. As Tony laments in the pilot episode, “I came in at the end. The best is over.” Prosecutors and gangsters agree on the reasons: federal initiatives like the Racketeer Influenced and Corrupt Organizations () Act and the effectiveness of investigators, who mastered the art of wiretapping and flipping witnesses, have nearly wiped out the Five Families. David Kelley, the chief of organized crime and terrorism in the United States Attorney’s Office for the Southern District of New York, told me, “All the old rituals and codes have eroded over time, and the reasons are simple: greed and convenience. There’s a sense now of every man for himself, a turn from ‘this thing of ours’ to ‘this thing of mine.’ ” Gangsters used to talk righteously about avoiding the drug trade, but they couldn’t resist the profit margins; and when a gangster is facing ten to life for narcotics trafficking— as opposed to a few years for hijacking a truck—he is more likely to testify for the government. Also, as Tony Soprano demonstrates, the Mafia life is highly stressful, what with all the beatings and the search warrants. Many elders would get out if they could (“I don’t want it. The whole [expletive] life”), and many of them do what they can to make sure their kids go straight. Pump-and-dump brokerage scams and truck hijackings are nice, but they are hardly the stuff of “The Godfather.”In the movies, gangsters are appealing because they embody not only a rude dominance but also a code and a sentiment, a fantasy of brotherhood. In the postindustrial world of no loyalties, of no commitments, gangsters trade blood oaths. “He’s a friend of ours”—that’s the way a Mob guy introduces a second guy to a third. Real mobsters, especially our degraded contemporaries, are not as satanically charming as Bob Hoskins in “The Long Good Friday” or as hypnotically intelligent as Christopher Walken in “King of New York.” A few years ago, a friend, a prosecutor, asked if I wanted to write about a Mob assassin who was in the witness-protection program. He was living in what the prosecutor called “a warm state.” Johnny Johnson (a bogus name, but why get him shot? ) was small and middle-aged; he had, for a living, killed people on behalf of the Gordon Chandler Mob, one of Harlem’s biggest heroin-and-numbers outfits. He had killed at least ten men, spent more than half his life in jail, fuzzed his mind with dope and angel dust, turned state’s evidence, and, thanks to “the program,” avoided a rat’s assassination. Now he was selling aluminum siding and coaching Little League. Sometimes he slipped back to the city to see a woman, and sometimes the woman slipped down to see him, a practice that is not, strictly speaking, a bright idea. For a couple of days, he talked about his life, about his horrible childhood and the squalid city institutions that made a pass at raising him, about his attraction to the glittering crooks in the neighborhood. (“My real father,” he said, “was Bumpy Johnson,” the infamous Harlem gangster, who died in 1968.) He talked about his first murder (“When it happened, I didn’t give a fuck, no remorse”), and then he talked about his second and his third and his fourth. He talked about meeting John Gotti and “Jerry the Jew” and an entire rainbow coalition of thugs and how someone got his head bashed in with a baseball bat. He cried all through lunch at the International House of Pancakes. There are more black-Mob pictures than we know what to do with: “Black Caesar,” “Hoodlum,” “New Jack City.” What’s left? Done: Sergio Leone’s “Once Upon a Time in America.” A Russian Mob picture? At times, he was terrifying to listen to, at others excruciatingly boring. The aluminum-siding business wasn’t coming through with the cash, and it certainly wasn’t giving him what he thought was his due. Try “Little Odessa.” Even David Chase thinks the genre, like the cowboy movie, like the Busby Berkeley musical, has reached the vanishing point. Finally, as I was getting ready to leave, Johnny asked me, “So, how much? It was no simple thing explaining to a retired professional assassin why I couldn’t do that. “And I don’t care if I never see another one,” he said. Am I gonna let all this love and knowledge go to waste? In one episode of “The Sopranos,” midway through the first season, the young, impetuous mobster Christopher Moltisanti, played by Michael Imperioli, tries to write a screenplay in the hours when he is not robbing trucks or picking up cannolis for Tony. My cousin Gregory’s girlfriend, Amy, the one who works for Tarantino, said, Mob stories are always hot. ” But Tony would sooner see Christopher dead than let him spill the family secrets. He seems almost to speak for Chase.“I love movies, you know that,” Christopher tells his girlfriend. And, besides, Christopher can barely spell, much less give new life to an old genre. And, as Chase told me, there’s probably only one more season left in him before “The Sopranos” gets stale.

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The Bachelor of Fine Arts in Creative Writing at Goddard College (BFAW) is an undergraduate degree program comprised of a community of learners, students, and faculty who aspire to integrate the following into their lives: creative writing as an art and craft done individually and with others, an engaged study of literature, an understanding of language and the social context, and reflection on the role of the artist in the world. The program is low-residency and grounded in the principles and practices of student-centered, progressive education. The BFA community values experimentation and encourages students to write in ways that might be new for them. BFAW students, in concert with faculty, design a program whereby they write in two genres (poetry, creative non-fiction, fiction, drama, hybrid forms), study works across eras and cultures, become acquainted with literary theory, write on the ethics of being a writer, and compile a senior study which contains a creative manuscript and critical writing that puts their work in context. BFAW students engage the art of literature and character-based writing rather than mass-market uses of language. Request more information from an Admissions Counselor. The BFA in Creative Writing Faculty are writers who have been published and produced internationally, and are recognized in their fields. Faculty members work one-on-one with students as faculty advisors throughout the semester, as well as facilitating group studies, teaching workshops at residency, and acting as second readers to students’ final projects. Our faculty is comprised of national and international scholar practitioners with extensive experience supporting students taking charge of their learning. Faculty members’ work with students is focused, clear, and rigorous. The Bachelor of Fine Arts in Creative Writing is for students who will develop, or are developing, a significant practice as a creative writer in one or more of these literary genres: fiction, creative nonfiction, poetry, dramatic writing, or hybrid forms. Students may complete their first and second year of study in Goddard’s Individualized Studies track or transfer up to 75 semester-hour credits from one or more previous institutions. Twice a year, at the start of each semester, students attend an intensive eight-day residency at the College’s Plainfield, Vermont campus. Residencies are a rich time of exploration, connection, and planning. At the start of the semester, students attend an intensive eight-day residency in Vermont, followed by 16 weeks of independent work and self-reflection in close collaboration with a faculty advisor. Goddard pioneered this format nearly a half century ago to meet the needs of adult students with professional, family, and other obligations seeking learning experiences grounded in the real-world. Residencies are a time to explore, network, learn, witness, and share with peers, staff, and faculty. Students work with advisors and peers in close-knit advising groups to forge individualized study plans that describe their learning objectives for the semester. Working closely with their faculty advisors, and supported by fellow learners, students identify areas of study, personal goals, relevant resources, and avenues to achieve these goals. Students also attend and are invited to help organize workshops, keynote addresses, celebrations and other events intended to stimulate, inspire, and challenge. This low-residency model combines the breadth of a collaborative community with the focus of personalized learning, enhanced by insightful exchanges with a faculty advisor. All students must satisfy General Requirements for the BA/BFA at Goddard College. In addition, students pursuing the Bachelor of Fine Arts in Creative Writing will demonstrate a particular competency in the arts and humanities as follows: You will leave the program with a complete draft of a creative manuscript that has gone through a number of revisions. At the same time, you will have gained a deep connection to your writing peers, many of whom will continue to sustain you as the work of writing continues.

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An inquest into the death of Dan Collins, an English and Creative Writing student at the University of Birmingham, has revealed that he was assessed by a number of mental health professionals as recently as weeks before his death. Dan had been referred following family illness and a break up with his girlfriend of five months, which was described as an "intense" relationship. His ex-girlfriend contacted the university twice to raise her concerns regarding his mental health. At the inquest, the coroner said Dan had fallen into a "black hole" in mental health services, and said there is "an on-going risk to other people who are in a period of crisis". The coroner heard Dan had spent two days in Queen Elizabeth Hospital three weeks before his death after he overdosed on paracetamol, yet was discharged following an assessment by Birmingham’s Rapid, Assessment, Interface and Discharge (RAID) team. Dan was discharged as he did not meet the criteria for sectioning, was not a risk to himself or others, had "full capacity and insight" and was willing to accept help. Zara Welch, one of the RAID team nurses who carried out the assessment of Dan, told the coroner: “My main concerns for Dan were not what he was telling us. He seemed flat – he said all the right things but he did present as someone who needed some help.” Following his discharge, Dan was visited by a senior mental health practitioner from Forward Thinking Birmingham’s crisis team, the city’s mental health partnership for people up to the age of 25. He was then referred to mental health counselling service The Living Well Consortium and given a leaflet with ways to contact the service, yet he never sought the service. Dan met with members of the University of Birmingham's student welfare team following his overdose, and had his last meeting there on the 25th April with college welfare manager Adrian Powney. Mr Powney stated that Dan told him he was going to arrange an appointment with his GP. The 22-year-old of Kensington Avenue, Sparkbrook, was found in an area of Moseley Bog on April 28th this year. The post-mortem examination revealed he had taken an overdose. The University of Birmingham's counselling service has faced much criticism recently, following a series of complaints regarding issues such as the temporary suspension of appointments in December. The Tab subsequently launched an investigation and found the university employed only six counsellors for its 30,000 students. Six months ago we reported that the University of Birmingham were aware of Uo B student Andrew Warden's mental health issues, prior to his death by suicide. His family later criticised the university's duty of care and failure to make them aware of his deteriorating mental health. James Bennett, Assistant Coroner for Birmingham and Solihull, said the gap in services the inquest had highlighted meant he would write a Report to Prevent Future Deaths. He said: “I do think that Dan fell into a black hole in some way. I am concerned that there is an on-going risk to other people who are in a period of crisis.

Typical steps of the creative writing process

sale Learners Kiwifakeid Fake Nz Restricted Fulls Inc And Id Buy sale Learners Kiwifakeid Fake Nz Restricted Fulls Inc And Id Buy The department offers many opportunities to students interested in creative writing. We treat the study of creative writing not as an alternative to rigorous scholarly engagement in the reading of and writing about literary and critical texts nor as an exercise in easy self-expression. Rather, it is a discipline whose students practice the techniques and strategies of close reading and whatever writing is appropriate to a given genre: poetry, fiction, nonfiction, and playwriting. The English Department offers electives in each of these genres, as well as one course that introduces students to the writing of nonfiction and another that introduces them to the writing of poetry, fiction, and plays. Throughout the Creative Writing curriculum, students learn to see the crucial interrelationship of reading and writing practices, as they begin to note and to take part in the myriad choices a poet or essayist or novelist or playwright makes at the level of, for example, the word, the sentence, the poetic line, the line of dialogue, the scene, the stanza, the paragraph. Over the past several years, undergraduate English majors have been admitted into seven of the top ten MFA Creative Writing programs in the U. S.; they have published novels and volumes of poetry; and their nonfiction has appeared in publications ranging from . These students attended equally to creative and scholarly studies, following the English Department’s curricular emphasis on the critical intersection of these disciplines. Many majors primarily interested not in creative writing but in literary criticism find that creative writing courses add a valuable dimension to their experience of and knowledge about literature, and many non-majors also take creative writing courses. , the undergraduate literary journal, is an outlet for students to publish their own and each other’s work, and an opportunity for English majors and students from other disciplines to work together toward a community project that involves staff meetings, public readings, practice in the editorial demands and obligations of producing a literary journal, and interaction with faculty advisors. The journal is published once a year, usually in the Fall semester, and while it takes submissions from all Queens College undergraduates, it is selective in deciding on what student work to publish. Many students whose work was included in a recent edition of the journal were accepted into nationally known MFA Creative Writing programs, including the Queens College MFA. Active engagement in the production of our literary journal provides students with the opportunity both to socialize with their classmates, and to gain insight into the editorial processes and business concerns involved in publishing an annual literary journal. There is, additionally, an online literary journal, , produced by students enrolled in the MFA program. Constructed, edited, and maintained entirely by MFA students, not as an opportunity to publish their own work but as an online site to encourage new and innovative writing, it complements As an English major, you may take as many as three creative writing courses among the six electives for the major. You may take more, and you may take any of the 300-level workshops more than once, but only three creative writing courses (and three different ones) may be applied to the major. Additional credits may be applied to the 120 needed for graduation. The courses, all of which feature reading and writing assignments in the strategies and techniques of a specific genre and the extensive use of peer review, are as follows: English 200W: Essay Writing The writing and criticism of formal and informal essays, various types of articles, reviews, and reportage, with an emphasis on the fundamentals of style and structure and the development of effective expression. This course is recommended for majors and non-majors who wish more work in the basics of essay writing. 201W: Essay Writing for Special Fields Practice in writing appropriate to a particular field, such as medicine, law, business, music, or film. The course is regularly offered as a BALA class on business writing, with enrollment limited to students in that program. When it is offered on a different topic, it is open to all students who have completed 110. English 210W: Introduction to Creative Writing An introduction to the writing of poetry, fiction, and plays, with related readings. English 211W: Writing Nonfictional Prose An introduction to the writing of nonfiction an art form, in such modes as the personal essay, the review, new journalism, the memoir, and the postmodernist pastiche, with related readings. English 301W: Fiction Workshop Intensive practice in the writing of fiction, with related readings. English 302: Playwriting Workshop Intensive practice in the writing of plays, with related readings. English 303W: Nonfiction Workshop Intensive practice in the writing of nonfiction as an art form, with related readings. In some semesters, the course focuses on one mode of nonfiction, such as the memoir or environmental writing. English 304: Poetry Workshop Intensive practice in the writing of poems, with related readings.

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