Mirror - Vol. 37, No. 15 - February 01, 2012

[PLEASE NOTE: This issue was misprinted as issue number 07. It has been corrected to issue number 15 for indexing purposes.] The Mirror (sometimes called the Fairfield Mirror) is the official student newspaper of Fairfield University, and is published weekly during the academic year (September - May). It runs from 1977 - the present; current issues are available online.https://digitalcommons.fairfield.edu/archives-mirror/1831/thumbnail.jp

Mirror - Vol. 27, No. 08 - November 01, 2001

The Mirror (sometimes called the Fairfield Mirror) is the official student newspaper of Fairfield University, and is published weekly during the academic year (September - May). It runs from 1977 - the present; current issues are available online.https://digitalcommons.fairfield.edu/archives-mirror/1556/thumbnail.jp

Mirror - Vol. 22, No. 18 - April 17, 1997

[PLEASE NOTE: the academic year 1996-1997 is for reasons unknown broken up into two separate volumes but contains continuous chronoligical issue numbers. January 30th is that last issue of Volume 21; the rest of the academic year continues with Volume 22. The following academic year (1997-1998) continues with Volume 23. We have not altered these dates in any way as the indexing was not affected.] The Mirror (sometimes called the Fairfield Mirror) is the official student newspaper of Fairfield University, and is published weekly during the academic year (September - May). It runs from 1977 - the present; current issues are available online.https://digitalcommons.fairfield.edu/archives-mirror/1458/thumbnail.jp

Spartan Daily, March 11, 2004

Volume 122, Issue 29https://scholarworks.sjsu.edu/spartandaily/9964/thumbnail.jp

Mirror - Vol. 27, No. 10 - November 15, 2001

The Mirror (sometimes called the Fairfield Mirror) is the official student newspaper of Fairfield University, and is published weekly during the academic year (September - May). It runs from 1977 - the present; current issues are available online.https://digitalcommons.fairfield.edu/archives-mirror/1558/thumbnail.jp

Spartan Daily, March 11, 2004

Volume 122, Issue 29https://scholarworks.sjsu.edu/spartandaily/9964/thumbnail.jp

If I Could Tell

In alternating first-person accounts, two primary and two secondary characters 'speak' the fictional narrative of If I Could Tell. As the title suggests, doubt is implicit in the narrative; there is no impediment, necessarily, to the story being told - 'I could tell it, if .. .' - but, rather, doubt about telling (from the characters' perspective) where the truth lies. An accumulation of first-person revelations forms, in four parts, an altogether more contestable version of the lives, thoughts and impulses of two 'siblings' Jessica (Jess) Morell and William (Willow) Morell/Osborne, a 'hitchhiker', Luna Fortune, and a nurse, Clare. In authoring themselves, each revealing a telling truth but misperceiving what is wholly true, they simultaneously create the narrative that, beyond their power, draws them together, then alienates them. As Luna says - essentially of the difficulty of deciding whether or not Willow is 'a nice guy' - 'My point being, you can't always tell how a story turns out for the person who's listening, because you can't tell what they're hearing, what the story means, because of stuff that's happened to them or stuff they know.' And the crisis of the novel lies at this nexus, the convergence of 'stuff that's happened' and 'stuff (the characters think) they know'. Plot and structure function together in exploring the limits and consequences of this intractability. Willow and Jess are the son and daughter of Frances and Alfred Morell, an airman reported missing in action in a distant conflict when they are infants, but a presence in their lives and their imaginations. After an obscure political upheaval compels them to move from the river settlement of their early years to the city to live with Alfred's unmarried brother, Geoffrey, the promise of a wholesome upbringing fades with a despairing Frances succumbing to drink. Through an accident of circumstance, her decline is associated with a serious injury Jess suffers in falling from a tree and, in the course of her recovery, the budding of an unnaturally intimate relationship with Willow. This intimacy comes to an incestuous climax on the night of their mother's burial, all but destroying their bond. They are estranged for some two decades. By the time they meet again as adults at Geoffrey's funeral, all the most important details of their relationship and their life story are found to be false or flawed - though neither of them knows the full extent. Only Jess knows that Willow is not in fact her brother, his own father having died at the time of her conception, and Willow is alone in knowing that Alfred Morell's fate is critically at odds with the lore they grew up with. As they begin their long journey home in Willow's car, each of them is privately transfixed by the risks and challenges of sorting truth from falsehood, and sealing the rapprochement they long for. Neither foresees the deranging impact of their glancing contact with Luna. The narrative is deliberately placed in an unnamed setting in the hope of freeing it from the burdens of a given history and the reflex associations that inevitably arise from assumptions of prior knowledge. The work is not entirely free, however, from a late-20th century backdrop of ideological contest and transition in which the tropes of personal and public accountability are discernible in the tension between the characters' private and social worlds. Their apparent willingness to discount the wider setting in favour of a more intimate order of interests seems often delusional, and is arguably akin to the author's evasive intentions. The three most prominent characters all have torments to reckon with, each of them in its way originating in the churn of History, though seeming capable of being weighed on a subjective scale. Yet it is probably the social context that is, if murkily, the agency of dissonance in the characters' relations. It falls to Willow to discover - or to show, without necessarily being conscious of the demonstration - that personal and public pasts converge ineluctably, with unpredictable consequences. If I Could Tell is the distillation of a long process of reading and thinking, and four years of writing and extensive revision. The fifth and final draft reveals significant departures from the structure and character development of the first. Influences vary widely, but in thinking through the themes of engaging or evading the historical process, of placing the individual in the muddle if not always the middle, certain texts stand out for their imaginative reach and technical achievements, among them W G Sebald's Austerlitz, Gunter Grass's The Tin Drum, J M Coetzee's Life and Times of Michael K, Tolstoy's novella-length short story Haji Murat, Graham Greene's The Quiet American, Alain Robbe-Grillers The Erasers, Philip Roth's American Pastoral and, more recently, Martin Amis's House of Meetings. Throughout, I found myself returning to the notion expressed by the writer in Andre Gide's The Counterfeiters, who says of his book, emerging 'quite different from what I had been trying to invent', that 'I wish it now to run freely, according to its bent, sometimes swift, sometimes slow; I choose not to foresee its windings'. Its appeal as a writerly credo comes, eventually, with the necessarily humble acknowledgement that doubt stimulated by perceptive supervision is an indispensable accompaniment

Left-Handedness: Laterality Characteristics and Their Educational Implications

The first part of the present study was devoted to a critical analysis of the main investigations which have been performed on the more important aspects of laterality characteristics; while the second part contained an original research into the laterality characteristics of a group of 330 school children of about eleven years of age. The children (162 boys and 168 girls) were subjected to a battery of eighteen tests of the various aspects of lateral asymmetry and to a writing test. In addition, the marks obtained by the subjects on the Group Intelligence Test and the Achievement Tests, which are administered to all children in the schools under the Glasgow Education Committee at the completion of the Primary Stage of their education, were utilised in the present study. The following are the main findings of the experimental section of the study: A. PREFERENCE TESTS Thirteen preference tests were performed by the subjects, three tests each of hand, foot and ear preferences, and four tests measuring eye preference. 1. Right preference predominated in all tests of preference, the greatest percentage of right preference being evident in the tests of handedness. 2. In the tests of hand preference, screwing and throwing were the two activities with the greatest connection; reaching, though positively correlated with the other two, showed more undecided subjects. The percentages for right, left and doubtful preference on all three tests were 71.5, 2.4 and 26.1 per cent respectively, taking all those not consistent on all twelve trials as 'doubtful'. 3. The foot preference tests of kicking and hopping were positively correlated, but there was no significant connection between the foot used in stepping off and the foot used in the other two activities. 4. The two ear preference tests, Sound in Box and the Stop Watch Test, gave connected results, while the results of the Head Turning Test were connected with the former but not the latter test. 5. There was a close connection between the results of all four tests of eyedness, the Cone, Hole in Card, Peep Show and Cylinder Tests. The percentages for right, left and doubtful preference were 48.5, 26 and 25.5 per cent, respectively, taking all those who were not consistent on all sixteen trials as 'doubtful'. 6. A significant correlation was found between each of the three tests of hand preference and the Kicking Test of footedness, and also between the Hopping Test and both the Screwing and Throwing Tests of handedness. 7. The ear preferred in the Stop Watch Test of earedness, where the subject was permitted to hold the watch, had some connection with the hand preferred in the hand preference tests, as also had the direction in which the head was turned at a sound; while the Sound in Box Test of earedness, where the direct influence of handedness was removed, was connected with the preferred eye. 8. There was no connection between the preferred hand in the tests of hand preference and the preferred eye. 9. No connection was evident between those who were non-dominant or changeable in the tests of handedness and those who were doubtful on the tests of eyedness. 10. The boys showed a greater tendency than the girls towards left preference in all tests of hand, foot and ear preference (except the Hopping Test). However, only in reaching, stepping and the Stop Watch Test were the differences great enough to be significant. B. SPEED OF CROSSING TEST The Speed of Crossing Test measured the relative ability of the writing and non-writing hand in drawing crosses at a high speed. 1. A sex difference was found in ability to perform the test, girls being on the average quicker than boys. 2. There was a tendency for the left-hand writers to be slower than right-handers of the same sex in performing the task with the writing hand. 3. The ratio of ability with the writing hand to ability with the non-writing hand was calculated, and showed that in the left-hand writers there was a tendency for the two hands to be closer in ability than were those of the right-hand writers. 4. A significantly smaller ratio of writing hand to non-writing hand was found among the right-handed boys than among the right-handed girls, in other words, the superiority of the right hand over the left hand was greater among the girls. 5. A significantly greater percentage of those with a low index of handedness on this test showed some left tendencies on the preference tests than showed no such tendencies; while a greater percentage of those with a high index of handedness showed right preference on all the tests than showed any left tendency. C. SIMULTANEOUS WRITING TEST 1. When visual cues to direction were removed, as in this test, there was a tendency for the non-writing hand to mirror in bimanual writing; there was, however, some mirroring with the hand accustomed to writing. In the total group of subjects, the mirroring with the right hand was approximately one-sixth as frequent as mirroring with the left hand. 2. There was no evidence of mirroring in one-third of the subjects, while 45 subjects mirrored with both hands. All but eight of the remaining subjects mirrored with the writing hand only. (Abstract shortened by ProQuest.)

1932 Spring Quiz & Quill Magazine

https://digitalcommons.otterbein.edu/quizquill/1083/thumbnail.jp

'Party Season: A Screenplay-Based Inquiry into Filming and Judgment, with Accompanying Essay'.

Party Season is about sex and speech and employs some of the conventions of the porn film. Apparently inconsequential 'filler' scenes and dialogue link the pay-off scenes of vividly depicted sex. Except that, in Party Season, this relationship is gradually reversed - the scenes of excessive behaviour becoming 'filler' scenes linking the pay-off moments, the latter often embedded in deliberately extended 'unrealistic' dialogue. A key component of this as a piece of inquiry-based practice is the exploration of this altering balance and of how action and dialogue can function to produce such a reversal of conventionality. The intention with the accompanying essay is to sustain a progressive interweaving of reflective commentary and analytical vignettes. There is also an intended symmetry here - an 'excessive' essay (long, without conventional subheadings, breaks, etc.) will sit alongside the 'excessive' screenplay as its twin of sorts, a different style of invention. The essay is to speech what the screenplay is to sex