Slideshow for the eighth lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Create - Day 2 - 11:15 - "Six Secrets to Overcoming Social Marketing Hurdles"PerformanceIN
Despite the fact that customers expect to engage with their brands on social media, most firms continue to see their social budgets fall low on the marketing priority list.
Whether through a lack of hard ROI or meaningful metrics, social teams struggle to acquire the funding and support to make a real difference.
Veteran social media marketer Eric Weaver will share six secrets from major global brands on how to garner financial support, create meaningful impact and engage distracted fans.
Expect to walk away with new methods of measuring social media ROI, successfully requesting more funding and approaches to paid advertising, content and engagement to produce tangible business results.
Create - Day 2 - 11:15 - "Six Secrets to Overcoming Social Marketing Hurdles"PerformanceIN
Despite the fact that customers expect to engage with their brands on social media, most firms continue to see their social budgets fall low on the marketing priority list.
Whether through a lack of hard ROI or meaningful metrics, social teams struggle to acquire the funding and support to make a real difference.
Veteran social media marketer Eric Weaver will share six secrets from major global brands on how to garner financial support, create meaningful impact and engage distracted fans.
Expect to walk away with new methods of measuring social media ROI, successfully requesting more funding and approaches to paid advertising, content and engagement to produce tangible business results.
The OpenStack Havana release had more than 910 contributors and delivers nearly 400 new features, including two new services: Orchestration and Metering.
The Anatomy of the Idea is a short introduction to ideation - the process of generating ideas. How do we create ideas? Or better yet, how do we create great ideas?
If you're interested in how to improve your ideation, visit Crinid.com for tips, techniques and inspiration.
Thank you for reading,
- Rick van der Wal
http://www.crinid.com
Shutter Island is a neo-noir psychological thriller film directed by Martin Scorsese and written by Laeta Kalogridis. Leonardo DiCaprio stars as U.S. Marshal Edward “Teddy” Daniels, who is investigating a psychiatric facility on Shutter Island after one of the patients goes missing. Mark Ruffalo plays his partner officer Chuck Aule; Ben Kingsley is the facility’s lead psychiatrist; Max von Sydow is a German doctor; and Michelle Williams is Daniels’s wife.
The movie happens to be based on Dennis Lehane’s 2003 novel of the same name. The movie opened to rave reviews back in 2010 and was also one of the most profitable movies of that year. The movie was praised on the basis of a newness in the work of Martin Scorsese and Leonardo DiCaprio.
An excerpt from my stage play, GO. GO is based on Samuel Beckett's Waiting For Godot. The play is subtitled '21st Century Existentialism in an Absurdist Theme' to identify its theatrical genre.
Great Literary Pieces featuring Edgar Allan Poe and William Faulkner Erwin Manzon
Great Literary Pieces featuring Edgar Allan Poe and William Faulkner
Edgar Allan Poe's :
-Cask of Amontillado
- The Tell-Tale Heart
-Annabel Lee
William Faulkner's:
- A Rose for Emily
The OpenStack Havana release had more than 910 contributors and delivers nearly 400 new features, including two new services: Orchestration and Metering.
The Anatomy of the Idea is a short introduction to ideation - the process of generating ideas. How do we create ideas? Or better yet, how do we create great ideas?
If you're interested in how to improve your ideation, visit Crinid.com for tips, techniques and inspiration.
Thank you for reading,
- Rick van der Wal
http://www.crinid.com
Shutter Island is a neo-noir psychological thriller film directed by Martin Scorsese and written by Laeta Kalogridis. Leonardo DiCaprio stars as U.S. Marshal Edward “Teddy” Daniels, who is investigating a psychiatric facility on Shutter Island after one of the patients goes missing. Mark Ruffalo plays his partner officer Chuck Aule; Ben Kingsley is the facility’s lead psychiatrist; Max von Sydow is a German doctor; and Michelle Williams is Daniels’s wife.
The movie happens to be based on Dennis Lehane’s 2003 novel of the same name. The movie opened to rave reviews back in 2010 and was also one of the most profitable movies of that year. The movie was praised on the basis of a newness in the work of Martin Scorsese and Leonardo DiCaprio.
An excerpt from my stage play, GO. GO is based on Samuel Beckett's Waiting For Godot. The play is subtitled '21st Century Existentialism in an Absurdist Theme' to identify its theatrical genre.
Great Literary Pieces featuring Edgar Allan Poe and William Faulkner Erwin Manzon
Great Literary Pieces featuring Edgar Allan Poe and William Faulkner
Edgar Allan Poe's :
-Cask of Amontillado
- The Tell-Tale Heart
-Annabel Lee
William Faulkner's:
- A Rose for Emily
Lecture 12 - Blindness in An Essay on BlindnessPatrick Mooney
Twelfth lecture for my students in English 165EW, "Life After the End of the World," winter 2013 at UC Santa Barbara.
Course website: http://patrickbrianmooney.nfshost.com/~patrick/ta/w13/
Slideshow for the twenty-second lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Slideshow for the twenty-first lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Slideshow for the twentieth lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Slideshow for the nineteenth lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Slideshow for the eighteenth lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Slideshow for the seventeenth lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Slideshow for the sixteenth lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Slideshow for the fifteenth lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Lecture 14: "To speke of wo that Is in mariage"Patrick Mooney
Slideshow for the fourteenth lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Slideshow for the thirteenth lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Slideshow for the eleventh lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Lecture 10: Who's Speaking, and What Can They Say?Patrick Mooney
Slideshow for the tenth lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Lecture 09: The Things You Can't Say (in Public)Patrick Mooney
Slideshow for the ninth lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Slideshow for the seventh lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Slideshow for the sixth lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Slideshow for the fifth lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Lecture 04: Dishonesty and Deception, 25 June 2015Patrick Mooney
Slideshow for the fourth lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Lecture 03: A Gentle Introduction to TheoryPatrick Mooney
Slideshow for the third lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Lecture 02: Poetics and Poetry: An IntroductionPatrick Mooney
Slideshow for the second lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Introduction to Web Design for Literary Theorists I: Introduction to HTML (v....Patrick Mooney
First in a series of workshops for graduate students in the Department of English at UC Santa Barbara.
More information: http://patrickbrianmooney.nfshost.com/~patrick/ta/lead-ta/web-design/
YouTube screencast with audio: http://youtu.be/ZyYRmJXbT4o
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
How to Create Map Views in the Odoo 17 ERPCeline George
The map views are useful for providing a geographical representation of data. They allow users to visualize and analyze the data in a more intuitive manner.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
The Indian economy is classified into different sectors to simplify the analysis and understanding of economic activities. For Class 10, it's essential to grasp the sectors of the Indian economy, understand their characteristics, and recognize their importance. This guide will provide detailed notes on the Sectors of the Indian Economy Class 10, using specific long-tail keywords to enhance comprehension.
For more information, visit-www.vavaclasses.com
1. Lecture 8: “two sides
of the same coin”*
PATRICK MOONEY, M.A.
ENGLISH 10, SUMMER SESSION A
2 JULY 2105
* Stoppard 23
2. GUIL: It could have been—it didn’t have to be
obscene. . . . It could have been—a bird out of season,
dropping bright-feathered on my shoulder. . . . It could
have been a tongueless dwarf standing by the road
to point the way. . . . I was prepared. But it’s this, is it?
No enigma, no dignity, nothing classical, portentous,
only this—a comic pornographer and a rabble of
prostitutes. . . . (27)
GUIL [to ROS] (jumps up savagely): You don’t have to flog
it to death! (71)
Metatheater
3. PLAYER: You don’t understand the humiliation of it—to be
tricked out of the single assumption which makes our
existence viable—that somebody is watching. . . . The plot
was two corpses gone before we caught sight of ourselves,
stripped naked in the middle of nowhere and pouring
ourselves down a bottomless well. (63)
PLAYER: There we were—demented children mincing about in
clothes that no one ever wore, speaking as no man ever
spoke, swearing love in wigs and rhymed couplets, killing
each other with wooden swords, hollow protestations of faith
hurled after empty promises of vengeance—and every
gesture, every pose, vanishing into the thin unpopulated air.
We ransomed our dignity to the clouds, and the
uncomprehending birds listened. (He rounds on them.) Don’t
you see?! We’re actors—we’re the opposite of people! (63)
4. GUIL: What is the dumbshow for?
PLAYER: We’ll, it’s a device, really—it makes the action
that follows more or less comprehensible; you
understand, we are tied down to a language which
makes up in obscurity what it lacks in style. (77)
PLAYER: Do you call that an ending?—with practically
everyone on his feet? My goodness no—over your
dead body. (79)
He does not quite understand why the coats are
familiar. ROS stands close, touches the coat,
thoughtfully. . . . (82)
5. ROS: To sum up: your father, whom you love, dies, you are
his heir, you come back to find that hardly was the
corpse cold before his young brother popped onto his
throne and into his sheets, thereby offending both legal
and natural practice. Now why exactly are you behaving
in this extraordinary manner? (51)
PLAYER: Lucianus, nephew to the king . . . usurped by his
uncle and shattered by his mother’s incestuous
marriage . . . loses as he alternates between bitter
melancholy and unrestricted lunacy . . . staggering from
the suicidal (a pose) to the homicidal (here he kills
“POLONIUS”) […] (81)
… and the metatheatrical summary
6. GUIL: And a syllogism: One, he has never known
anything like it. Two, he has never known anything to
write home about. Three, it is nothing to write home
about. . . . Home . . . What’s the first thing you
remember? (Stoppard 16)
‧ No things I have known are things like this.
‧ No things I have known are things to write home about.
∴ This thing is not a thing to write home about.
Theoretical discourse
7. GUIL: The scientific approach to the examination of
phenomena is a defense against the pure emotion of fear.
Keep tight hold and continue while there’s time. Now—
counter to the previous syllogism: tricky one, follow me
carefully, it may prove a comfort. If we postulate, and we
just have, that within un-, sub- or supernatural forces the
probability is that the law of probability will not operate as
a factor, then we must accept that the probability of the
first part will not operate as a factor, in which case the law
of probability will operate as a factor within un-, sub- or
supernatural forces. And since it obviously hasn’t been
doing so, we can take it that we are not held within un-,
sub- or supernatural forces after all; in all probability, that
is. Which is a great relief to me personally. (Small pause.)
Which is all very well, except that―
8. GUIL: (Small pause.) Which is all very well, except that (― He
continues with tight hysteria, under control.) We have been
spinning coins together since I don’t know when, and in all that
time (if it is all that time) I don’t suppose either of us was more
than a couple of gold pieces up or down. I hope that doesn’t
sound surprising because its very unsurprisingness is
something I am trying to keep hold of. The equanimity your
average tosser of coins depends upon a law, or rather a
tendency, or let us say a probability, or at any rate a
mathematically calculable chance, which ensures that he will
not upset himself by losing too much more upset his opponent
by winning too often. This made for a kind of harmony and a
kind of confidence. It related the fortuitous and the ordained
into a reassuring union which we recognized as nature. The sun
came up about as often as it went down, in the long run, and a
coin showed heads about as often as it showed tails. (17–18)
9. GUIL: Practically starting from scratch. . . . An
awakening, a man standing on his saddle to
bang on the shutters, our names shouted in a
certain dawn, a message, a summons. . . A new
record for heads and tails. We have not been . . .
picked out . . . simply to be abandoned . . . set
loose to find our own way. . . . We are entitled to
some direction. . . . I would have thought. (20)
Fate
10. ROS: We don’t owe anything to anyone.
GUIL: We’ve been caught up. Your smallest action sets off
another somewhere else, and is set off by it. Keep an eye
open, an ear cocked. Tread warily, follow instructions.
We’ll be all right.
ROS: For how long?
GUIL: Till events have played themselves out. There’s a logic
at work—it’s all done for you, don’t worry. Enjoy it. Relax.
To be taken in hand and led, like being a child again, even
without the innocence, a child—it’s like being given a
prize, an extra slice of childhood when you least expect it,
as a prize for being good, or compensation for never
having had one. . . . Do I contradict myself? (39-40)
11. ROS: Wheels have been set in motion, and they have their
own pace, to which we are . . . condemned. Each move is
dictated by the previous one—that is the meaning of order.
If we start being arbitrary it’ll just be a shambles: at least, let
us hope so. Because if we happened, just happened to
discover, or even suspect, that our spontaneity was part of
their order, we’d know that we were lost. (60)
GUIL: But for God’s sake what are we supposed to do?!
PLAYER: Relax. Respond. That’s what people do. You can’t go
through life questioning your situation at every turn. (66)
12. PLAYER: It never varies—we aim at the point where
everyone who is marked for death dies.
GUIL: Marked?
PLAYER: Between “just desserts” and “tragic irony” we are
given quite a lot of scope for our particular talent.
Generally speaking, things have gone about as far as
they can possibly go when things have got about as
bad as they reasonably get. (He switches on a smile.)
GUIL: Who decides?
PLAYER (switching off his smile): Decides? It is written. (80)
13. GUIL: Free to move, speak, extemporise, and yet.
We have not been cut loose. Our truancy is
defined by one fixed star, and our drift represents
merely a slight change of angle to it: we may
seize the moment, toss it around while the
moments pass, a short dash here, an exploration
there, but we are brought round full circle to face
again the single immutable fact—that we,
Rosencrantz and Guildenstern, bearing a letter
from one king to another, are taking Hamlet to
England. (101)
14. Epistemological doubt
GUIL: You did, the trouble is, each of them is . . .
plausible, without being instinctive. All your life you
live so close to truth, it becomes a permanent blur in
the corner of your eye, and when something nudges it
into outline it is like being ambushed by a grotesque.
A man standing in his saddle in the half-lit half-alive
dawn banged on the shutters and called two names.
He was just a hat and a cloak levitating in the grey
plume of his own breath, but when he called we
came. That much is certain—we came. (38-39)
15. GUIL: Rosencrantz . . .
ROS (absently, still listening): What?
(Pause, short.)
GUIL (gently wry): Guildenstern . . .
ROS (irritated by the repetition): What?
GUIL: Don’t you discriminate at all?
ROS (turning dumbly): Wha’? (51)
GUIL (angrily): Then what do you expect? (Unhappily.) We
act on scraps of information . . . sifting half-remembered
directions that we can hardly separate from instinct. (102)
16. GUIL: We only know what we’re told, and that’s little
enough. And for all we know it isn’t even true.
PLAYER: For all anyone knows, nothing is. Everything has to
be taken on trust; truth is only that which is taken to be
true. It’s the currency of living. There may be nothing
behind it, but it doesn’t make any difference so long as
it is honoured. One acts on assumptions. What do you
assume? (66-67)
GUIL: But why? Was it all for this? Who are we that so much
should converge on our little deaths? […] Who are we?
PLAYER: You are Rosencrantz and Guildenstern. That’s
enough. (122)