Creative college essay responses

Bodies of Text: On the Lyric Essay. 1. THE WHITE SPACES. Suppose you want to write, in prose, about a slippery subject that refuses definition. College? Something like water, or the color blue. Like the word “lyric,” or the word “essay.” Beginning, you balk at research paper, the question of form. One long block of prose seems to suggest a linear accretion of college responses meaning, building to a thesis—but the more you poke at your subject, the more it seems to spread in all directions, to touch everything you’ve ever touched. Often, “lyric essayists” like Maggie Nelson, Anne Carson, and Eula Biss solve this problem, or represent it, by using white space. Each paragraph (Nelson prefers “proposition”), like a stanza of ap world history poetry, becomes a little island of text, lapped by whiteness—set against blankness, and in relation to the others.

Like music, lyric paragraphs make use of silence. They draw attention to their own density. In navigating them, the reader (perhaps confused, perhaps delighted) becomes a stakeholder in their meaning. What do the white spaces signify? What does their silence say? John D’Agata and Deborah Tall, editors of the college, literary journal Seneca Review, are generally credited with the dbq essays history, institutionalization of the “lyric essay” as a genre. In the introduction to a 2007 issue specially dedicated to the term, they write: “The lyric essay does not expound.

It may merely mention. As Helen Vendler says of the creative responses, lyric poem, ‘It depends on gaps. . . . Dbq Essays Ap World? It is suggestive rather than exhaustive.’” In emphasizing the gaps, we run the risk of creative essay casting the lyric as diminutive: it “suggests,” or “merely mentions.” Do such verbs imply an anorexic refusal to “expound?” Or can the lyric essay give rise to questions on world a different kind of college essay responses amplitude? In her book Lyric Time, Sharon Cameron refers to the voice of the lyric poet as inherently “choral,” since it takes place outside of linear (narrative) time and can thus synthesize multiple temporalities into ms thesis, a single utterance. The lyric essay, though it unfolds over a longer span of college essay responses time, might be seen as accomplishing something similar: a Whitmanesque multitude refracted through a singular voice. Plurality is one consequence of fragmentation. Perhaps the lyric essay is strengthened not by unidirectional “expounding” but by presentation a lateral spread accompanying its movement through linear time, as its “propositions” multiply. Recently, scholars in various fields have begun to creative critique linear models of meaning-making in money for and, favor of the sprawling “network” or “rhizome.” Caroline Levine writes in creative college essay, her book Forms, “networks might seem altogether formless, perhaps even the metathesis, antithesis of form.” Yet they “have structural properties that can be analyzed in formal terms” (112). The white spaces might be read as the necessary separations between nodes of a network, or as intervals between distinct voices that together form a chord. The essay’s plurality might become a kind of college extended grasp: “As Henry James put it…‘Really, universally, relations stop nowhere’” (Levine 130).

Or we might view the recent emergence of networks and ap world rhizomes as evidence that there are more ways of conceiving of structures—more ways of reading—than we might have previously granted. College Responses? My aim is not to advocate for presentation the lyric essay, or for a particular method of reading lyric essays—rather, I want to read the category “lyric essay” as a text, keeping in mind that the form’s greatest innovation may be an invitation into heightened awareness of our reading strategies: of creative college individual texts, and of genre itself. Because of their plurality, their sprawling network of reference, their refusal of traditional hierarchy, Levine writes that networks can be seen as “emancipatory—politically productive” (112). Productive of what, in this case? Emancipatory for whom? Tall and D’Agata write, “Perhaps we#8217;re drawn to the lyric now because it seems less possible (and rewarding) to approach the world through the front door, through the myth of objectivity.” They trust their contemporary readers to grant that objectivity is a myth—an an assumption upon money happiness essay which earlier lyric theorists, defending the legitimacy of their field against the presumed objectivity of “science” and creative essay “reason,” could not necessarily count. D’Agata and Tall do not define the word “lyric,” but by rubric social research paper deducing its qualities from those they set it against, we can tell that they associate it with a) the unmythlike fact of subjectivity and b) some kind of back door. Or, well, at creative college, least not the front. Maybe lyric slips through a side entrance; maybe it tunnels into the basement; maybe it parachutes onto the roof and slides down the chimney. Perhaps the lyric doesn’t enter, just presses its face against a window and longingly observes.

Even in the context of poetry, the meaning of “lyric” is elusive. In their introduction to The Lyric Theory Reader, Virginia Jackson and Yopie Prins write, “A resistance to definition may be the metathesis english, best basis for definition of the lyric—and of poetry—we currently have” (2). Lyric is often defined by what it is not: depending on who you ask, it’s not narrative; not long; not traditional; not experimental; not epic; not dramatic; not rhetorical or persuasive; not performative. And yet, somehow, “lyric” has come to creative responses stand in for questions poetry in general, or prose at its most “poetic,” whatever that means. Jackson and Prins speculate, “Perhaps the lyric has become so difficult to define because we need it to be blurry around the edges…to include all kinds of verse and all kinds of ideas about college what poetry is presentation, or should be” (1). When critics do define lyric against something else, it’s often something perceived as normative, some sort of “front door.” In one of the most influential discussions of lyric poetry, “Thoughts on Poetry and its Varieties” (1833), John Stuart Mill defined it against the performative rhetorical eloquence of political oratory: “Eloquence is essay responses, heard, poetry is english, overheard” (71). In a sentence deleted from the essay yet printed and widely circulated later, Mill used an image of spatial marginalization to responses compare the poet to someone crying out in a solitary prison cell, overheard by the reader on the other side of the wall.

This spatial metaphor, like D’Agata’s and Tall’s, explicitly eschews the front door—in fact, eschews entrance altogether. For Mill, the wall between the poet and the reader preserves the authenticity of the english, poet’s utterance. Uncorrupted by attention to rhetoric, which bends it to another’s perceived expectations, the poet’s expression remains pure. Creative College Essay? But the poet knows he’s writing for someone. Mill himself admits as much, acknowledging the inherently performative character of can buy happiness against lyric: “It may be said that poetry which is printed on creative college essay, hot-pressed paper, and sold at a bookseller#8217;s shop, is research, a soliloquy in full dress and on creative essay responses, the stage….The actor knows that there is an audience present; but if he acts as though he knew it, he acts ill.” In other words, the poet’s art consists of skillfully, publically, pretending to be alone. The concept of the “fourth wall,” the invisible barrier between performer and audience, collapses Mill’s two metaphors and proves that the poet’s solitude is not, in rubric, fact, solitude. It’s a triangular relationship between reader, writer, and wall. Creative? In Eros the Bittersweet, Anne Carson describes this triangulation as fundamentally erotic: “Where eros is lack, its activation calls for studies three structural components—lover, beloved and that which comes between them” (16). Lovers and readers fantasize about freedom, but require structure. Responses? “Nonfiction” is presentation, perhaps the only genre to contain a negation in creative, its very name. The category contains everything from journalism to memoir to biography to history cookbooks.

But it is quite clear about what it refuses. Why is this particular dividing line so bold? John D’Agata, in a special anthology of Seneca Review essays called We Might as Well Call It the Lyric Essay, argues that Nonfiction developed in response to a perceived threat. He cites a 1903 article in which librarian William Doubleday complains of his patrons’ increasing demand for fiction, seen as unserious frippery for college passive (usually female) readers. Doubleday prefers “a special form of presentation literature read by young men” who “recognize the creative college essay, sternness of the essay questions on world religions, battle of life” and prepare themselves for it by “serious reading.” In one of the first recorded uses of the term nonfiction, Doubleday uses the eroticized language of advertising to creative essay suggest its potential deployment against fiction’s threatening advance: “Attractive works of essay on world non-fiction may be temptingly displayed in convenient showcases” (5). Nonfiction has flourished, even sprouted modifiers (journalistic nonfiction, creative nonfiction, etc.) and MFA programs. Yet D’Agata complains that the essay, term’s largeness robs it of legitimacy: “Within the ms thesis presentation, span of a single century, ‘non-fiction’ has overshadowed half a dozen other literary terms to become the bland de facto banner that flaps above everything from journalism to memoir, imposing the creative college essay, same aesthetic standards and expectations on ap world history, everything that falls beneath its shadow.” Why is this a problem? Presumably, because the umbrella term has been imposed from the outside, rather than chosen by its practitioners. More particularly, because “our adoption of ‘non-fiction’…has segregated us from art.” Unlike Doubleday, who feared the threat of a genre he regarded as feminine and creative college Other, D’Agata is troubled by a tradition he’s writing within—on one side, by the pedantic, fact-fetishizing world of reportage, and on the other, by ap world history the fuzzy overshare of the college essay responses, memoir, with its Oprah’s-Book-Club whiff, its trauma narratives hawked for redemption.

The term “lyric essay” brings poetry—he highest of the high literary arts—into the realm of nonfiction. The term ingeniously takes advantage of lyric’s double valence: 1) it definitely means poetic and 2) nobody can agree on what else it might mean. In adopting the happiness for and against essay, term “lyric,” the creative responses, “lyric essay” subtly smuggles in the concept of the money happiness, “Lyric I”—a term that connotes, among other things, the notion that a poem’s speaker can transcend the boundaries of the poet’s actual, historical self. The “Lyric I” has been a site of generative contention, but critics generally agree on creative college responses, one particular paradox: the “I” belongs, at least partially, to the poet; yet it would be the worst kind of misreading to accuse the poem of falsehood if it appeared to depart from the poet’s biography. The “Lyric I” provides access to a space in which, as Ben Lerner puts it in his novel 10:04, “the distinction between fiction and nonfiction [doesn’t] obtain…the correspondence between text and world [is] less important than the intensities of the poem itself.” Presumably, D’Agata wants to rubric research defend a similar kind of freedom for the lyric essayist, allowing her to construct a persona marked by artful indeterminacy, unhampered by the shackles of fact-checking yet assumed to creative responses bear a close relationship to “reality” in all of essay process its “sternness” (unlike fiction, which is a made-up story about fake people). Creative Responses? Thus, ingeniously, the term “lyric essay” simultaneously disowns the low-art subgenres on both sides of the fiction-nonfiction border. In allowing for lyric indeterminacy, it repudiates both the ms thesis, dry fact-obsession of the journalist and the solipsistic navel-gaze of the memoirist; yet, by hewing closely to “reality,” it avoids being mistaken for creative essay a puffy airbrushed fantasy or a yarn devised for entertainment.

There is power in naming. Institutionalizing the term “lyric essay” achieves, among other things, a guaranteed career niche for D’Agata, a place for him in dbq essays, literary history, firmly within the camp of High Art. More so even than Seneca Review, for which he shares the college, masthead with his former mentor Deborah Tall, D’Agata’s anthology The Next American Essay stakes his claim on the genre. Next American Essay is an unusual anthology. Ap World? It offers 32 essays (including the “prologue” and “epilogue”), ordered chronologically, one for college responses each year, from 1975 to 2003.

Why begin in 1975? Because that was the year D’Agata was born. Rubric Social Studies Research Paper? This choice might seem appropriate for an anthology of lyric essays: like a lyric essay, the book is essay responses, highly personal and history poetically idiosyncratic. D’Agata’s introductions to responses each selection contain personal anecdotes, such as “I was an eight-week-old fetus when my mother first read to me” (she read nonfiction) and “In this year I am fired from my position as News editor of my fifth-grade class’s in-house newspaper… Mrs. Tuttle, who fires me, says I don’t know the difference between nonfiction and art. Mom says to take this as a compliment” (2, 167). Like a lyric essay, the anthology absorbs and transmutes the contents of essay on world religions its author’s life even as it discusses his ostensible subject.

The book’s form could be read as an ingenious comment upon lyric essay form itself. And yet there’s something suspiciously self-anointing about it. Though Next American Essay is widely regarded as the defining lyric essay anthology, the term doesn’t show up until page 435, introducing the final selection. The book’s structure thus stealthily posits a narrative with two intertwining threads: D’Agata’s life and essay responses the essay’s evolution. The climax of both happens simultaneously, with the naming of the essay questions, lyric essay. As he charts the essay’s forward progress into ever more lyrical territory, D’Agata also reaches backward, gesturing into the decades and centuries of literary history long before his birth, as if to show that the consummation of creative this boy-meets-genre romance was historically inevitable—fated, even. In his commentary, he gestures as far back as Cicero and rubric social Sei Shonagon. Plutarch and Plato, he suggests, were proto-lyric essayists. Such transhistorical mapping of genre has its advantages, and may not be entirely self-serving. The term “lyric” itself has been used in a similar way; though many contemporary theorists reach as far back as Sappho for the origin of lyric poetry, Jackson and Prins point out that “the concept of lyric as the creative responses, oldest form of poetic expression is actually a relatively recent notion; specifically, it is a post-Enlightenment idea” that became reified during the Romantic period (2). Reaching back into history for essay the presence of the creative essay, lyric, critics run the risk of anachronistically imposing Romantic constructions of the english, individual self onto earlier time periods.

Yet Jonathan Culler has defended this broad, transhistorical use of the term by arguing that such generic classification can provide “the scope to activate possibilities occluded by narrower conceptions” (75); it helps critics relate temporally disparate works through tropic similarities, taking us “beyond the creative essay, period-by-period agenda of our ordinary studies” (75). Ms Thesis? And yet the ambiguous nature of D’Agata’s structural move—at best a lyrical gesture in and of itself, at worst simply careerist—seems at least worth acknowledging. In a widely read essay in The Believer, Ben Marcus heaped praise on the anthology: “D’Agata’s transitions alone, which show how alive an anthology can be, and would make any editor envious… could outfit a whole new generation of writers with the skills to launch an impressive and relevant movement of writing.” I don’t disagree with Marcus, not exactly; I found D’Agata’s transitions artful, too. But, especially if D’Agata is helping to “launch” a “movement,” it seems important to examine the story of that movement, and creative college responses recognize other ways of centering it than with his birth. There is power in naming, and not just for the namer: once the “lyric essay” existed as such, writers could write into the fledgling genre, expand its territory from within. As Eula Biss writes in her essay “It is money can buy for and essay, What it Is,” published in Seneca Review’s 2007 issue, “Naming something is a way of creative college responses giving it permission to exist” (55).

Of course, essayists were writing lyrically long before D’Agata and Tall and the Seneca Review; the anthology’s transhistorical focus proves as much. Furthermore, D’Agata never claims to have been the first person to utter the term—just to institutionalize it. The term caught on partly because it described something people were already doing, that had only lacked a unifying generic label. The fact that they continued to technology do so once that name existed, perhaps more visibly, should not be viewed as an argument that anyone needed the permission of D’Agata or of Seneca Review to create such work. And yet, when a writer sits down to write something, she must consider form. Some writers ascribe an anthropomorphic agency to their own writing, investing it with a desire to take a particular shape; they claim to essay responses postpone thoughts of form until after the writing has stewed long enough in formal indeterminacy to “know what it wants to be,” or that they’ll begin writing in one form and another form will “take over.” Perhaps it’s possible to essay on world sit down and enter some blank formless state of receptivity and accept whatever the muse provides. But personally, I can’t imagine beginning writing without a specific formal aim—to write a comic short story, or an argumentative essay, or a sonnet. Things often change as I write, but beginning the process is difficult enough without being able to envision the shape I’m approximating, the container I’m trying to fill.

Once the term “lyric essay” became institutionalized by journals like Seneca Review, a writer could sit down and intend to write a lyric essay. Maybe she’d already been doing so, with or without the essay, term in mind, but now she could write with more clarity about her aims and for and essay audience. She might know how to “market” her essay, and to whom. This intentionality, crudely teleological and possibility-limiting as it might seem, can be experienced as a kind of creative responses freedom. Biss has described the essay, form as “organic to creative college essay responses the way I think” (57). What a gift, to discover a container whose shape mimics one’s thoughts so faithfully that it seems transparent. This isn’t in any way to money happiness for and essay argue against generic indeterminacy; I’m excited by works that break form. But it’s my feeling that formal codifications can be generative: the more rules there are, the more potential sites of identification exist—also, the creative college, more rules there are to can buy happiness for and essay break. To address the term “marketing”: it seems silly to use the term in this context, when no one is making much money off lyric essays. But there’s a different kind of creative essay responses capital at ap world, stake here, the kind associated with “high art.” Not only “cultural capital,” but actual money in the form of essay responses fellowships, grants, and research lucrative university jobs. To make space in the “high art” realm for a type of writing is to confer power on those who practice it.

So who are today’s lyric essayists? If indeed the lyric essay sidesteps the creative essay responses, “front doors” of journalism, memoir and fiction in order to open a portal into a new literary space, then who is being invited? Who is crashing the process, party? Who is notably absent? 3. GENRE AND GENDER.

For all her gratitude at what the term “lyric essay” has permitted her to discover and articulate, Biss remains suspicious: “I suspect that genre, like gender, with which it shares a root, is mostly a collection of lies we have agreed to believe” (56). Indeed, as many have noted, “genre” and “gender” both concern form and essay classification. Like most taxonomic classifications, both genre and money happiness against gender are somewhat arbitrary; they have hidden agendas. Responses? They are both simultaneously fictive abstractions and categories that shape lived reality. The name “essay,” famously, comes from ms thesis a verb that means “to weigh” or “to try,” highlighting the genre’s emphasis on process, its willingness to creative essay responses embrace indeterminacy. Citing these qualities, David Lazar argues that the essay is inherently a “queer” genre: “The gender category difficult to characterize by normative standards is queer. The genre category difficult or impossible to questions religions characterize, the essay, is also queer…. The desire of the essay is to transgress genre” (19-20). Lazar personifies the essay as a desiring subject in order to plead against carving it up into sub-genres; the term “lyric essay,” he argues, restricts the essay’s freedom by making it “genre normative” (20). When writing about genre, there’s a tendency—almost a cliche—to disparage its limits, to gesture longingly towards an over-the-rainbow world beyond it. Ben Marcus writes, “Once upon a time there will be readers who won’t care what imaginative writing is called and will read it for its passion, its force of intellect, and for its formal originality.” But don’t we long for labels, too?

What would a world without them look like? Could “formal originality” exist without definitions of form? In her book The Argonauts, Maggie Nelson shares an anecdote from her friend Christina Crosby, a professor of feminist theory, whose class “threw a kind of coup”: “they were tired of dismantling identities, tired of hearing that the most resistance one could muster in a Foucauldian universe was to work the trap one is inevitably in. So they staged a walkout and held class in a private setting, to which they invited Christina as a guest. When people arrived, Christina told me, a student handed everyone an index card and asked them to write ‘how they identified’ on it, then pin it to their lapel. Christina was mortified…she’d spent a lifetime complicating and deconstructing identity and teaching others to do the same, and now, as if in a tier of hell, she was being handed an index card and a Sharpie and being told to squeeze a Homeric epithet onto it” (59). This anecdote comically illustrates how both our lust for classification and our rejection of it might spring from a similar source—an urge to accurately limn reality. As Nelson puts the creative college, dilemma: “On the one hand, the Aristotelian, perhaps evolutionary need to put everything into categories—predator, twilight, edible—on the other, the need to metathesis english pay homage to creative essay responses the transitive, the flight, the great soup of being in money can buy happiness for and against essay, which we actually live” (53). This duality, both vexing and productive, motivates many writers and critics.

Maybe this is creative essay, why we’re tempted to personify our own writing as desirous, to imagine it capable of willing transgression. Transgression is sexy. Social? Think of overhearing, of eavesdropping; of scaling walls to reach the unseen beloved; of back-door entrances to speakeasies with complex passwords. But every transgression requires a boundary. Christina Crosby’s story captures the confusion that can result when a category like “feminism” is creative responses, transgressed from within: such transgressions, paradoxically, require the ap world history, proliferation of walls.

By rejecting her supposedly hierarchical teaching methods, Crosby’s students were required to reify new categories of self-definition. Creative College Responses? Presumably, Lazar’s distaste for presentation the institutionalization of the “lyric essay” shares something with Crosby’s distaste at being handed that Sharpie. If, as noted above, ever-more-subtle classifications might become generative sites of identification and/or resistance, Lazar and Crosby remind us that they can constrict and essay responses chafe as well. So what new wall might be reified by the “lyric essay” in order to name the transgression it seeks to perform? Who might be liberated, and who “mortified,” by this taxonomic move? One concept that’s being transgressed is that of the “fact.” In a review of D’Agata’s book The Lifespan of a Fact, Lee Gutkind describes hearing one of his colleagues use “D’Agata” as a verb. “I totally D’Agata’d this,” she says, meaning “that she had fudged her story, made some of it up.” Gutkind is the protective father, if not actual originator, of the term “creative nonfiction,” which of course rivals “lyric essay.” Many writers and critics use the dbq essays ap world, two terms interchangeably, or see lyric essay as the essay, sub-genre, but the essay questions on world religions, terms of the turf war between these two generic godfathers themselves are starkly clear: Creative Nonfiction, the journal Gutkind edits, fact-checks assiduously, while Gutkind imagines that D’Agata, on hearing his name used as a synonym for fictionalizing, “would be pleased.” The Lifespan of a Fact consists of the record of correspondence between D’Agata and college essay responses Jim Fingal, his fact-checker at The Believer on english, a story about a teenager’s suicide that had been rejected by Harper’s due to responses factual inaccuracies. D’Agata is metathesis english, unapologetic about his strategy of altering facts for the sake of “art”: “When Fingal proves that there are 31 strip clubs in Las Vegas and not 34 as D’Agata claimed, D’Agata says: “The rhythm of ‘34’ was better in the sentence than the rhythm of ‘31,’ so I changed it.” What is the difference between importing the artfully indeterminate “Lyric I” into the realm of college essay responses nonfiction, as a way of granting power to subjectivity, and simply making shit up? Does such a distinction matter? D’Agata claims not to care, but I side with Gutkind in suspecting that there’s a difference between “queering genre” and borrowing the authority of one genre, on bad credit, to bolster the profile of presentation another.

Furthermore: does such a maverick stance towards “fact” betray a certain kind of college responses presumption? One wonders how a writer might reliably distinguish between irrelevant facts—facts that can be smudged for the sake of art—and facts on presentation, which others’ lives and legal futures might hinge. Creative College Responses? I’m not saying that the facts D’Agata changed fell into the latter category—but I’m not sure I would trust myself, or anyone else outside of the story, to know the difference. To assume such power is to essay technology unquestioningly assume one’s right to narrate another’s reality. Gutkind goes farther: “The market for lyric essays is essay, limited at rubric social studies paper, best. Perhaps this new book’s lame idea, that art supersedes fact, is D’Agata’s foray into creative responses, self-promotion and image-building in happiness for and, the creative writing academy. That—and not the creative essay, general public—seems to be his target audience.” So here is the High Art thing again. Not all “lyric essays” play fast and loose with the facts, and most of them don’t pretend to be journalism anyway. But still: does the “back door” of paper lyric lead, perhaps, not to a shadowy speakeasy but to a rarefied academic cocktail party, one whose attendees can afford to essay scoff at the banality of “fact?” Perhaps D’Agata can be forgiven for conflating the creative writing academy with some kind of marginal space: it hardly holds the cachet of other, longer-standing, more traditionally prestigious academic departments. It may be growing, but perhaps a scrappy underdog feeling still clings to it.

Many public debates have been held, for example, about english whether MFA programs are inherently anti-intellectual. Creative Essay? Even so, if the traditional academy is what the lyric essay seeks to transgress—well, I’m not sure this is a transgression that interests me. But perhaps I’ve been paying too much attention to D’Agata, because his voice is so difficult to miss. When I was an undergraduate, I sang in the Yale Women’s Slavic Chorus, which was formed in 1969, the first year women were admitted to the university. Its origin story: when a group of women petitioned to join the happiness essay, long-established Russian Chorus, they were denied, but one of its members volunteered to teach them Bulgarian women’s vocal music. Today, the Yale Women’s Slavic Chorus is still going; their gatherings and creative essay concerts are still the metathesis english, weirdest, loudest, most joyous, most unapologetically female events I’ve ever attended.

Sometimes the original male founder comes to these gatherings and hangs around. He tells anyone who asks that he founded the chorus, that he is responsible for essay its existence; if you smile appreciatively and appear willing to listen, he’ll quip that he did so “to meet girls.” But it’s obvious, once the music starts—once the “girls” open their throats and start hollering—that none of it’s really about him. I’m not saying D’Agata is social, that guy. (For one thing, he’s not standing on the sidelines; he’s singing too.) But I suggest the analogy to creative responses frame the different kinds of ownership that might be at stake here. In Next American Essay, D’Agata writes, “In Italy stanza means ‘a room.’ In Spain stanza means ‘a shelter.’ In France…stanza can be used to religions describe ‘a stance’—a way of carrying oneself” (382). I like the little volta of creative college this third definition.

What if genre is less like a house than a way of holding the body—of inviting the body to speak? Maggie Nelson in Bluets: “One image of the intellectual: a man who loses his eyesight not out of shame (Oedipus) but in order to think more clearly (Milton). I try to avoid generalities when it comes to the business of gender, but in all honesty I must admit that I simply cannot conceive of a version of female intelligence that would advocate such a thing. An ‘abortion of the metathesis, mind, this purity’ (W.C. Williams)” (55). Gender is creative essay, a slippery, often-misleading signifier, but it’s also a lived reality. Being female makes it difficult to forget that one has a body, that one is a body.

Susan Griffin echoes Nelson’s critique of essay this brain-in-a-jar model in her essay “Red Shoes.” “Without the body,” she writes, “it is impossible to conceive of thought existing. Yet the essay responses, central trope of our intellectual heritage is dbq essays ap world history, of a transcendent, disembodied mind” (306). Such a notion, she argues, is essay responses, a fantasy of liberation that itself becomes a kind of cage: “The idea of an entirely autonomous mind has a subtext, and that is the desire for unlimited freedom from natural limitations…. And yet limitations are a necessary predisposition for any existence, including the existence of something we suppose to be abstract and cerebral, like the essay. And when the essay is built on the purposeful ‘forgetting’ of the body, these limitations paradoxically grow greater.” (306) Jenny Boully’s essay “The Body,” also included in essay questions on world religions, The Next American Essay, consists exclusively of college essay footnotes. Process Technology? Some of its pages are almost entirely blank. The essay’s title refers not only to creative college responses its own absent “body of text,” but to the physical body of its lyric speaker.

Thus, the essay simultaneously relegates the female body to presentation its margins and casts such marginalia as its central concern. Creative College Essay Responses? The last thing I want to do is rubric social research paper, suggest some kind of easy relationship between gender and literary form, to argue that women are predisposed to write in a certain way. And yet, for creative college many, writing about gendered experience presents a paradox: how to represent the robustness of one’s own lived experience while also representing the experience of obscurity, of erasure? How to explore the messy, fluid realities of the metathesis english, body without sacrificing so much linearity that one’s work is labeled incoherent or unreadable? How to transcend the “diminutive,” the traditionally “feminine,” without devaluing it? Susan Griffin again: “Is it possible to write in creative college essay responses, a form that is both immersed and distant, farseeing and swallowed?

I am thinking now that this is ap world, what women have been attempting in the last decades. Not simply to enter the world of masculine discourse but to transform it with another kind of knowledge” (315). The lyric essay, with its associative logic and its openness to visuality as a tool of meaning-making, may in fact be more suitable than other forms for expressing embodied truths—especially those previously neglected, those experienced in creative college essay responses, the gaps between sanctioned “facts.” It may offer unique tools for research expressing the presence of absences. Perhaps this is why many notable female writers, especially those interested in essay responses, writing about and through their female bodies, seem to excel at the lyric essay, to find the genre a congenial home: Maggie Nelson, Jenny Boully, Susan Griffin, Anne Carson, Eula Biss, Mary Ruefle, Brenda Miller—among many others. Perhaps the celebration of these writers could not have happened earlier, when women were less represented in the literary mainstream. Dbq Essays Ap World? That same mainstream is also, conveniently, more receptive now to regarding embodied and fragmentary writing as art, as a valued form of intellection rather than an avoidance of it. Griffin’s and Boully’s presence in The Next American Essay indicates the acceptance of their writing by the creative writing establishment. Today, such writers are valued not as quirky token voices but as formal innovators.

The essays mentioned above do not necessarily represent the dizzyingly diverse genre as a whole, in either their form or their concerns; even if I could, I’m not really interested in proving that they are, or that the lyric essay is somehow a “female” genre—to do so would be to essentialize, and to college responses run the research, risk of ghettoizing. Creative Essay? (Besides: even the essay process technology, term “female” feels, these days, like an outmoded category in need of renovation.) But these examples serve to highlight the folly of creative college separating “identity politics” from studies of “form,” as many critics still insist on doing. Essays like Boully’s show how formal innovation can arise, at least partially, out on world of the college, urgent need to explore the technology, lived reality of a particular identity. It seems to me that any genre proving hospitable to such efforts should be welcomed. Despite Lazar’s objections, “queerness” might not be hampered by generic reification: the lyric essay potentially gives high-art sanction to all sorts of experiments. And not just those by women, or queer writers. If the lyric essay’s associative structure, its deployment of visual tropes and of blank space, are tools particularly suited to exploring the bright mess of embodied experience, then the genre opens new possibilities for anyone with a body. Creative College Responses? Paradoxically, it also seems well-suited for ms thesis presentation exploration of the disembodied, the essay responses, fragmentary, the flashbulb immediacy and metathesis ephemerality of the creative college essay, Internet age. Sarah Menkedick skeptically writes in “Narrative of Fragments” that the lyric essay’s form, which seems to english both represent and essay responses invite interruption of the reader’s attention, “is as easy to consume as a Flickr slideshow, as successive sound bites on CNN, although in money for and essay, its language and content as a whole it intends to be difficult and tries for Barthesian jouissance.” Maybe—but to creative essay me, this paradox seems less like hypocrisy than evidence of research a messy, invigorating attempt to reckon with disruption. In this post-postmodern age, even writers who might have previously benefited from the illusion of a unified, separable self are forced to confront the reality of fragmentation, and college essay responses find new ways to express it.

David Shields writes in “Reality Hunger” that he prefers lyric essay to metathesis english fiction because it is, well, more “real”: “We want work to be equal to the complexity of experience, memory, and thought, not flattening it out” (83). The lyric essay borrows fiction’s interiority while letting go of its fidelity to the potentially “flattening” linearity of narrative. In doing so, it invites the reader into a crystalline structure of college essay thought that—like a rhizome or network—might resemble chaos and formlessness at first, but upon can buy happiness for and essay closer look, might accurately represent the creative responses, bright mess of a particular mind, inside a particular body, inside the money can buy against essay, vivid confusions of our shared world. I suspect that most practitioners of the lyric essay, whatever they think of the term itself and its relation to identity politics, would resonate with Susan Griffin’s rhetorical questions in creative essay, “Red Shoes”: “Bringing the public world of the essay and the inner world of fiction together, is something sacrificed? The high ground? Perspective?

Distance? Or is it instead a posture of detachment that is renounced, a position of superiority? The position of ms thesis presentation one who is essay responses, not immersed, who is unaffected, untouched? (This is, of course, the presentation, ultimate ‘fiction.’)” (314) At its best, the lyric essay accurately locates the writer in the “great soup of being” —the confusions of lived time, the jagged shape of thought, the college essay responses, betrayals and silences of the rubric studies research, body. 4. Creative College Responses? THE WHITE SPACES (RECONSIDERED) I’ve typed the phrase “white spaces” so many times now that I can’t help but focus on questions on world, the word “white.” Blank pages are usually white. But that doesn’t mean they are innocent. Claudia Rankine’s recent book Citizen has been called a lyric essay. Creative College Essay Responses? Though most reviews labeled it as poetry, its formal indeterminacy and plurality have invited a variety of classifications. Either way, the subtitle, “An American Lyric,” seems to invite the reader to treat the book’s speaker with the generative indeterminacy, the choral plurality, of a “Lyric I”; Rankine has said that this speaker, who explores the lived experience of Black subjectivity in metathesis, America, conveys experiences that are her own as well as those of people she knows. The book mostly eschews the “I” itself in favor of a second-person “you”; this “you” could represent the speaker’s plurality, or her dissociation from herself.

Or it could be addressed to the reader: a potential invitation, a potential accusation. Many associate whiteness with blankness, innocence. But Rankine’s book reminds us that whiteness is more like willful ignorance, disavowed knowledge. It’s a highly complex set of codes and privileges, disguised as normative neutrality. To equate whiteness with blankness is a refusal of knowledge—or of acknowledgment. Citizen’s spare blocks of prose on blinding-white paper serve to underline this notion: to force the reader to confront whiteness as part of the creative college essay, text, to confront whatever she projects onto dbq essays history it in response to its difficult (and notably black) “propositions.” One notable absence in The Next American Essay: writers of color. Essay Responses? D’Agata cops to english the anthology’s demographics in his introduction: “There are 19 men in here, 13 women. Twenty-nine are Americans; 1 is creative college responses, a Mexican; 1 is can buy happiness essay, Canadian. There’s a Native American, a Korean American, an African American, a Thai American.

I’ll bet you there are probably some gay people, too” (1). I guess he figures he’ll get points for honesty. But, as Nelson writes in The Argonauts, “The notion of privilege as something to which one could ‘easily cop,’ as in ‘cop once and be done with,’ is creative college essay, ridiculous. Privilege saturates; privilege structures” (97). Rubric Research? For an anthology of 32 writers to contain only college, one African-American, and only five writers of color in total, is striking—particularly striking when the words “Next” and “American” are in its title. Social Paper? In the “Next America,” the one on the verge of creative college essay being, Americans of color will outnumber their white compatriots. (We Might as Well Call it the Lyric Essay isn’t much better: just 3 writers of color out of 15 total—demographics presumably representative of Seneca Review as a whole.) So are writers of color particularly under-represented in this fledgling genre? Or in John D’Agata’s mind?

Or do these numbers reflect the ms thesis presentation, larger inequities of the publishing world, of society? If I had to guess, I’d blame the exclusion not only on D’Agata’s personal blind spots but on a persistent yet misguided notion in the Academy that “high art” and college essay responses “identity politics” are inherently contradictory. Either way, there are many wonderful writers of ms thesis color who might be called “lyric essayists.” Roxane Gay, Toni Morrison, Judy Ruiz, Maxine Hong Kingston, perhaps even James Baldwin. And more—certainly, many that remain unknown to me. Creative College Essay Responses? It would be unfair to disown my own complicity in this; writers of studies color have rightly taken white writers like me to task for not looking harder, past the gatekeepers’ darlings. But if such writers remain outside of the anthologies and publications considered to be genre-normative—to define the standards by which the creative essay responses, lyric essay is recognized and marketed—that says something.

For one thing, it says that we need some new anthologies. If the metathesis, lyric essay does in fact open up new and exciting possibilities for embodied writing within the realm of High Art, it should not, in its excitement at finally being invited, neglect to look around and see who is still absent. Still, I would like to insist on seeing the lyric essay’s blank spaces as sites of possibility for college everyone—if only because, in insisting, we might make it so. An essay by novelist Claire Vaye Watkins, “On Pandering,” recently went viral. Watkins decries the way in which her own internalized misogyny shaped her first book, while calling herself out on her frequent blindness to her own white privilege: “Myself, I have been writing to studies paper impress old white men.” Like Watkins, I recognize the presence in my writing-brain of a “tiny white man.” And yet as a female writer I’ve been invigorated by identifying patriarchal structures so as to creative essay responses depart from them—to conceive of myself as writing into some other place yet to be mapped. I might, at times, bemoan the inescapability of the patriarchy (Nelson in The Argonauts: “There is no control group. I don’t even want to against essay talk about ‘female sexuality’ until there is a control group.

And there never will be.” (66)) But maybe there’s value in having a structure against which to rebel. We might fantasize some pure organic form—some control-group form—but new forms have always ruptured older ones in essay responses, order to bring themselves into existence. Can Buy Happiness For And? It would be impossible, especially for me, to compare gender and college essay race; among other offenses, doing so would deny the existence of intersectionality. But perhaps racist and sexist structures can resemble each other both in the erasures they inflict and the ways in which their charged, dubiously defended borders might invite a kind of ms thesis presentation generative violation. Destruction can be a powerful kind of creation. Watkins ends her essay with a battle cry: “Let us, each of us, write things that are uncategorizable, rather than something that panders to and condones and codifies those categories. Let us burn this motherfucking system to the ground and build something better.” Yes, let’s—even if the creative essay responses, old structures won’t disappear entirely; we’ll always be reacting against them, to some degree. Ms Thesis? Still, we can salvage that obsolete front door and creative college responses make a window out of it. Even as we cast a critical eye on the lyric essay’s institutional origins, even as we strive to make it a more inclusive space (or publically recognize it as the ms thesis, more inclusive space it already is), we can celebrate what its relative newness, its relative hybridity, might make possible for writers ready to articulate bold new truths. No, there will never be a control group. College Essay Responses? But what there can be: a breakage, a re-shuffling.

The result of breakage: a proliferation of edge, of space. A new arrangement of truths, a different kind of meaning. Biss, Eula. “It is What it Is.” Seneca Review , Fall 2007: pages 55-60. Boully, Jenny. “The Body.” In The Next American Essay , ed. History? John D’Agata.

Minneapolis, MN: Graywolf Press, 2003. Pages 435-466. Cameron, Sharon. Lyric Time: Dickinson and the Limits of responses Genre . Essay Technology? Baltimore and. London: Johns Hopkins University Press, 1979. Carson, Anne. Eros the creative responses, Bittersweet . Champaign and London: Dalkey Archive Press, Culler, Jonathan. “Lyric, History and Genre.” In The Lyric Theory Reader . Baltimore: Johns Hopkins University Press, 2014. Pages 63-76. D’Agata, John, ed. The Next American Essay . Minneapolis, MN: Graywolf Press, 2003.

D’Agata, John. “What’s In A Name?” In We Might As Well Call It the presentation, Lyric Essay , ed. John D’Agata. Geneva, NY: Hobart and William Smith Colleges Press, 2014. D’Agata, John, and Deborah Tall. Responses? “The Lyric Essay.” Seneca Review , Fall 2007. Dbq Essays Ap World? Web. 10 December 2015.

Garner, Dwight. “With Storms Outside, Inner Conflicts Swirl: In Ben Lerner’s 10:04, New York is a Character.” The New York Times . 2 Sept, 2014. Essay Responses? Web. 8 December, 2015. Ms Thesis? Griffin, Susan. “Red Shoes.” In The Next American Essay , ed. John D’Agata.

Minneapolis, MN: Graywolf Press, 2003. Pages 301-215. Gutkind, Lee. College Responses? “Doing a D’Agata.” Los Angeles Review of Books , 19 March 2002. Web. 8 December 2015. Jackson, Virginia, and Yopie Prins. “General Introduction.” In The Lyric Theory. Reader . Baltimore: Johns Hopkins University Press, 2014. Pages 1-10.

Koestenbaum, Wayne. “Assignments.” Seneca Review , Fall 2007: pages 15-18. Dbq Essays? Lazar, David. “Queering the Essay.” Essay Review , Volume I Issue I, Spring 2013: Levine, Caroline. Creative Essay Responses? Forms: Whole, Rhythm, Hierarchy, Network . Princeton Oxford: Princeton University Press, 2015. Marcus, Ben. “On the Lyric Essay.” The Believer , July 2013. Web. 10 December 2015. Menkedick, Sarah. “Narrative of Fragments.” The New Inquiry , July 3, 2014.

Web. 10. Mill, John Stuart. “Thoughts on Poetry and Its Varieties.” In Dissertations and. Presentation? Discussions . London: Savill and Edwards, 1859. Nelson, Maggie. The Argonauts . Minneapolis, MN: Graywolf Press, 2015. Nelson, Maggie.

Bluets . Seattle and New York: Wave Books, 2009. Rankine, Claudia. Citizen: An American Lyric . Essay? Minneapolis, MN: Graywolf Press, Shields, David. Presentation? “Reality Hunger.” Seneca Review , Fall 2007: pages 79-91. Creative College Essay? Watkins, Claire Vaye. Process? “On Pandering.” In Tin House , 23 November 2015. Web. Creative College? 10.

Amy Bonnaffons#8217;s writing has appeared in The New York Times , Kenyon Review , The Sun , The Literary Review , and dbq essays ap world history elsewhere. She is college, a founding editor of 7?7, a journal that publishes collaborations between writers and visual artists. Amy holds an MFA in ms thesis presentation, Creative Writing from New York University and is currently working on a PhD in English at the University of Georgia. A New York native, she currently resides in Athens, GA.

Sr.Tivoli Security Consultant Resume Sample. IBM Tivoli Security Admin/Develpoer 3. Total 9+ years of creative college, solid experience as Tivoli consultant specializing in Tivoli Security Administration (Identity and Access Management – IAM ) using IBM Tivoli Identity manager and Tivoli access Manager ( ITIM / TAM ), IBM Directory server ( IDS ), IBM Tivoli Directory Integrator ( TDI ). Administration of J2EE Applications in Enterprise / Internet Infrastructure using IBM WebSphere , BEA WebLogic. Experienced in Web-hosting of Portals in Windows UNIX platforms. Strong experience in Systems Administration for UNIX, Sun Solaris 8, and AIX 5.x. Red Hat Linux. Excellent problem resolution and communication skills with ability to rubric social studies research paper, work under pressure in a highly visible role. Adaptive to creative college essay responses, team environment and has the capability of completing complex tasks independently. Strong development background in J2EE application development using EJB, JSP, RMI, JDBC, XML, XSLT, Java Mail, Servlets, JMS and Jakarta STRUTS 1.1, Validation Framework and Tiles Framework. KEY SKILLS / TOOLS:

Security IAM tools IBM Tivoli Identity Manager ( ITIM v4.5.1/4.6/5.0 ) , IBM Tivoli Access Manager ( TAM v5.1/6.0/6.1), IBM Directory Integrator IDI 5.1/6.0/6.1 , LDAP – IBM Directory Server IDS 5.1/5.2, Federated Identity Manager ( FIM 6.1 ), Tivoli Storage Manager ( TSM), SunOne Directory Server 5.2, Windows AD, TAI. Operating Systems Linux(Redhat,debian), SUSE Linux 10, Solaris 2.7/8/9, HP-UX 11i, IBM AIX 4.3/5.1/5.2, Windows 2000/NT 4.0/9x/me/xp, z/OS. Languages Java, JavaScript, C/C++, Pascal, COBOL, Perl, SQL PL/SQL, Shell Scripts. Middleware Web Technologies IBM Websphere Portal Server, Application Server 4.0/5.0/6.0, Apache Web Server, Netscape Enterprise Server (3.6.3/iPlanet), IBM HTTP Server, MS IIS and Netscape LDAP server, iPlanet mail server. Metathesis? WebLogic 6.0/7.0/8.1, Jboss 4.0, Apache Tomcat 4.1.x, IIS 5.0/6.0. Internet/Intranet Tools JAVA Technologies: Servlets, JSP, JAAS, JACC, EJB, JDBC, JMS, JNDI, Struts, Tiles, Web Services, JAXP, Ant1.6.5, JavaScript, RMI. Web Technologies HTML, DHTML, XML, SAML, XSLT, WSDL, SOAP, PHP. RDBMS Other Packages Oracle 7.x/8.x/9i, DB2, SQL Server 2000, MS-Access, MS SQL. CASE Tools Rational Rose, Rational ClearCase, UML. Other: MQ Series, BEA WebLogic WorkShop 8.1, WSAD 5.1, Eclipse 3.0, Jbuilder9.0, WinCVS 1.x, M.S.( Computer Science Telecommunications ) From Blekinge Institute of creative responses, Technology , Sweden.

B.E. Rubric Research? ( Computer Science and Information Technology ) From Bangalore University , India. HONDA, Torrance, CA June 08 – May 09. Sr.Tivoli Security Consultant. As a part of Enterprise Architrcture(Information Systems) team, implemented and supported the Identity, Access and creative, Fedarated Identity management Provisioning solutions for dbq essays ap world history, American Honda Motor co,. This was very big implementation of ITIM across multiple end points including LotusNotes, LDAP, TAM, and repositories owned by local applications etc.. and also applications access controlled by college essay responses, TAM webseal. Primary role was to Implementation Administration of the essay process technology ITIM provisioning solution. Technical Requirement Gathering : was responsible for gathering the user provisioning requirement for all the end points of ITIM. Selection, installation and configuration of End point Agents for ITIM. Installation and configuration of multiple instances of ITIM ( Dev, QA , Prod , LAB etc ) Configuration and Administration of creative essay, ITIM - Design org tree structure. Create provisioning and de-provisioning policies.

Implementation of id policies, password policies. Service definition for End point Agents. Wrote the daily maintenance scripts using wscp and metathesis, ksh for ITIM. Wrote the creative college essay crontab scripts for automated recycle of can buy happiness essay, ITIM application and log rotation. Wrote the wscp / tcl scripts to automate the WebSphere application servers restart. The role involves interfacing with the direct clients for testing of multiple end point identities.

Installed and configured TAM 6.x. Created ACL, POPs, proxy server and creative college essay, webseal junctions. Configured single sign on solutions for many applications. Provided trouble-shooting and configuration of WebSEAL and all components with-in the ms thesis presentation TAMe/Identity Management space. Installation and configuration of multiple instances of ITDI. Used for HRfeed, Initial load , TAM role synchronization and did many jobs using with TDI asamblylines. Used TDI scripts for Batch and real time attribute sync. Used TDI script to creative college, notify users of password expiration date. ITIM attribute validations and ap world history, notify to creative, itim administrators (ex: regex email check) etc..

Environment : Tivoli Identity Manager ( ITIM v 5.0/4.6) ,Tivoli Access Manager (ITAM v 6.1/5.1), IBM Directory integrator (IDI v 6.1.1/6.0). Tivoli Federated Identity Manager (TFIM v6.1), IBM WebSphere, IBM Directory Server IDS LDAP, iPlanet LDAP, TSM, LotusNotes, Active Directory, IBM HTTP Server, z/OS, Mainframes, suse linux, AIX , Shell Scripts -ksh , wscp – tcl scripts, CNA. Chicago, IL May 07 – June 08. Sr.Tivoli Security Consultant. The scope of CNA's initial IAM role out includes installing and configuring integrated TIM/TAM/IDI infrastructure for english, enterprise. Primary responsibilities include Installation and configuration of creative college responses, multiple instances of ITIM, WebSphere , LDAP – IBM Directory Server and IDI. Configuration of ITIM agents for multiple end points (AD, Sun OneLDAP and TAM/GSO) Configuration and Administration of ITIM. Design org tree structure. Create provisioning and de-provisioning policies.

Implementation of id policies and password policies. Service definition for metathesis english, End point Agents. ACL, POPs and college responses, proxy server. Created webseal junctions. Configuring remote resources etc … Used IDI scripts for essay on world, Batch and creative college essay responses, real time attribute sync. Used IDI script to notify users of password expiration date. Developed IDI scripts, Provisioning Policies, Organization roles, Oracle database objects, ITIM groups, ACIs, Work Flows, Sub forms, Life Cycle rules. Used ADSI services to enumerate and essay technology, manage the resources in creative college essay responses a directory service(add,delete,modify users,groups and permissions). Resolved Ad Initial load problem. Resolved duplicate samaccountnames during the provisioning period.

Created AD default groups based on the employee type during the provisioning period using javascript. Created groups for corporate LDAP using ITIM and IDI. Created custom adaptor for ACF2 using IDI. Created add, delete and modify person using ITIM APIs for other Applications (Real-time changes). Provided trouble-shooting for ITIM and ap world history, WAS. Daily maintenance - wscp scripts for ITIM and WAS, crontab scripts for automated recycle and college essay, log rotation. Environment : Tivoli Identity Manager (ITIM v4.6) , Tivoli Access manager (ITAM v6.0/6.1) , IBM WebSphere 5.1.x/6.0.2, RAD, IBM Directory Server IDS LDAP, ACF2 (CA LDAP), Mainframes, IBM Directory integrator (IDI), IBM HTTP Server, Active Directory, Sun Solaris(10) , Windows, AIX , VMWare, javascript , wscp – tcl scripts. FBL Financial Group, Inc. , Des moines, IA Feb 07 – May 07.

Tivoli Security Consultant. As a part of EIP( Entrerprise Information Protection ), implemented and essay questions, supported the Identity(ITIM) and Access Management (ITAM) Provisioning solutions for FARM BUEAU. Primary responsibilities include deploying, supporting, maintaining, troubleshooting and monitoring the Production environments which are clustered/highly-available Load Balanced web applications configured over college responses more than 12 servers running AIX and Windows. Installation and can buy happiness, configuration of multiple instances of ITIM , WebSphere , LDAP – IBM Directory Server and IDI. Configuration and college responses, Administration of process, ITIM and ITAM. Create provisioning and de-provisioning policies. Service definition for End point Agents. ACI, POPs and responses, proxy server. Created webseal junctions. Configuring remote resources etc … Used JAAS, JACC and money can buy happiness for and against essay, TAI for authentication and authorization for dev. Environment.

Created add, delete and modify person using ITIM APIs for other Applications (Real-time changes). Done the performance tuning by essay, tweaking WebSphere configuration parameters like JVM heap size, DB connection pooling, class load sequence, thread pooling etc. Provided trouble-shooting for ITIM , ITAM and WAS. Daily maintenance - wscp scripts for ITIM and WAS, crontab scripts for rubric studies paper, automated recycle and log rotation. Environment : Tivoli Identity Manager (ITIM v4.6) , Tivoli Access manager (ITAM v6.0) , Federated Identity Manager (FIM), IBM WebSphere 5.1.x/6.0.2, RAD, IBM Directory Server IDS LDAP, IBM Directory integrator (IDI), IBM HTTP Server, Active Directory, Windows, AIX , javascript , wscp – tcl scripts. WELLSFARGO, Chandler, AZ June06 – Dec06. Tivoli Security ( ITIM) Consultant. As a part of creative college, Security Architecture and ms thesis, Solution Services team(F8372), implemented and supported the Identity(ITIM) and Access Management (Channel Secure) Provisioning solutions for WELLS FARGO.

This was one of the big implementations of ITIM across multiple end points including AD, LDAP, Unix (Redhat and AIX), RACF, (LAN and essay responses, E-mail) and essay, repositories owned by local applications etc.. Tivoli Administrator for creative essay, full blown implementation of Tivoli Identity Manager 4.6. Installation and configuration of multiple instances of ITIM , WebSphere , LDAP – IBM Directory Server and IDI. Gathered user provisioning requirements for all the end points of ITIM. Configuration and Administration of ITIM. Design org tree structure. Create provisioning and de-provisioning policies. Implementation of money happiness for and essay, id policies, password policies. Service definition for End point Agents. Configuring remote resources etc … Installation and configuration of end point agent.

Created SubForms using ITIM APIs. Modifications in TIM GUI. Monitor LDAP using scripts. Provided design work for integration of WebSphere, Web Applications into Channel Secure for authentication and authorization. Provided trouble-shooting for ITIM and WAS. Daily maintenance - wscp and ksh scripts for ITIM and WAS, crontab scripts for essay responses, automated recycle and ms thesis presentation, log rotation.

Environment : Tivoli Identity Manager ( ITIM v 4.5.1/4.6) , Access manager ( Channel secure ) , IBM WebSphere 5.1.x, IBM Directory Server IDS LDAP, IBM Directory integrator (IDI) iPlanet LDAP, IBM HTTP Server, Active Directory, Redhat, AIX , javascript , Shell Scripts -ksh , wscp – tcl scripts. ADVO , Windsor , CT Apr 05 – Apr06. Tivoli Security ( ITIM) Consultant. Main Role to design , implementation of ITIM / TAM solution. Designed and assisted with review with Tivoli Identity Manager 4.5. Installation and configuration of multiple instances of ITIM / TAM. Installation and configuration of multiple instances of college essay responses, WebSphere. Installation and configuration of essay process technology, LDAP – IBM Directory Server. Installation and creative essay, configuration of multiple instances IDI. Configuration and Administration of dbq essays ap world, ITIM - Design org tree structure.

Create provisioning and de-provisioning policies. Implementation of id policies, password policies. Service definition for End point Agents/Adaptors. Design / costomise Workflows. Install the SSL certificates for all ITIM and ITIM Agents.

Wrote the creative college daily maintenance scripts using wscp and english, ksh for ITIM. Wrote the essay crontab scripts for automated recycle of social research paper, ITIM. Installation and configuration of end point agents and ITIM Services. Provided trouble-shooting and configuration of WebSEAL and creative college essay responses, all components with-in the metathesis english TAMe/Identity Management space. Supported environments across multiple geographies. Represented client at all executive and technical/development meetings both on-site and off. Provide architecture review for client’s applications, documents and install processes. Provide clients with recommendation and creative essay, systems best practices documents. Documentation and internal training of said products for smooth transition of ownership. Provided security and assisted with implementation of Security Best Practices and Methodologies.

Environment : Tivoli Identity Manager ( ITIM v 4.5.1) , Tivoli Access manager ( TAM v5.1/6.0 ) , IBM WebSphere 5.0.x, IBM Directory Server IDS LDAP, IBM Directory integrator (IDI) iPlanet LDAP, IBM HTTP Server, Solaris, AIX , Perl , Shell Scripts -ksh , wscp – tcl scripts, Active Directory. SEARS , Hoffman estates, IL July 04- Mar 05. As a part of IAMS team, implemented and studies research, supported the Identity and Access Management (IAM) Provisioning solutions for Sears. This was very big implementation of ITIM across multiple end points including, iPlanet, AD and college, repositories owned by english, local applications etc.. Primary role was to Implementation Administration of the college essay ITIM provisioning solution. Technical Requirement Gathering: was responsible for gathering the user provisioning requirement for all the end points of ITIM. Helped developing hardware architecture for the all the can buy for and essay ITIM environment. Developed LTM ( Logical Technology Model ) / PTM ( Physical Technology Model ) Involved in POC for ITIM agents ( e.g AD2003 reverse password sync agent.)

Selection, installation and college essay responses, configuration of End point Agents for ITIM. Installation and configuration of multiple instances of metathesis, ITIM ( Dev, QA , Prod , LAB etc ) Installation and configuration of multiple instances of WebSphere. Installation and configuration of LDAP – IBM Directory Server. Installation and configuration of creative essay, multiple instances IDI. Configuration and Administration of ITIM - Design org tree structure. Create provisioning and de-provisioning policies. Implementation of id policies, password policies. Service definition for End point Agents.

Installation and studies, configuration of end point agent. Install the SSL certificates for all ITIM and ITIM Agents. Wrote the daily maintenance scripts using wscp and ksh for college, ITIM. Wrote the questions religions crontab scripts for automated recycle of ITIM application and creative, log rotation. Wrote the wscp / tcl scripts to automate the english WebSphere application servers restart. Troubleshooting and Debugging the application by essay, turning on the different levels of traces and monitoring on different WebSphere objects servlets. The role involves interfacing with the direct clients for dbq essays, testing of multiple end point identities.

Environment : Tivoli Identity Manager ( ITIM v 4.5.1) , IBM WebSphere 5.0.x, IBM Directory Server IDS LDAP, IBM Directory integrator (IDI) iPlanet LDAP, Active Directory, IBM HTTP Server, Solaris, AIX , Shell Scripts -ksh , wscp – tcl scripts, Title: E-Bill System. MetroPCS, Inc. offers customers local phone service with simple rate plans. Creative College Essay Responses? The company is among the first wireless operators to deploy an dbq essays ap world all-digital network based on third generation infrastructure and creative college essay responses, handsets. With E-Bill System customers have the money happiness against essay ability to view their monthly bill online. The application mainly emphasizes on creative college responses, consumer utilizations and essay technology, also customer relation executives of MetroPcs. This system also generates E-bills to college responses, different types of customers like flat rate plan, calling cards. The application is ms thesis developed in WebLogic AppsServer. Gathered user requirements followed by analysis and design. Evaluated various technologies for the Client. Worked on shopping cart Use cases for creative college, prepaid calling cards.

Involved in ap world history developing ANT scripts to build the college essay responses directory structure of the web application and to quicken the compilation and ap world history, execution of the application. Developed HTML, DHTML, CSS, JSP to essay, present Client side GUI. Involved in money essay development of JavaScript code for Client Side Validations. Developed UI using Swing for college responses, different modules. Designed and developed various Swing custom components for use across the application. Designed the HTML based web pages for displaying the reports. Developed Java classes, JSP files. Extensively used XML documents with XSLT and CSS to translate the essay content into HTML to present to GUI.

Developed dynamic content of presentation layer using JSP, Develop user-defined tags using XML. Developed Jmail for automatic emailing and JNDI to creative responses, interact with the Knowledge Server. Used Struts Framework to implement J2EE design patterns ( MVC ). Developed, Tested and Debugged the english Java, JSP and EJB components using Eclipse. Developed JSP as the view, Servlets as Controller and creative responses, EJB as model in the Struts Framework . Developed Make files Shell Scripts to automate build procedures. Worked on Web Logic application server to deploy JSP and EJB applications. Created and implemented PL/SQL stored procedures, triggers.

Java, J2EE, EJB, JSP1.2, Servlets, JNDI, JDBC, Struts, HTML, DHTML, XML, CSS, XSLT, Java Script, Eclipse3.1, MyEclipse4.1, Oracle9i, Weblogic8.1, Windows, Sun Solaris . JBHunt AR Aug 03 – Jan 04. YIELD MANAGEMENT TOOL. The Yield Management Tool (YMT) assists the users (Yield Managers and Pricing Managers) to essay questions religions, choose the orders and creative, lanes that are more profitable. That is, YMT collects and displays variety of data about the can buy against essay orders searched on given input criteria. Based on the entered search criteria, YMT first retrieves the orders and their pertaining information by executing complex set of queries against DB2 database. Modified the existing YMT to add the college functionality requested by users. Understand the design and process flow of existing YMT tool to process technology, do relevant modifications and additions.

Developed Struts, JSPs and Servlets to college, dynamically generate HTML, PHP and display the data to the client side. Analyzing the performance issues in the existing tool and resolving them. The queries used were modified to use parameter markers to avoid parsing per each database trip. Involved in conversion of SQL Server to DB2 . Involved in conversion of Web-Logic deployment to research paper, Web-Sphere. Some of the creative essay data which was retrieved from database for each order was cached and reused to history, improve performance. Involved in unit and integration testing of the creative college essay responses system. C++, Java 1.4.1, Servlets 2.3,JSP, Struts,JDBC 2.1, HTML, PHP, CSS, JavaScript, MQSeries, DB2, UNIX, WebSphere 5.x, WebLogic 7.x IBM OS 390, Windows XP, ChangeMan DS. Developed a package to access signal processing system which enables the telecom engineers to accumulate all the test data of various tower sites and generate reports to increase the efficiency of the system and thus enabling fine tuning of the Signal receivers.

Involved in Analysis, Design, Development, Testing of application modules. Servlets 2.0 are used for handling the HTTP request/response from the client side. Coded in Servlets 2.0 for data queried from the Oracle 8i database in HTML and XML format. Developed various documents within the application using XML and HTML . Developed Server side business objects in Enterprise Java Bean using Session and Entity Beans . JMS was used for asynchronous message queuing and Message Driven Beans were used to essay, handle those messages. Provide a mechanism to college essay responses, transfer data from one business partner to another. Ms Thesis Presentation? It acts as a server to run different applications developed using C , C++, EJB, RMI and JAVA . Essay? Receives GET/POST/XML requests. Java server pages were used to make the pages dynamic. Oracle 8 -database access was implemented through JDBC connection.

JDK 1.2, Java, C, C++, Servlets, JSP, JMS, UML, Applets, XML, PL/SQL, Oracle 8i, EJB, J2EE, CORBA, WebLogic 6.1, UNIX, JUnit3.x. Ericsson AB, Karlskrona, Sweden. Software developer Feb’2000-Jan’2003. This project provides a solution for Secure Payment to dbq essays ap world, the Merchant in a Mobile Payment Scenario. Creative College Responses? The Solution developed is efficient and for and, scalable with minimal overheads.

Next generation mobile service technologies like 2.5G and 3G are beginning to be adopted as the platform for deployment of mobile services for communication, business and leisure. Successfully designed an Architecture and UML diagrams including Use Case Diagrams, Sequence Diagrams and Class Diagrams for the entire module. Developed JSPs and Servlets to dynamically generate HTML, PHP and display the data to college essay, the client side. Extensively used JSP tag libraries , tomcat web server. For the communication from one server to anther server using Socket programming . Development entails usage of J2EE technology like EJB, JDBC, WebLogic Application Server and MYSQL Database. Created PHP web pages for User Self Care , merchant self care, issuer self care and acquirer self care using Apache server and MYSQL database. Prepared the Unit Specifications for the module and Unit Testing . Implemented the JUnit Test Classes. JDK 1.3, Servlets, JSP, Sockets, EJB, J2SE, J2ME,UML, HTML, PHP, MYSQL, J2EE, BEA WebLogic 5.x, Microsoft Windows XP, JSP Tag Libraries, Apache ,Tomcat . Online Evaluation System. This system is an integration of three modules, Exam Manager Module, User Module and Reports Manager module to conduct exams. The Exam Manager module is comprised of question exams, databanks.

User Module take care of essay, activity related three different roles i.e. student, faculty, administrator. The functionalities are creating categories, authenticating the user etc. Reports Manager generates different reports, which are either analysis type or feedback. Designing, planning and Implementation of the above three modules.

Cupiddeedee.com All rights reserved. Website by Giien. This topic contains 0 replies, has 1 voice, and creative, was last updated by nortikopsiotas 3 days, 4 hours ago. Essay On World Religions! Committing to War, Patriot and Loyalist Appeals -…A Patriot#039;s address to essay the American soldiers: Thomas Paine, The Crisis, #1, Was the American Revolution Inevitable?, not-to-miss teachable essay by Prof. Patriots Pen – VFW VFW OregonThe essay contest encourages young minds to examine America#039;s history, along with Click here to access the Patriot#039;s Pen 2016-17 entry form and brochure.Free American Revolution Essays and Papers -…Free American Revolution papers, essays , and research papers. 1775, when British soldiers and essay questions, American patriots clashed at responses Lexington, Massachusetts, and Background, History, And The Beginning Of The Revolution Was…By the time the metathesis American Revolution took place, the citizens of these colonies draw many to the cause of the American patriots against the mother country (6). Essay on The U.S.

Patriot Act Essay …It is college responses, pertinent to mention that civil freedom of dbq essays ap world American citizens is essay, not only important during wartimes but also in the period of peace, as such the Patriot Act Patriot#039;s Pen VFWEstablished in 1947, our Voice of Democracy audio- essay program provides high The essay contest encourages young minds to metathesis examine America#039;s history, Patriot#039;s Pen VFW Patriot#039;s Pen. 2017 18 Theme. “ America#039;s Gift to My Generation”. Student Entry Deadline: October 31, 2017. College Essay! Patriotic Essay Writing Contest Grand Prize: $5,000 Winners and ms thesis, Losers in the American Revolution AP U.S.…Next Essay . The American As in all conflicts, the American Revolution resulted in “winners” and “losers”. Responses! The American Revolution had a positive outcome to the Patriots who were fighting for independence from Britain. The defeat of the Reasons To Be A Patriot eNotes.comGet an answer for #039;What are some reasons people joined the Patriots in the Revolutionary War?#039; and ap world, find homework help for other American Revolution The American Revolutionary War Essay 517 Words |…Free Essay : The American Revolutionary War (1775–1783), the American War when the Patriot Suffolk Resolves efficaciously abolished the licit regime of the PNC Bank Essay Contest New Jersey Festival of…The seventh grader from Kawameeh Middle School in Union, NJ has been named the Grand Prize winner of the 14th annual PNC Bank “ American Patriot Essay Loyalists vs patriots persuasive essay Title: on essay the american revolution 1754–1781. Dbq Essays! Another man#039;s patriot vs patriot , common the arguments from college, bipolar disorder alternates between patriots the first Patriot#039;s Pen Essay Contest -…This program is an essay contest for students in grades 6-8. The contest is meant to encourage students in the 6-8 grade range to history “examine America#039;s history, Many Americans During the Revolutionary War Weren#039;t…The stuttering son of a widowed and cash-strapped tobacconist, he grew up to paint preeminent American patriots and British royals; his renown, like his British Loyalists vs. American Patriots During the…In this lesson, learn about the difficult decisions faced by college responses, individuals as the ms thesis presentation American Revolution erupted. Would you have been a Loyalist or a. The Patriot#039;s Pen program is open to students in grades 6-8, who are enrolled in a public, private or 2016-2017 Essay Topic: The America I Believe In.

Patriot acts: Learning from America | The…Yahya Hendi#039;s office conjures up every romantic stereotype of creative college essay responses life in the academy. The furniture, the windows, the doors all give the impression of belonging to Rifle volleys at VA national cemetery inspire student to english pen…23 Mar 2017 This year#039;s Patriot#039;s Pen essay contest asked students to write about inspired an college, essay on money can buy for and the service and essay, sacrifice of America#039;s Veterans.Chris Hogan writes touching essay for Players#039;…2 Feb 2017 Chris Hogan writes touching essay for Players#039; Tribune The full essay is a touching and heart-happy read that Patriots fans will love. You can Essay : Now is the time for Americans to redefine…26 Jul 2017 Essay : Now is the time for Americans to redefine patriotism . has a federal building named after him, as if he had been an can buy happiness for and, American patriot .The Making of a Non- Patriot The New York Times3 Jul 2017 American exceptionalism is at best an innocent mistake that Modern Philosophy in 133 Arguments,” an anthology of creative essays from The Times#039;s Dan Carter: The day I was tempted to quit the All Blacks and play…14 Nov 2015 Exclusive: The New England Patriots did their best to process technology persuade me to American football in the NFL “@KillianRussell: @DanCarter if you VFW Post 9934 | Patriot#039;s Pen 2017 – 2018Lindi Compton, an essay responses, eighth-grade student, was named the 2016-17 Patriot#039;s Pen first-place winner. Her essay on the theme, “The America I Believe In,” won her a Paul Revere American Revolution HISTORY.comPaul Revere: Fast Facts. Presentation! Paul Revere was a Patriot leader and symbol of the American Revolution. Find out more about the man who infamously warned the creative responses American Revolution, French Alliance, Siege of…In 1774 supporters of the Patriot cause approached French officials asking for There were two necessary conditions for France to openly help the American Which side to metathesis take: Revolutionary or loyalist? North Carolina…During the American Revolution, people had to decide which side to support. Americans today call the creative essay responses revolutionaries patriots , a word meaning “those who love their . Can Buy Happiness Essay! Loyalist women Brief essays about Flora MacDonald and other North 2015 Patriots Pen Winner YouTube20 Mar 2015 The Patriot#039;s Pen program is designed to foster patriotism by allowing students the opportunity on college responses democracy based on an annual theme, this year#039;s being, Why I Appreciate America#039;s Veterans.

I need to rewrite my essay .The American Revolution Summary Analysis -…Big picture analysis overview of The American Revolution. concepts of liberty and money can buy happiness for and against essay, self-representation were lodged in the hearts and minds of the Patriots , Sunbury News | Patriot#039;s Pen winning…5 Jun 2017 Patriot#039;s Pen winning Essay Together they awarded the top 4 essay authors of this year#039;s theme, “The America I Believe In.” The top 4 Book Review: The Partly Cloudy Patriot by…23 Aug 2010 Waving Around an creative college essay responses, American Flag Does Not Make You a Patriot The Partly Cloudy Patriot , the essay which gives the book its name, actually Scholarships: Voice of Democracy and metathesis english, Patriot#039;s Pen -…This year#039;s theme for the grades 9-12 Voice of creative Democracy Audio Essay is “My Vision for America ” and for the grades 6-8 Patriot#039;s Pen Essay , the questions religions theme is “What. American Revolution facts, information, pictures |…

Detangling Frank Ocean's 'Blonde': What It Is And Isn't. Frank Ocean's raw, bleeding, diaristic storytelling guides Blonde. Courtesy of the artist hide caption. Frank Ocean's raw, bleeding, diaristic storytelling guides Blonde. Courtesy of the artist. Over the creative essay responses weekend we asked Ann Powers and Jason King to wrestle with Frank Ocean's long-awaited follow-up to metathesis, 2012's Channel Orange . They did so across many time zones and man hours; what emerged is a conversation that stays fair-minded and grounded and college essay responses, ends in ms thesis questioning both the artist and his audience. We find it impossible and personally limiting to consider this album outside of responses its context, so the ms thesis presentation below is as much a state of affairs as it is a straight-ahead review. (Ann Powers and Jason King write about both the creative essay responses physical and process, digital versions of the album interchangeably. And without clarity regarding the whole listing vs. cover art spelling situation, we're calling it Blonde throughout.) Ann Powers: When he began to responses, put himself into the mind-frame that would inspire his new album Blonde , Frank Ocean imagined himself in a moving car. He was, in essay religions this waking dream, a girl.

Two years ago I found an image of a kid with her hands covering her face, the artist wrote in college an essay posted on his Tumblr the day this weekend the album, four years in the making, finally became available. A seatbelt reached across her torso, riding up her neck and a mop of blonde hair stayed swept, for the moment, behind her ears. Technology! Her eyes seemed clear and calm but not blank, the road behind her seemed the same. I put myself in creative college essay her seat then I played it all out in can buy happiness against essay my head. Ocean imagined himself wriggling against the seatbelt, he wrote, playing with its tension until it no longer constrained him. Creative College Essay Responses! This feeling of rubric social studies research paper freedom within containment, of traveling at creative essay responses a high speed on a course that is smooth and open — and essay questions, of being comfortable with motion even in essay responses your most vulnerable, childlike moods — was the one that best fed the creativity he needed to complete an album as highly anticipated as any to come out this year, even though, since he relocated from California to the clogged streets of London, Ocean doesn't even drive much any more. A Critical Conversation About Frank Ocean's 'Endless' Video Album.

Ocean is a car enthusiast in real life. When he lived in Los Angeles, he owned three BMWs and was rebuilding a fourth. He populates his artistic world with references to Ferraris and Bugattis, the way many rappers do, but also to Acuras and Camrys, conduits to solitude, pleasure and money can buy for and, escape for more average folk. In Nights, one of the 17 circuitous, absorbing tracks on the digital version of Blonde , the New Orleans-born Ocean remembers cruising in responses his family's Honda before Katrina forced him out ap world of the city. Kept at least six discs in the changer, he recalls, rhyming in a sing-song cadence over a woozy keyboard line. Essay Responses! It's easy to imagine that CD changer containing the music that drifts and melds within the hard-to-define sound Ocean cultivates on Blonde : Stevie Wonder next to money happiness for and against, The Beatles next to Crescent City rappers and his mom's Hammond organ-driven gospel favorites. In other songs, Ocean locates erotic pleasure within car interiors, and college essay, safety like an armored truck, and even rebirth, when he finds the happiness for and essay feathers of a mythical phoenix on his dashboard. (It must have been a Pontiac.) But Nights places the creative college sound of Blonde itself within that cocoon-like space, connecting it to presentation, a process of listening and responses, absorbing hours of source material which, though it might be shared with one or two fellow riders, is essay process technology, ultimately private and introspective, the quiet side of taking the open road. The stillness is the move, goes the creative essay responses hook of a song by the Dirty Projectors, whose vocalist Amber Coffman is metathesis, one of many guests from the cutting edges of various music scenes who appear on Blonde . The idea expressed in that phrase is fundamental to creative, Ocean's musical approach, even more so now than in his earlier work that challenged received ideas of presentation both RB and indie pop.

The rhythms on creative Blonde are cool, languid and minimal. Guitar and keyboard lines swell and brush against each other, rarely coalescing into essay questions on world, hooks or stirring choruses. College Essay! Some tracks are as dense as they are short, while others segment and land in structures that don't conform to traditional songcraft at social paper all. The stories he tells within these prismatic songs, many explicitly erotic, gain their power from the music's tonal shifts and hard to track reference points. The lyrics only creative essay, half-tell them, though, and only in deep dialogue with music that carries the listener deeper into reflection. Introversion defines Ocean's stance throughout Blonde , even when he's reaching out to a lover; those lovers are often merely shadows on the passenger seat anyway. One reason his music captures so many people's imaginations now is that it's supremely ruminative, dedicated to exploring how memories drift, dissolve, reassemble themselves to form the narratives that inwardly define us, and how desire arises within a story each person tells herself as she reaches toward another. Dreaming a thought that could dream about essay process a thought that could think of the college dreamer in the thought, Ocean rhymes in Seigfried, imagining God at the end of that particular road, but not the lover for process technology, whom he longs. A guitar loop forms a membrane around the image, expanding it infinitely.

When, moments later, he murmurs, I'd do anything for college essay, you to the object of his longing, the feeling is peaceful, infusing heartache with mindfulness. This is what Ocean offers that listeners crave — an research paper, antidote to college essay responses, the industrious and cynical persona building that dominates so much of popular culture now; a focus on process that feels so foreign to many listeners that they consider it a mystery. It's not a mystery. Essay Religions! It's an articulation of what happens when each of creative essay us keeps her thoughts to herself. Jason King: So Blonde is the album that was formerly going to be known as Boys Don't Cry (which has now become the name of a one-off 360-page magazine associated with the physical release of the album that you could, briefly, pick up in four pop-ups, newsstands and a bookstore, in LA, New York, Evanston, Ill. and London).

The original album title would have been especially fitting this week, as it so eerily resonates with the arresting photograph and ms thesis presentation, accompanying video of 5-year-old Omran Daqneesh, the baby from Aleppo who sat drenched in blood and creative, dust and stunned into dbq essays ap world history, silence after rescue workers removed him from post-airstrike rubble and propped him up in an emergency vehicle. Part of the reason that image has circulated so widely as a profound commentary on the horrors of the Syrian conflict is that Omran doesn't cry in the face of such catastrophe; instead, he looks like the oldest of old souls, and we find ourselves watching him work through unimaginable trauma in real-time. Indeed, we're watching him while his life is splitting in two and college essay responses, tearing apart; if he's frazzled, or discombobulated, Omran is bravely keeping it inside, or he has no expression for what he's feeling. Boys don't cry, in presentation part, because men refuse to creative college essay responses, cry: the toxic masculinity and weaponized lack of empathy that underwrite so many of process our most pressing contemporary geopolitical conflicts are just two of the elements that have helped foment the incredibly tragic situation that Omran finds himself in. And so it's fitting, given the essay times in which we live, that Frank Ocean has made a deeply empathetic and money can buy happiness for and against, passionate album that's partly about his own ongoing struggle with masculinity and emotionalism. Quilted from fragmented ideas, observations and submerged memories around the vicissitudes of heartbreak and loss, Ocean manages to process his relation to that personal trauma for us in the most intimate and fragile of ways. Creative! We're listening to him work through some deeply personal moments, even if we don't always know what the referents for those moments are. I can't help but note that some of the most potent recordings this year made by black men — such as The Life of ap world Pablo by creative Kanye West and Chance the Rapper's mixtape Coloring Book — wade deeply, and even self-consciously, into impressionistic emotionalism and into gospel-influenced questions of money can buy against existence. And they offer us existential musings at creative responses a crucial time, when far too many people still can't seem to figure out whether black lives matter enough to change their own.

And yet nothing is ever so straight-ahead or open-faced with Ocean. His music, like his career as a whole, more often than not revolves around ambiguities and offhand non sequiturs. Happiness Against Essay! Apple Music lists the digital version as Blonde , as does the magazine page that serves as the physical's gatefold, but the cover art reads Blond. Here, as on previous efforts, Ocean seems profoundly interested in identities that, for college essay, any number of money can buy happiness against reasons, have become torn apart (his own and those of the creative other characters he observes, too). He's obsessed with people whose lives are split between past and present realities, people who move erotically between men and women, between warring ideals of masculine and feminine, and black and white, and gay and ap world, straight. This weekend alone, he released one audiovisual work and two different versions of the same album, and, though the two versions are not radically different from college essay responses each other (there are five more tracks on ap world the digital than the essay responses physical, but the physical includes two that aren't on the digital), I think he wants us to know he goes both ways in all aspects of life. At the very least, he doesn't subscribe to social, the idea of one thing or the college responses other. Ann Powers: Though Ocean is often romanticized as a mysterious figure and essay technology, his music cast as avant-garde, it's perhaps more informative to think of Blonde as his way of revisiting and, in so doing, recasting the college responses canon of classic rock. He's been open about the influence of The Beatles, whose Here, There, and Everywhere he quotes in the song White Ferrari, and The Beach Boys, whose Brian Wilson almost enlisted him as a collaborator last year (although Wilson has said that didn't work out because Ocean wanted to do rap). Wilson's influence is strong throughout Blonde , ringing through its lyrical melodies and ms thesis, ornate yet cleanly constructed arrangements.

There's also something very Brian about the way Ocean always seems to stand alone within his compositions, even though his list of collaborators numbers in creative the dozens. Frequently dwelling over states of money happiness against dislocation and college, loneliness, Ocean's songs touch a nerve similar to those that The Beach Boys' sad auteur captured. When Wilson, as an adult, was making Smile , he called his grandiose, innocent-sounding songs a teenage symphony to God. Parts of Blonde are more psychedelic than even Wilson's more far-out efforts, exhibiting less craving for radio airplay. It could be called a teenage symphony to weed. Frank Ocean's Blonde, styled on english the physical album release as Blond . it's confusing. hide caption.

Frank Ocean's Blonde, styled on creative the physical album release as Blond . it's confusing. Yet Ocean's mind games never stray too far from his grounding in dbq essays sensuality. This is creative college essay, something he shares with the Beatle I'd bet is his favorite, Paul McCartney, along with a wry sense of humor that shows itself in punny wordplay (boy, does Frank love homonym-ish pairings like solo and on world, so low or inhale and in college hell) and in colorful descriptions of studies street scenes and shady characters. Something essential in Ocean's songs celebrates the pleasure of music itself. It feels so good when he lets his voice loose on creative essay responses an arching chorus or croons his way through a well-modulated verse, exhibiting the same kind of tunefulness that got Macca labeled the questions cute one. College! Ocean's cute bona fides are reinforced by other reference points: in the essence of Burt Bacharach that infuses his Beyonce collaboration, Pink + White, and the way he pays homage to Stevie Wonder paying homage to the easy-listening, hard-loving Carpenters in questions on world his attenuated but striking retake of college responses Close To You. Wonder is english, a crucial figure within Ocean's realm of influence, another African-American emissary between musical genres whose experimentalism was tempered by a killer pop sense. College Essay Responses! With the inimitable run of joyfully mind-expanding albums that began with 1972's Music of My Mind , Wonder toppled the racist hierarchies that placed the efforts of white musicians like Wilson and The Beatles above those by the African-American entertainers whose innovations had, in fact, provided the questions on world religions basis for all of creative college responses rock. On his last album, Channel Orange , Ocean made the dbq essays history Wonder connections obvious, whereas here they're more confined as he explores other palettes, including a host of guitar effects inspired by British bands like U2. (Brian Eno, who pioneered the infinite guitar sound frequently invoked on Blonde , is listed in creative essay responses the album's credits, though whether he worked on the recording or was merely sampled is unclear.) But Ocean continues to rubric research paper, aim for that spirit of effortless artiness, and creative college essay responses, of experimentation grounded in pleasure and the pursuit of rubric studies research paper beauty, at the heart of creative essay Wonder's work. Pleasure is on world religions, one of creative essay Ocean's main preoccupations. One way to listen to research, Blonde is as an album about sex: from the creative droll reference to masturbation that begins Solo, to the lascivious come-ons of metathesis Self Control to essay, the blatant descriptions that still come off as romantic in Skyline To, Ocean embraces carnality as a treasure, sometimes frustrating because of its elusiveness but always worth pursuing.

The frankness Ocean embraces is, of money for and course, a central element of college much American popular music and has been since the women who made the blues popular in the early 20 th century spoke openly of the power, heat and sorrow in their own hips. In some ways, pop today is more explicit than ever; hip-hop has considerably furthered the artistry of the off-color metaphor, and RB's bedroom jams celebrate sexual satisfaction in no uncertain terms. (Rock has actually grown more prudish in ms thesis presentation recent years, tending toward a sort of chaste earnestness or the high school-level jokes of the Warped Tour.) Ocean connects with those histories in his work. Yet throughout Blonde , he tells stories of sexual connection and disconnection that take on a different character than is often evident in responses current pop. His very matter-of-factness strips away the posturing that demands sexuality be a public performance and reinstates a believable sense of intimacy. That Ocean's own sexuality is, as he describes it, dynamic — a quality he shares with many millennials and teens, who increasingly reject binary terms to describe both gender and desire — makes Blonde radical, not because he is anywhere near alone, but because he calmly insists that the listener embrace his view of pleasure as unexceptional, healthy, canonical.

Jason King: Ann, although intimacy and interiority are clearly part of what's compelling about Frank Ocean in money can buy happiness for and against essay 2016, he's also defined by a profound exteriority — his trickster-like fondness for showbiz hype. There aren't that many musicians left in 2016 who can conjure up Event Pop: in the '80s, Michael Jackson turned every album release into a full-fledged cultural happening; and more recently, entertainers like Beyonce and creative college responses, Kanye West (and Radiohead, to a lesser degree) have carried the gloved one's baton with aplomb. Ocean's palette of tools, like enigma, teasing, misdirection and outright silence, may have ultimately managed to turn Blonde and Endless into cultural phenomena rather than just product. Even in the streaming music era, in which increasingly fewer listeners have any real need to digest albums as integral wholes, Ocean remains that rare musician who has never not been an album artist. It's not just that he clearly knows how to history, put out albums with maximum fanfare, it's that he knows how to responses, make art with a capital A, aided and abetted by a tightly-curated VIP list of collaborators on Blonde that includes Andre 3000, Tyler the Creator, Pharrell Williams and Endless' Jonny Greenwood. Plus, the twisted, lo-fi images of the music video for Nikes (directed by Tyrone Lebon) remind us that Ocean's music can never be fully extracted from the visuals (his lyrics are already themselves cinematic). If Ocean weren't making music, he'd probably be raking in bucks at an ad agency. On Blonde , Ocean continues to essay questions religions, make music that's an artistic distillation of creative college essay responses Lexapro-era tristesse; he's got that in common with failure-obsessed millennial peers, everyone from album collaborator James Blake to rubric research paper, Lena Dunham to The Weeknd.

And even more than Channel Orange , Blonde — equal parts psychedelic indie rock, post-IDM electronica, post-U2/Coldplay-esque Eno-pop, post-Drake hip-hop, and creative responses, post-Maxwell drifty soul/RB —becomes an impressive showcase for Frank Ocean the creative producer. Those experimental, druggy sonics abound, showing up in the fried vocals and pitch-shifting on Nikes to the ambient whistles in Solo to social research, the Rotary-Connection-like delayed vocals on Pretty Sweet to the scraping, backwards effects on creative responses Seigfried. Blonde's raw, bleeding, diaristic storytelling somehow makes me think about Sinead O'Connor, whose 1990 album I Do Not Want What I Haven't Got was one of the first to rubric studies research paper, seamlessly merge RB, pop, rock and sampled hip-hop beats, in the context of college essay responses confessional, warts-and-all lyrics about relationships lost and existential interiority. I'd argue that more than 25 years later, Blonde takes root in the world Sinead made possible: its best songs are troubled relationship tunes that feel like ripped pages in dbq essays history a worn diary, and they're often dark, moody and creative college, dream-like sinister, like the work of David Lynch or Frank Miller. On Ivy, Ocean writes breathlessly poetic lyrics: I thought that I was dreaming when you said you love me / It started from nothing / I had no chance to can buy, prepare / I couldn't see you coming. And on tuneful Solo he eloquently writes of A bull and a matador dueling in heaven / It's hell on Earth and the city's on fire / Inhale, inhale, that's heaven. You've noted that Ocean's songs come to us as fragments and ideas that challenge the conventions of pop and RB, and yet he seems to have strayed very far from the responses tight slickness of ms thesis songs like Novocaine on Nostalgia, Ultra . I'm not sure whether that's a step forward or backward. Certainly, anyone looking for Frank Ocean the strategic songsmith who once crafted a melodic nugget like I Miss You for essay responses, Queen B might find far too much of Blonde meandering or unhemmed. The challenge for me is less about songwriting, and more about the presentation deliberate lack of groove that comes as a result of Blonde 's neglect of essay drums or basslines on songs like Skyline To. Money For And Essay! To draw on creative college essay responses that car metaphor, I want Blonde 's engine to rev up more often than it does, and I'm occasionally disappointed when it doesn't. Ann Powers: Jason, you address crucial issues that are so often overlooked, especially today, when the symbolic gestures of identity and power that our pop stars enact are mistaken for actual heroism.

Ocean has the presentation potential to creative college, influence people's views on love, sex, race and identity, and maybe the most open-hearted elements of Blonde will do so. Or, in essay questions the mainstream, he could just be another transient sensation. Essay! The helium atmosphere of sudden album releases and other highly engaging pseudo-events makes it hard to know how this album's impact will translate over time. Like a sullen millennial taking his most important college admissions test, Ocean answered years of hanging in the background with a weekend of high-profile overachieving. Music fans and technology, the media were stunned to attention, as you've noted, by fancy graphics and a poem about McDonald's by Kanye West, confusing streaming options and the lines at essay those pop-ups. Will we still be listening to Blonde when the fall leaves turn? Only time will reveal its place in pop history. That lineage itself is changing; no longer do artifacts like albums occupy its center. When an money happiness for and essay, album does make a noticeable impact today, it's because a community coalesces around it.

That's what happened with Lemonade , another collection of first-person songs that employed visuals to amplify its meanings and college responses, capture a larger audience than it likely would have as a mere musical release. Rubric Studies! Calling on a history book's worth of African-American women's expressive culture, Beyonce's very personal (or, at least, strategically confessional) account of a rocky period in a marriage was embraced as a monumental act of making lives visible and audible. Lemonade is Beyonce's intimate look into the multigenerational making and college responses, magic of black womanhood, wrote Zandria F. Robinson in Rolling Stone . The superstar's ability to connect her I with that we made not just a hit, but history. Ocean does not seem inclined to reach out in this way. His own visual album, as I said in our previous discussion of Endless , felt more like a process-oriented conceptual art piece. Ms Thesis Presentation! And you're right about the songs on Blonde sparsely containing the elements that usually unite people behind a pop offering — most notably memorable beats. If the people can't dance, will anyone be part of your revolution? Maybe Ocean doesn't really care. If the creative essay responses most prominent voices besides his own on money can buy for and against Blonde indicate anything, it's that he's chosen a peer group only marginally interested in cultivating renown. Andre 3000, a legendary rapper who's repeatedly rejected the spotlight, claims the central cameo. Kendrick Lamar, whose recent success does demonstrate a strong sense of mission connected to fame, is present on one track, but mostly as a sound-effects generator.

Ocean also relegates Beyonce to background status in the last few bars of college Pink + White. It takes some chutzpah to put the Queen in social studies research paper that position. A more telling partnership is the one Ocean shares on White Ferrari with Justin Vernon of Bon Iver and James Blake, his bros in Auto-Tuned anguish. Beyond the lyrical references to both tripping and getting naked, which are very Frank, the track could have been made by any of those three beloved artistes. Here's where Ocean lives most comfortably right now, it seems: in the middle ground between high art and the arena, where a sympathetic audience will be patient with his musical wandering and lyrical obfuscations. Yet Ocean also still pledges fealty to the crew that first nurtured him, the hip-hop iconoclasts of creative responses Odd Future.

The final track on Blonde is Futura Free, a vocally distorted meditation on the tedium of process technology success that concludes with a conversation, recorded long ago, with a couple of essay Ocean's old pals from that milieu. (One is his brother, the other, the skateboarder Sage Elsasser.) The voices, just kids' then, try to put a finger on dbq essays history their ambitions; nobody can really articulate what he wants. How far is creative college, a light year? someone asks. Ocean muddles this final question in money happiness essay noise. Is he ready to trace how far he's come? For now, he seems content to just share his view of the creative responses ride. Jason King: Ocean's interest in the choreography of interpersonal relationships, and his poetic approach to missed opportunities for connection — people coming together, getting together, drifting apart — is certainly part of the melancholic beauty of his music. He paints erotic desire in english complex hues and creative, colors when so many of his musical peers are still using Crayolas. We all know that in 2012, Ocean came out of the closet by refuting a cut-and-dry interpretation of his sexuality (and his lyrics), causing a seismic ripple in the default heteronormativity of hip-hop and RB.

In retrospect, he helped spawn the process post-closet overground, creating space for the likes of queer, queer-identified and queer-allied artists ranging from Azealia Banks to Sam Smith and, yes, even Macklemore. Ann, as you note, Ocean has always approached sexual preference as fluid and dynamic, and he's mostly performed being queer more as a casual, implicit reality than some sort of external public achievement. Good Guy is creative essay responses, a sketch of a song that appears to be the metathesis english only explicit lyrical mention of same gender desire on Blonde . And even still, the narrative is broken in two: the creative college essay first half is about a failed date at a gay bar, the second half is a conversation between two guys complaining about not having b****** no more. Essay Process Technology! Other songs (like Self Control, Ivy and Nights) and sections of songs that deal with troubled love affairs specify no clear gender; they could go either way. Perhaps much of the album is about failed same-sex love; perhaps it is not. College Responses! (We also don't really know yet to whom or what Seigfried refers). Other songs like Nikes make very specific reference to women (these b****** want Nikes / they looking for social studies, a check).

While the promotion of sexual fluidity is rooted in creative essay responses allowing people to define sexuality away from conventions and binaries — though increasing research is demonstrating that sexuality is not quite as fluid a spectrum as Kinsey once argued — Ocean's circumscribed discussions of explicit same sex desire could be frustrating, rather than liberating, for many within and technology, outside of college LGBTQ communities. In this light, Ann, Ocean's car motifs continue to fascinate, but I can't help also think that they are his main performative connection to a highly conventional symbol of machismo (which he, to his credit, acknowledges in his magazine when he says it might be linked to a deep, subconscious straight boy fantasy). This is to say nothing of his continued evocation of drug-use, his lyrical use of invectives like n**** and b****** and not-uncommon mention of the word p**** — all of which cosmologically connects him more closely to the PMRC sticker hip-hop tradition than to a sensual, retro RB one. I've written before that one of the reasons Ocean found widespread acceptance where other queer RB and essay on world, pop artists have failed — beyond his evocation of essay rock tropes like the guitar and his tales of straight women in strip clubs — is because there's a total absence of camp in his work. Moreover, in a song like Nikes, he shouts-out felled influences like A$AP Yams and social paper, Pimp C (rest in peace) and even Trayvon Martin — but there's no similar mention of slain LGB and trans folk (his emotional outpouring on Tumblr following the Orlando mass shooting doesn't explicitly show up in essay his Blonde lyrics). I say this not to police what Frank Ocean can or should say, nor how he should say it — only to money essay, mention there is a long venerable tradition where queer artists (in or out of the closet) engage in pre-emptive heteronormativity in the effort to avoid stigma and to fully crossover to straight audiences. It would be terribly tragic if Ocean's minimal attention to responses, these matters in his lyrics happened to ms thesis presentation, follow suit in that tradition. I've recently been considering the idea that Napster helped create the reluctant pop star: so many musicians after 1999, in the absence of traditional record sales, found other ways to creative, earn or bolster incomes, and found more stable lives to live.

You see the evolution of the reluctant pop star today in the form of actor Donald Glover or golfer Justin Timberlake, where pop stardom is something you do on the side while you're doing everything else. You also see it in the form of Sia or Zayn, where being a pop star (beyond making pop music) is simply a burden to research, be dealt with, or a way of life that you shuttle off to the corner, like the act of moving a mound of wasabi away from your sushi. Ocean seems to college, me the epitome of this millenia's reluctant pop star — he's a shrinking violet who went mostly invisible for the last four years; he rarely shows up to can buy, public events; and while he obviously knows how to write a solid radio-friendly pop song, he's become largely absorbed by other aesthetic pursuits. But the concept of the reluctant pop star has also merged into the concept of the college silent pop star — that reclusive artist who rarely, if ever, does interviews, has highly controlled outgoing communications and practices withholding information from the public and press as a matter of course. Caginess and silence also happen to be the strategies of dbq essays those of who know, or have known, something about responses living in closets. In that sense, it's a bit of letdown that other than that off-the-cuff mention of Trayvon Martin in Nikes (RIP Trayvon, that n**** look just like me), nothing on Blonde speaks explicitly to the #blacklivesmatter movement (though one could generously look the album as a whole as impressionistically arguing for the importance of black life).

Nothing on Blonde addresses the extreme crisis that is happening right now in black LGBT communities where the CDC has found that one out of every two black men who has sex with men is projected to essay process, become infected with HIV. This crisis is not just limited to the U.S.: it connects with the essay responses devastating criminalization of homosexuality in African nations like Nigeria and Uganda and European countries like Russia, and to dbq essays ap world history, the unacceptable persecution and brutalization of LGBT communities by terrorist groups like ISIS. To be clear, I'm not making an creative, argument that Ocean doesn't think about such things or that his heart doesn't bleed like everyone else's. It's also perfectly OK to not be a spokesperson or a role model or an activist, especially as pop and politics do not always make comfortable bedfellows. It's OK, and even progressive in history some ways, to pursue a more sophisticated vision/version of what it means to creative essay, be out questions than the rigid binary model currently embraced by global pride movements.

And yet, given that he's released an college essay, album that's so raw, stripped-down and intimate, and believing as of course I do that Frank Ocean does indeed cry over on world, the real time, existential threats that surely inform his everyday life as a not-completely-straight black American man making mainstream pop music given his considerable platform in 2016, I have to ask where, years after hauntingly evocative tracks like Bad Religion, is his will and courage — and maybe even his skill — to bring those life-and-death, topical concerns into essay responses, his recordings? Or does his crossover super-ambition — as James Baldwin might put it, the ms thesis price of the ticket — make the act of doing so simply out of his reach?