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Around the college
Grants awarded through Division of Sponsored Research
A note from the chair
Summer in CLAS is a deceptive time.
Baccalaureate and Commencement have
been completed. Our graduates disperse to
new jobs, many faculty leave for summer
research venues. Such annual diasporas
disguise or deflect attention from summer
changes that greatly affect CLAS opera-
tions during the subsequent academic year.
These transitions from June through August
include changes in academic leadership, ar-
rival of new faculty, and an immigration of
new students (graduate and undergraduate).
The College Office depends on the will-
ingness of CLAS faculty to step forward as
necessary to help run this complex opera-
tion. We acknowledge the loss of Associate
Deans Patricia Miller and Jim Dufty, who
will spend 1999-2000 on research leave
after dedicating 4-5 years in this office mak-
ing CLAS a better place. Replacing them
are new Associate Deans Carol Murphy and
Neil Sullivan, who will bring their own new
ideas and high energy levels. Some days
the latter is more important than the former.
I hope many of you already know the new
deans to some extent, and I'm sure they will
want to give you every opportunity to be-
come better acquainted. Our goal is always
to be user-friendly in this office, something
Neil and Carol will help us maintain.
Changing of the guard in departments
and centers can be exciting or traumatic
or both. New leadership offers renewed
promise and hope for further progress, new
academic directions, and a relative lack of
baggage compared to that accumulated by
outgoing chairs and directors during their
tenure. Running our academic departments
is a tough, demanding job, and there are few
more important duties to be found. Faculty
and deans expect so much of these lead-
ers. Fortunately, they are able satisfy most
of us, most of the time, truly a tribute. The
outgoing chairs and directors deserve our
thanks for ajob well done. The incoming
replacements we look forward to testing on
a regular basis.
CLAS has had a very active year in
faculty recruitment, with approximately
See Musings, page 12
Vol. 14 The University of Florida College of Liberal Arts and Sciences No. 6-7
Time for "Recess!"
Pilot radio program just one of the projects-in-progress at
the Center for the Study of Children's Literature and Media
ull one string and you might hear the
gentle bleating of a lamb. Pull another
and you could be serenaded by a
cow. The newest interactive toy from Fisher
Price? Hardly. Over 100 years old, this
surprisingly well-preserved Victorian talking
book is part of the University of Florida's
extensive Baldwin Collection of Historical
Children's Literature, which contains over
90,000 volumes including a 17th century
edition of Aesop's Fables, pop-up books
from the 18th and 19th centuries, the first
American edition of Alice in Wonderland,
and complete runs of 20th century adventure
series like Nancy Drew and the Hardy Boys.
The Baldwin's impressive holdings have
inspired a series of new initiatives, designed
by the Center for the Study of Children's
Literature and Media to bring the breadth
of UF's children's studies expertise and
resources into the national spotlight.
The interdisciplinary Center, directed
by children's book author and UF profes-
sor of English John Cech, will premier its
first new project on August 31: a pilot radio
series called "Recess!" to be aired daily on
Classic 89 WUFT and offered free of charge
to all National Public Radio (NPR) affiliates
across the country. Created for adults, the
three-minute show will to explore the rich
mosaic of children's literature and media,
past and present.
"Along with a great deal of helpful
information, the program will be full of
surprises,"Cech promises. "We'll offer
regular reviews of the latest children's books
and recordings, as well as previews of cur-
rent movies at the multiplexes and the best
of the new cartoons and TV
shows. We'll also .
with leading cre-
ators of works for
children and with
those making news .
or interesting .
the dynamic mix-
of elements that
The Baldwin Collection contains unusual items
like thumbnail bibles, a 1893 talking book, and
this small wooden-box "library" of miniature
books (1802, London). The Baldwin also holds
a significant collection of pop-up books, from an
1850s Cinderella to the 1980 Alice in Wonderland
(Macmillan, London), pictured below.
form children's culture."
The Center will emphasize children's
participation, with kids acting as "Recess!"
consultants, offering their thoughts on the
latest media, books or toys. "We'll be in the
field whenever possible," notes Cech, "at
the library one day or in a classroom or at a
playground another, talking with kids about
subjects close to them."
And, of course, the Baldwin Library
will play an integral part in Center programs.
Baldwin Curator Rita Smith (the Center's
Assistant Director) will record segments for
"Recess!" sharing information about the col-
lection's history and content, as well as read-
ing her own essays on, among other subjects,
the lively inscriptions and turn-of-the-century
baseball cards she has found amongst the
collection's eclectic pages. Other "Recess!"
segments will feature regular interviews with
national public figures in which they discuss
the children's books that influenced their
The College of Lib-
eral Arts and Sciences, the
Department of English and
the College of Journalism
have jointly funded the
See Children's Literature, page 10
This month's focus: English
Around the College
Andrew Gordon has been interviewed about the Star Wars phe-
nomenon by the Chronicle of Higher Education, the Baltimore
Sun, the LA Times, the Dallas Morning News, the Denver Post,
the Miami Herald and the Lakeland Ledger among many others.
He has also been interviewed for several radio and television
stations including Global TV (Toronto, Canada). WTBT-TV
(Tampa) videotaped his class on Star Wars.
Stephanie A. Smith was an invited speaker at the Einstein
Forum's "Genetics and Genealogy" conference (http://www.
einsteinforum.de/) in Potsdam, Germany, June 1-4, 1999.
Kevin McCarthy won the Patrick Smith Literary Prize from the
Florida Historical Society Library in Melbourne, Florida, for his
edited collection of stories: 'A River in Flood'and Other Florida
Stories by Marjory Stoneman Douglas. McCarthy is the first
recipient of this new award, which seeks to recognize valuable
contributions made by writers of Florida fiction in stimulating
the promotion and study of the state's history and heritage.
Ray G. Thomas served on the NSF- and NASA-supported
organizing committee for the geoscience community "Portal to
the Future: A Digital Library for Earth System Education." The
committee is discussing how the geoscience education commu-
nity would use a digital library to enhance geoscience education
at all levels (K-12, undergraduate, graduate, and informal educa-
tion) and to create a plan for establishing a community-owned
and -managed library facility.
Germanic and Slavic Studies
Keith Bullivant and Bernhard Spies (University of Mainz) have
been awarded a grant of 50,000 Marks (approximately $28,000)
over the next three years by the German-American Academic
Council, a new body sponsoring joint research between German
and American/Canadian scholars. The grant is in support of a
project on "Experiences of Crisis in German Literature of the
20th Century." A highlight of the project will be an international
conference that will take place on the UF campus in April, 2000.
Pradeep Kumar was cited in one of last month's Physical
Review Letter Focus articles for his work on higher order phase
transitions in superconductors. The Focus notes report on se-
lected works of significance and major discoveries in the physics
Classics Team Wins
The Certamen team (the classics equivalent of
'Brain Bowl') of UF's Epsilon Iota Chapter of Eta
Sigma Phi, the national undergraduate classics
honorary society, won the 1999 National Certamen
Championship at their national convention in Ath-
ens, Georgia, the weekend of April 10-12. Over 30
teams from universities all over the nation vied for
the prize. Competitors fielded brain-teasing ques-
tions about aspects of Greek and Roman civilization.
Also at the convention, UF student Jason Morgan
was elected national secretary of Eta Sigma Phi.
Fifteen members of the UF chapter attended, led
by the group's President, graduating senior classics
major Vanessa Coloura.
The National Championship Certamen: pictured at
the 1999 Eta Sigma Phi National Convention held
in Athens, Georgia. (left to right) Vanessa Coloura,
Jason Morgan, Jonathan Fehl and Mierka Drucker.
On April 15, Connie Shehan (Director, University Center
for Excellence in Teaching) received an Award for Innovative
Excellence in Teaching, Learning and Technology at the Tenth
International Conference on College Teaching and Learning held
in Jacksonville. Faculty representing 64 colleges and universi-
ties from throughout the world received awards.
Jay Gubrium presented a seminar on "Moral Environments and
the Subject in Aging," at the invitation of the Park Ridge Center
for the Study of Health, Faith, and Ethics in Chicago.
Around the College
CLAS Bids Farewell to
Deans Dufty and Miller
Pat Miller (Psychology), CLAS Associ-
ate Dean for Academic Affairs (with Dean
Harrison, 1,.. 1,i), and Jim Dufty (Phys-
ics), CLAS Associate Dean for Research
(left), ended their administrative terms this
summer. At a farewell luncheon on May
20, Dean Harrison congratulated the two
Associate Deans on years of good work and
presented them with thank-you gifts. CLAS
faculty and staff gathered at the luncheon to
wish Miller and Dufty well.
Center for African Studies Annual
Carter Lecture Series a Success
This year's Carter Lecture Series (March 26-
27th) brought together a group of international
scholars for intellectual exchange on "Aquatic
Conservation and Management in Africa." The
symposium, hosted and sponsored annually by the
Center for African Studies, was co-sponsored by
Division of Sponsored Research, the Center for
Wetlands, and the Wildlife Conservation Society.
Conference organizers Tom Crisman (Center for
Wetlands, Environmental Engineering Sciences),
Lauren Chapman, and Colin Chapman (both
from Zoology) selected key topics to develop
multidisciplinary perspectives on emerging man-
agement issues in African waters. The conference
fostered international dialogue on the develop-
ment of conservation and management strategies
in response to the magnitude of disruptions facing
aquatic systems on the continent.
Maples Endowment Awards First Scholarships
Margaret Kelley Maples, widow of renowned researcher and Pound
Human Identification Lab Director Bill Maples recently added $1,200
to the growing endowment fund named for her late husband. The first
William R. Maples Scholarships ($500) will be presented, fittingly, to
Maple's final four graduate students. From left: Maples Scholarship
recipients Dendra Smith and Heather Walsh-Haney, Bill Goza (CLAS
alumnus and long-time volunteer researcher at the Pound Lab), Margaret
Kelley Maples, Pound Director Anthony Falsetti, and Maples Scholar-
ship recipients Shuala Martin and Phoebe Stubblefield.
English Office Staff
The English Department, featured in this issue, is one of the
largest departments in CLAS. The English office staff in-
cludes (back row, from left) Loretta Dampier, Fiscal Assistant;
Carla Blount, Program Assistant; Sandy Plympton, Program
Assistant; (front row from left) Kathy Williams, Program As-
sistant; Jeri White, Senior Secretary and Rosa Piedra, Office
S f Jen Woolard (assistant professor of criminology and psychology)
Discusses the causes and correlates of youth crime.
he recent school shootings
in Colorado and
have captured the media
spotlight and galvanized the efforts
of parents, policymakers, and pro-
fessionals to develop a comprehen-
sive response to youth violence.
Although lethal school violence is
still relatively rare, these shoot-
ings have occurred at the close of
a decade in which juvenile arrest
Jen Woolard, Criminology rates reached an all time high
and Psychology (1994) and a wave of legislative
reform has redefined our juvenile
crime policy. As we mark the centennial anniversary of the juvenile
court, psychology provides a useful framework for conceptualizing
the causes and correlates of youth crime.
A solid research base has identified a number of factors that
increase the risk of, or protection against, violent behavior among
youth. An ecological framework categorizes these risk and protec-
tive factors in three levels. Macrosystem factors refer to societal
and cultural influences, while the microsystem includes neighbor-
hood, family, peer and school factors. The individual level is com-
prised of biological, cognitive, and psychosocial influences.
Capitol Hill debates on gun availability and violence in the me-
dia have perhaps unwittingly identified two significant societal and
cultural characteristics that contribute to youth violence. Hundreds
of experimental and correlational studies indicate that exposure to
media violence consistently predicts elevated risk for aggressive
and antisocial behavior. Criminological studies also document that
the recent rise in youth homicide rates can be largely attributed to
firearms. Systemic factors such as poverty, racism, and drug use
also contribute to youth violence but receive less attention in quick
policy debates or easily packaged legislative proposals.
Risk factors in the microsystem are adverse circumstances
that increase youth violence. Neighborhood characteristics such as
low socioeconomic status, high residential mobility, limited social
services and high exposure to violence all predict higher rates of
youth violence. These factors interact with parent and peer char-
acteristics. Poor parent-child relationships, family violence, high
interpersonal conflict, and association with antisocial peers each
elevate risk for the youth crime, which most often occurs in groups.
A secure environment and strong positive bonds to prosocial
peers or even one prosocial adult can serve as protective factors to
counterbalance risks in other areas. Finally, several individual-level
characteristics serve an important predictive function. Recent stud-
ies of biological influences on aggression, including hormones and
neurological functioning, at best account for a small amount of vari-
ance. Solid evidence on cognitive and personality factors points
to low IQ, difficult temperament, and early aggressive behavior as
hallmarks of later violence.
The ecological framework not only organizes multiple risk
factors into meaningful categories, it also identifies potential inter-
vention points. Responses to youth violence can target multiple
risk or protective factors along the prevention-treatment con-
tinuum. Prevention programs focus on the general population or
at-risk individuals before serious violence has occurred, whereas
treatment programs work with violent individuals to change
negative behavior and reduce its effects. Recent meta-analyses of
prevention and treatment programs have confirmed that effec-
tive strategies do exist, although incomplete implementation and
cost-cutting measures hamper their success. Primary prevention
programs such as parent training, conflict resolution, and school-
based competency enhancement programs demonstrate reductions
in youth violence. Effective treatment programs such as Mul-
tiSystemic Therapy intervene at multiple ecological levels with
violent youths and their families over an extended period of time
to reduce recidivism substantially. Prevention programs are more
cost-effective than criminal justice sanctions, but they remain a
hard sell because success means nothing happened. Preventing
violence is a "non-event" that doesn't usually capture the head-
Those adolescents that do commit violent crime are increas-
ingly processed through the punishment-oriented criminal justice
system rather than the more rehabilitation-focused juvenile justice
system. This trend raises a number of questions about the assump-
tions underlying an "old
enough to do the crime,
old enough to do the
time" philosophy. First,
due process is a fun-
damental notion in the
criminal system but my
own research indicates
that most young ado-
lescent offenders (ages
10 15) may not have
developed the capaci-
ties for understanding,
reasoning, and judgment
that are critical for their
effective participation as
defendants. Older ado-
lescents' abilities to ne-
gotiate the legal system
may be more a function
are more cost-effec-
tive than criminal
justice sanctions, but
they remain a hard sell
because success means
is a "non-event" that
doesn 't usually capture
of individual differences than age per se. Second, research on the
recidivism rates for juveniles transferred to adult courts is some-
what mixed but suggests that this much-heralded policy reform is
likely not a panacea. As with most social issues, juvenile violence
is a multidimensional problem that presents both challenges and
opportunities for researchers to develop theoretically-driven, empiri
cally based contributions to the policy debate.%
World Wide Humanities?
Academic Publishing in the Electronic Age
by R. Allen Shoaf (English)
M y comments require a
bit of background.
I've been working for over
nine years now on an edition
of a relatively minor but still
important work of Middle
English prose dating from the
1380s, entitled The Testament
of Love, written by Thomas
Usk, a friend of Geoffrey Chau-
cer. For the past five years,
I have been employing the
World Wide Web in my work
on this edition: in June, 1998,
the edition appeared in print
and on the WWW at the same
time; and this June, I will finish
the project by launching my
translation of The Testament
on the WWW. I would like to
share with you some of the con-
clusions and realizations I've
reached during this long period
First and foremost, I
believe the WWW is full of
promise for the Humanities,
especially the study of literature
of the far past, access to which
has always been problematic.
A text on the Web is, above all,
accessible. However merely
obvious this may sound, it is
nonetheless of inestimable
importance. That text is ac-
cessible in, say, New Zealand,
in Switzerland, in California,
in Iceland, equally and at the
same time. A print edition of
this text might cost $150 and be
as a result beyond the means of
someone in one of these places,
especially if s/he lives 50 miles
from a research library; but
if this text is on-line on the
WWW, anyone can access it,
no matter how impecunious
s/he may be or how far from
the library s/he may live.
The wonder of such ac-
cessibility, though great, is
chastened when we realize
that something happened to
those $150-they did not get
spent, and credit for producing
that text does not, as a result,
cycle through the normal (and
normative?) channels. And yet,
surely, someone paid for the
text, and in more senses than
Here's the rub. Who paid?
Who gets the credit? Who
controls the dissemination
of this information? Behind
these questions lie some others
that are, perhaps, troubling in
their implications. They are
questions that have to do with
the definition of academic
institutions and with the ways
in which such institutions
distribute rewards and awards.
Inevitably, I predict, they will
be questions also involving
such very fundamental notions
as tenure and teaching. For
what the WWW does is submit
to interrogation the ownership
If the series editor, the
publisher, and I all agree to
launch my edition of The Testa-
ment of Love in its entirety on
the WWW, at the same time
as we print it in a traditional
bound volume, have we not
violated an elementary busi-
ness practice? Have we not
effectively eliminated the
demand for the print version of
our product? You "own" our
product simply by opening it
in a WWW browser. And, as
anyone who has researched,
taught, or conversed on the
WWW readily knows, the text
on the WWW is preferable for
most of your needs to the print
version: it can be searched,
copied, and otherwise manipu-
lated for many critical purpos-
es. The question, then, really
boils down to this: who pays
for your "ownership"?
At no other time in my
career as a professor of English
literature has any question
emerged so starkly in its irrefut-
able relevance. For it is not, as
we have seen, just one question
but a host of questions. Would
I get tenure for publishing
the results of my labor on the
WWW? Would I get promot-
ed? Would I compete suc-
cessfully for external grants?
Would graduate students elect
to work with me? Will, to turn
to darker questions, my work
be plagiarized? Or, to quip in
a darkly humorous way, will
people browsing the WWW at
3 AM mistake The Testament of
Love for pornography?
We are on the cusp of
the greatest technological
revolution since the printing
press-such a statement is
R. Allen Shoaf, English
now commonplace, of course.
But, even so, scores of ques-
tions still need to be answered
and perhaps just as many need
to be asked that we haven't
formulated yet. As a teacher
of Medieval literature, a field
in which editions regularly do
cost $150, I think I can safely
say that if we do not address
these questions-both those
already asked and those not
yet asked-we who profess the
Humanities may find ourselves
even more marginal than many
now moan that we are. Litera-
ture takes many forms, comes
in many styles, but without
accessibility, literature is at
risk. We must answer the ques-
tion, who pays?, and answer it
soon, or resign ourselves to a
wide world of video games and
bomb recipes-hardly humane
creations, much less creations
of the Humanities.%
Creative Writing: Fiction
The Creative Writing Program
The Florida Writers' Workshop was founded in 1949 by Andrew Lytle, the Southern fiction writer who later edited the Sewanee
Review. Even earlier, in the thirties, Robert Frost came south during the winters to teach young poets at the university. Among the
writers who have taught at UF are James Dickey, Stephen Spender, and especially Harry Crews and Donald Justice, whose association
with the writers' workshop lasted many years. It remains a small graduate program, admitting only a dozen students a year, and is
ranked among the top twenty in the country-though writers care more for the weight and balance of words, the tangle of sentences.
Padgett Powell is the author of three novels: Edisto (1984), A Woman Named Drown (1987) and
Edisto Revisited (1996); and two story collections: Typical (1991) and Aliens of Affection (1998). He
has received a Whiting Writer's Award, A Pushcart Prize and the Paris Review's John Train Humor
Prize, and his short fiction has appeared in the New Yorker, Esquire and Harper's. Powell joined the
fiction faculty at UF in 1984.
F om Edisto Revisited, Chapter 18:
SLOUISIANA WAS a tunnel of improbability. For starters, I
could not stop drinking. This, I know, is statistically not improbable
if you are bred for it, if you have in your soul the Mendelian, green,
wrinkled pea for booze, and I indubitably do, but I had never felt the
real pull of it before. Booze has been for me recreation, sideboard
theater, camp, a headache. Occasionally, insupportable behavior.
Occasionally, magical moments.
But crossing into Louisiana I got this haunted little rill of feel-
ing-there was moss and mud everywhere and an inexplicable, hol-
low sensation that Louisiana is what would be left of the South after
it has been nuked-that I and everything around me were irretriev-
ably rotten. I was passing through this rotten-looking, rotten-sound-
ing town called Slidell and I got some crayfish and ate them with
mustard. Pygmy lobsters from the swamp and Zatarain's mustard
from the jar and some kind of sharp whiskey from the bottle, which
had the effect of Cowper's fluid on the crustaceans and mustard
going down; I could swear the little things were snapping their tails
in what felt like gasoline in my throat, and I felt so bad and out of
it-no job, no friends, no Henry Miller-that I felt very, very, very
good. I felt like boxing a few rounds with ... with live oaks. I felt
like driving. And that I did. Somewhere right at the beginning I
stopped and asked someone, "Is this Slidell?" and before he could
answer yelled, "I am Slidell," and drove very slowly away, waving
and smiling a huge exaggerated smile at him, or her, it may have
been a dog.
I wanted to be black and named Slidell Washington. I had whiskey.
I passed Mandeville, which I knew somehow was the premier state
nuthouse, and stepped on it hard. I came to in a bar.
There, relatively calm, I realized Mandeville was maybe where they
shanghaied Earl Long, but I was too near it yet and scared by being
Slidell Washington to ask anyone. If I were black and asked about
Mandeville and Earl Long they would just put me in Mandeville. I
had a drink before me on the bar, and there was a very attractive un-
attractive lifer barmaid smoking down the way who had served me
the drink, apparently. I went to the bathroom to see if I was black,
and was not. I washed my face anyway, convinced I was. I didn't
mind that actually-the idea of being secretly black was agreeable.
But I didn't want anyone finding out, or finding out suddenly and
scaring everyone and me, too. This is where a drink works like an
oar on a boat in a moving current. You have one, you need another
to row, to control, because shit is hap- r
I went out to the bar, sat down to address \'
my drink, and a very loud noise oc-
curred. And apparently only I heard it.
When I got up out of the crouch I was in .
beside my stool, the bartender was look-
ing at me.
"You okay?" she said. Padgett Powell, English
I knew immediately she had not heard
the noise. She could not possibly have heard it and still be upright,
smoking. But I had to say, anyway, "You didn't hear that?"
"That, ah, explosion?"
She just looked at me. I had enough instinct still to know if I said one
more word I'd not get one more drink from her.
"Sorry, ma'am. Flashback city."
She was not reassured by this, because I do not look flashback quali-
fied, unless we are talking drug flashback, but I averted crossing the
cutoff line, and I drank the drink before me and got another as quickly
as I could and tipped her well right then, with more money visible on
the bar-that wordless, grave tipping you do by pushing the money
solemnly at them, interrupting the retreat, even touching her hand if
you're really up to something other than ensuring service during your
first serious drunk. I was swimming in ordure. I was having promiscu-
ous thoughts-not ribald thoughts, but thoughts that were changing
among themselves in a blurred and indiscriminate fashion. I was drunk
and it felt good in a way I knew was not good. I had the wit to keep all
this to myself and keep getting drinks and never figured out the huge
noise. From matchbooks I figured out I was in Covington, probably.
I had a scratch on my arm and didn't know how I'd scratched it. The
noise I'd heard seemed to be coming from it, a little at a time. I looked
to the woman to see if she heard that. She mistook my glance for a
ready sign and made me a drink. Whatever she was making me had
changed color. My arm was now speaking.
It said, "Shut up."
"Okay," I said to it.
"You're welcome," the bartender said.
"Your mother," my arm said.
I waited for more. \ ly mother what?"
see Powell, page 11
Film Studies at UF
Film Studies professor Maureen Turim discusses her
latest work in film and film theory
Cn: You just published The Films of
Oshima Nagisa: Images of a Japanese
Iconoclast (University of California
Press). What prompted your work in this
MT: I first became interested in Oshima's
films because he was key to the transfor-
mation of film that was going on interna-
tionally beginning in the late fifties. This
"new wave" movement is associated with
France but actually occurred simultaneous-
ly in any number of countries. The move-
ment involves reworking film language,
and rethinking representation in extremely
interesting ways. Oshima represents the
Japanese version of that transformation.
The book actually grew out of research
placing Oshima's films, and this kind of
formal, structural and political innovation,
in the context of changes in Japanese cul-
ture as well as analyzing the international
contexts for his films. Oshima's work is
very topical, and at the same time very
My book offers detailed analyses of
his films which I connect to theoretical
issues. I analyze his treatment of characters
as split and multiple, and look at how nar-
rative events undo traditions of narrative
logic to embrace multiplicity and explore
Cn: You've started a new book project,
Desire and its Ends. Tell us about that.
MT: Desire and its Ends grows out of the
earlier projects-the Oshima book, my
previous Flashbacks in Film: Memory and
History and my very first book, Abstrac-
tion in Avant-Garde Film. I'm looking at
differences in the figuration of desire. I'm
limiting myself to relatively recent films,
but examining them comparatively, explor-
ing the traditions of different countries and
I start out with a chapter on the
relationship of the depiction of desire in
French film to French philosophy, French
psychoanalysis and the literary and theatri-
cal traditions in France. I'm suggesting
there is a specificity to the way desire is
figured. The French are much more inter-
ested in desire as l'amour fou-as passion,
burning, intense, but temporary-and they
are much more pessimistic about desire
Desire usually has a quite definite tem-
poral structure, or the narratives of desire
do. If they end with desire still alive, they
end on the choice or the acquisition of the
desired object, as if that were an goal in
itself. In other words, once desire is chan-
neled entirely into the ideal object, then the
film ends: the happy ending. The couple is
formed. Or conversely the object of desire
is lost. These constitute very artificial but
dramatically useful endings which narra-
tives of desire seem to need. It's far more
difficult for films to imagine a desire that
doesn't have its terminal point. So, one of
the questions I'm asking is how hard is it
for narrative to tell a story in which desire
is distinctly renewed, where it recurs or
can be expected to recur.
Cn: What courses do you teach?
MT: I teach a variety of courses on a rota-
tional basis. So there's always an excite-
ment about reinventing the courses. For
example, the grad seminar I'll be teaching
this fall is similar to one I taught earlier on
feminism and film, but this time I'm going
to concentrate much more on very recent
writing on gender and sexuality. While
Lesbian theories and filmmaking have
always been an element of the course, next
semester we will look specifically at the
way feminism currently might be heard in
conversation with lesbian and gay theory.
Issues of sexual identity and desire will be
foregrounded, and I will bring to the class
some of the research for the new book.
Another example of a course I've
taught (and would like to offer more regu-
larly) is Jews and Cinema. It's divided into
three sections, one on Yiddish film (silent
to early sound), one on Holocaust films,
and one on Israeli films.
Additionally, my Age of the Avant-
Maureen urim, Film Studies
Garde course connects the historical
avant-garde movements like surrealism
and constructivism with the avant-garde
at present, as well as with popular culture.
Students produce very original projects and
papers in that class, and they always get
very enthused and involved.
Cn: You're a part of UF's increasingly
popular Film and Media Studies Pro-
gram. What are the Program's goals?
MT: We have a core of excellent faculty.
That, coupled in the last few years with
increasingly great graduate students and
undergraduates has definitely created an
energy behind new goals. Our goals for the
future include building more infrastructure.
A lot of development in the program so far
has happened by patching things together.
We now need to have growth that's con-
nected to space and equipment, as well
as commitment of more faculty lines to
replace retiring faculty and to support the
future growth of the program. We want UF
students to receive a sophisticated educa-
tion in film and media studies, exposing
them not only to a critical understanding
of Hollywood films, but to a theoretical
knowledge of media culture. We want to
teach world cinema, documentary and the
avant-garde, as well as new media tech-
nologies. Our hope is to create videomak-
ers and scholars able to lead the field in
Creative Writing: Poetry
Two UF poets share images of Istanbul
Sidney Wade is the author of three collections
of poetry, Empty Sleeves (1990), Green (1998)
and From Istanbul, published
last fall in Turkish and Eng-
lish. Wade was a Senior Lec-
turer on a Fulbright Fellowship
I Istanbul University in 1989-90.
She was awarded the Stan-
J, h ley P Young Fellowship
the Bread Loaf Writers'
Conference in 1994. She
returned to Istanbul in 1995 and again in 1998.
BACK INTO LOVE
(with a line from Ted Berrigan)
I took my body out for a walk every morning at eight
on the way to the ferry dock
past the store where the man ground coffee into dust and sold
this marriage can be a dreary business
I said to myself fairly often
there was Istanbul
"feminine marvelous and tough"
and as my feet reacquainted themselves
with the burbling ferry
my eyes hoped they might once again meet those of the man
in the green loden coat on the upper aft deck
in the soft morning light
leaning cool on the railing
and smoking a cigarette
He was tall dark and handsome of course
and I thought oh how well we can love ourselves
and then I thought
not too impossibly dreary besides
there is always the next generation to think of
and then there are too the blue promises
and all those roses
however dusty they may sometimes appear
Then the ferry disentangled itself from the shore
and pumped on down the capital stream
and I looked at the sky with its fabulous palaces
and I hugely stretched
and there I was
with my fist full of clouds
and I thought what a wonderful thing this could be on occasion
and I took myself down to the waterline
of the throbbing machine
and the deep blue sea
and I watched the great city astride its hills
and fell sadly
and for the thousandth time
back into love
Debora Greger has published five books of poetry: Movable Islands
(1980), And (1985), The 1002nd;, ,i, (1990), Off-Season at
the Edge of the World (1994), and Desert Fathers, Uranium
Daughters (1996). She has won the Grolier Prize and the
Award in Literature from the American
Academy and Institute of Arts and
Letters, and she has received grants
from the National Endowment
for the Arts and the Guggenheim
Foundation. Greger visited Istan-
bul in 1998.
FLYING TO BYZANTIUM
That is no country for women. In the streets
of Istanbul men strutted like pigeons.
Like saints surrounded by gold in the old mosaics,
they wanted to sell me something.
Boys swarmed the Blue Mosque like bees, touting rugs
in what they guessed my language was.
At the bus stop on the Bosphorus, the day's fish
had been laid out to shine like souvenirs.
I wanted the big flatfish with the wandering eye.
He had the face of an angel over a tomb,
monument to his own magnificence.
In the church of St. Savior, the sainted men
painted on the wall looked down on me.
What could I do but walk beneath their gaze,
I who'd paid to look, not to pray? Over their heads,
a girl was given away to priests in the Temple.
Even higher up, an angel brought her bread
since she would be needed later in the story,
being the young virgin Mary.
A paltry thing, a tattered coat upon a stick-
a girl at a traffic light at midnight
took the gray rag she was supposed to smear
our windshield with, and wound it instead
around a fence post in play. Into a doll
whose face could barely be seen for the veils.
Soul, though I no longer believe in you,
we were younger once. Don't
turn away when I would talk to you.
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McGorray, S. STAT NIH
Chapman, C. ZOO NSF
Guillette, L. ZOO EPA
Burns, A. ANTH UFF
Andrew, W. BOT Mellon Foundation
Bowes, G. BOT UFF
Brown, W CSD Miscellaneous Donors
Clark, I. ENG UFF
Caviedes, C. GEOG UFF
Mueller, P GEOL UFF
McMahon, R. HIST UFF
Dow-Elanco compounds agreement.
Dupont Agricultural Products.
Miles compound contract.
Collaborative work in heterocyclic chemistry.
Continued optimization of a polymeric peptide cleavage agent.
Synthetic and biological studies of the erinacines.
Fundamental and instrumental studies of GC/MS/MS on the GCG.
Recovery of plant and animal communities in the Kibale corridor.
Flamingos: A near-IR multi-object spectrometer.
Nature of very red field galaxies.
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159,101 Florida space grant consortium.
74,800 Florida space grant consortium training grant-non-UF recipients (fellowships).
113,100 Florida space grant consortium training grant-non-UF recipients.
83,099 Florida space grant consortium training grant-program.
A mid-IR study of the disks and envelopes of pre-main-sequence intermediate-mass stars.
Ground-based mid-IR imaging and spectroscopy of vega-type disks.
UF participation in the airborne infrared echelle spectrometer project.
Theoretical studies of reactive molecular processes.
Electrochemical polymers for ESA.
The features of self-assembling organic bilayers in the formation of anisotropic inorganic
Doctoral dissertation research: entrepreneurial networks in Meanza, Tanzania.
Modeling of micro-optics and electromagnetics.
Gradient-like flows in image processing-PDE-based image denoising and segmentation.
Galois groups and matrices.
Task G: US CMS trigger subsystem.
39,166 Computer acquisition for research in theoretical and experimental high energy physics.
237,000 Task B: research in theoretical and experimental elementary particle physics.
148,000 Experimental research in collider physics at CDF
50,000 Career: mesoscopic interacting systems.
250,000 Task G CMS: research on elementary particle physics.
268,834 Research in theoretical elementary particle physics.
Interaction of GE with surfactants on the SI(100) surface.
Magnetic materials and devices.
Task C: second-generation dark matter axion search.
90,000 Infrared studies of cuprates, superconductors and correlated metals.
43,034 Psychobiology summer research for undergraduates.
Statistical data: evaluation of ischemic heart disease in women.
Constraints on primate group size: responses to spatial and temporal variation in ecological
Endocrine disruption and fish physiology.
3,151 Dissertation fellowships.
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See Grants, page 10
Children's Literature, continued from page 1
eat too fast, sit quietly at
Center for the Study of Children's Literature and Media the table, that kind of thing.
John Cech, Director *
John Cech, Director But the books of manners
Children's books represent our first encounters that are published today are
with literature, in which we hear words used beau-
tifully and tune ourselves to the rhythms of our lan- much more visually appeal-
guage. One can't overstate the value of children's ing and amusing than those
literature. Millions of people who will never read from previous centuries."
Tolstoy or Shakespeare will read Charlotte's
Web-and never forget the experience. Using a variety of
-from a 1995 Today interview with Cech compelling illustrations
from the Baldwin," says
Cech joined the UF faculty in 1976. He has pub- Cech, "and interspersing
listed three critical works, including the award-winning Angels and
Wild Things: The Archetypal Poetics of Maurice Sendak (1995), as these with readings and
well as five children's books and one novel, commentaries from experts,
we hope to create an excit-
four-month pilot of "Recess!" and they're op- ing, informative production
timistic that, like NPR regulars "StarDate" and that appeals to a wide audience. Now, if we
"The Writers Almanac," "Recess!" will get could persuade Judith Martin [Miss Manners]
picked up by a significant number of stations to host the program, that would be the icing on
during the sixteen-week promotional period the cake," he adds. The Center is also in the
(which ends December 31, 1999). If success- early planning stages of another documentary
ful, "Recess! "may also attract vital support that would commemorate the 100th birthday
for future Center for the Study of Children's of L. Frank Baum's classic The Wizard of Oz,
Literature and Media efforts. "We hope the originally published in 1900.
first radio segments will be a magnet for fund- In the coming years, the Center also
ing support from those sources interested in hopes to work with local museums, libraries
bringing literature and the arts into the lives of and school systems to organize programs in art
families," Cech explains. and literature and to sponsor lecture series and
The Center has no shortage of innovative conferences on topics of children's culture.
ideas on the drawing board. Once "Recess!" "Eventually, we'd like to host an interna-
gets off the ground, they hope to produce a tional conference on the role of the children's
video documentary on the history of children's book in the 21st Century," says Cech. "As our
manners books, drawing on the Baldwin's world becomes increasingly wired, what's go-
array of material on the subject, which ing to happen to the traditional
ranges from facsimiles of form of the book? How
medieval courtesy books, it "will it be transformed for
to neatly bound moral our grandchildren? And
treatises from the 17th how will these changes
and 18"h centuries, to alter the whole experi
early 20th century offer- ence of reading, thinking
ings, in which lessons in and imagining?"
conduct were mixed with Rather than cham-
humor, as in the rhyming, pion the book above all else, however,
cartoon-illustrated The Goops and How to be Cech remains cautiously optimistic about the
Them (inset, right). potential of the media. "Whether we like it
"The message to kids is essentially the or not, the media have taken on the role of
same every century," laughs Smith. "Don't story-teller and culture-giver for many kids
today, a fact of our present reality that asks us
G rants, continued from page 9
Nelson, M. LING UFF
Thiele, L. POLISCIUFF
Williams, E POLISCI Miscellaneous Donors
Branch, M. PSYCH UFF
Radelet, M. SOCIO UFF
Bjorndal, K. ZOO UFF
Brockmann, H. ZOO UFF
Scicchitano, M. POLISCI Multiple Sponsors
Swanson, B. POLISCI City Of High Springs
to examine what these new narrative modes
are offering children. I see us [at the Center]
providing critiques of the media, of course,
that's essential and vital. But I also hope that
we may be able to suggest positive ways that
these media may serve the imaginative lives of
Cech would like to invite such significant
trend-setters as the Disney and Nickelodeon
studios to participate in the discussion. "We
have to find ways to open dialogues among the
many groups that are involved in educating
children," he says. "Although the tendency
From the cartoon-il-
lustrated manners book
Goops and How to be
Them (1900): "The
Goops they lick their
fingers, And the Goops
they lick their knives;
They spill their broth on
the tablecloth-Oh, they
lead disgusting lives!"
first documentary video effort will focus on
manners books from the 16th century to pres-
ent. In the year 2000, the Center hopes to
create a second documentary celebrating the
100th birthday of The Wizard of Oz (some of
the Baldwin's many editions of the classic are
pictured below, left).
of the academic community is to dismiss the
producers of commercial works, I think we
should look carefully at what these companies
are generating for young people, hear their
ideas and let them hear ours. Who knows
where such a conversation might lead?"%
"Recess!" will begin on August 31 and
is scheduled to air on Classic 89, weekdays at
1:15 PM. Find out more about "Recess!" and
other Center for the Study of C i1t,. 11 Lit-
erature and Media initiatives at the Center's
upcoming Web site www.recess.ufl.edu (under
3,151 Dissertation fellowships.
9,453 Dissertation fellowships.
11,731 Miscellaneous donors.
6,302 Dissertation fellowships.
3,151 Dissertation fellowships.
5,000 Sea turtle conservation.
3,151 Dissertation fellowships.
6,000 State applied research for surveys.
18,750 Research and advisory services for High Springs comprehensive plan.
Pow ell, continued from page 7
"I don't know," it said. I looked at the scratch closely. I wanted to
see its lips move if I could. I put my head on my arm, level with
the forest of hairs, the wild terrain of follicle and freckle and fleshy
soil, waiting for this fresh fault in the land to speak. I bit myself, at
first rather affectionately, then shook my arm like a bulldog a rag
and made noises. "Your mother's on the phone," it said. I dropped
The bartender was over us. "Your mother-she says-is on the
\ ly mother is on the phone?"
"That's what she says. It's a woman. You called her, I think. Be-
That is as close to a summary position on the evils of drink as I can
imagine: Don't drink, because if you do and it gets off the road with
you, you can be invited to speak to your mother in a bar you do not
know the location of on a phone it is alleged, but you
do not remember, you have used. It is like a call to
armed combat when you are unaware you're in the
service. Flat feet understates the matter; 4-F will not
at this hour suffice. You trudge, you limp, you lol-
lygag to the phone, and, with a look and high sign for
a drink to the bartender, who's rather your command-
ing officer at the moment, you pick up the phone ...
I sat back down and the bartender came over with a
drink and swept the money out of the way and leaned
over the bar with both arms -as if to straighten my
tie, which I was not wearing-her hands coming in
tenderly and slowly at my throat and sliding around
my neck and lacing behind it, and she pulled me to
her, hard, and kissed me, hard, full on the mouth, and
turned her head forty-five degrees, serious. It was done with such
energy I gave her energy back, and tried to give back what seemed
the spirit of the thing. It's just a kiss, do it well, she seemed to be
saying. She let me go and I rocked back down on the four legs of
"Not bad," she said.
"No," I said.
She went back to her station and didn't regard me much after that;
some regulars came in and I knew we were over. It was an agree-
able affair. Her hair-I grabbed her neck, too-was like bleached
hemp, almost as coarse and stiff as shredded wheat, and felt very
sturdy and good to the hands but nothing like hair. People were
calling her Dotty.
By way of saying goodbye, I told her, over some of the regulars,
which made me look nuttier than anything I'd done in there yet, I
think, "Hey, Dotty, I've got to go. I've got a dog to feed." It was as
if I were Admiral Byrd saying, "Hey, I've got to go. I've got a pole
to claim." I said this to a group of explorers who had not yet begun
their journeys. The entire bar paused and did a very discreet but
palpable eye roll, except Dotty, who managed, unseen by anyone, to
wink at me. It was the wink of one-kiss lovers, a salutation across
all time between two people forever in love who had strained to do
something mystifying to each other across a countertop. "Well,"
I said when the eye roll had completed itself and I felt they were
all embarrassed to have presumed Dotty would join them, and I
wanted to say Hi-yo, Silver! as well, but did not, and left.
Outside, the mud and gloom had changed to something radically
more Hallmark: it was all bright bayou and butterflies. At my
car I had a shock: I did have a dog. There was a robust, gnashing
Dalmatian in my car. There was a glimmer of history about this
dog, which I sought to mollify with some Easy, boy, which he was
having none of. St. Tammany Parish Animal Control Center. Had
stopped threat. Why? Because had stopped at Tulane Primate
Research Center. Why? To see monkeys with wires coming out of
their heads. Was not allowed to. Why? Probably because they had
monkeys with monkeys coming out of their heads, which is why
primate research centers are in swamps. This had pissed me off, so
I stopped at dog pound down road to see what abuse they were up
to. Not an animal nut, but even the name Primate Research Center
gives me willies. So whip in dog pound, and first dog run has Dal-
matian nearly breaks through chain-link to get me. This I remember
vividly, standing now at my car wondering how to get in it: this
very dog hitting the fence with force enough to bulge
it in rhomboids of fur and bounce back, squinting
very meanly and sideways at me, growl almost inau-
dible, saliva on galvanized wire.
"That ain't no fire-station dog out there," I said in-
side the place with some old-boy gusto and sawmill
conviction, and a fellow chuckled, No, it ain't, it was
the pound guard dog, though, and I said I wanted it,
and evidently I got it. I had got bad drunk and got a
bad dog and called my bad mother and made a date
to meet one of her bad lovers. I had torn a page, I
believe the locution goes. All I could do now was
buy some meat across the street and throw it in the
backseat and drive and hope the dog did not bite me
in the back of the head. I had gotten him in the car; it
looked marginally tenable he'd let me in it now.
He did and we drove off. I named him My Inner Life. At the first
pee stop My Inner Life ran off down a logging canal on a bayou
named, as near as I can tell, Tennessee Williams. If it was not
Tennessee Williams it was Joe Bourgeois, my map was consider-
ably out of register. Up this same canal down which My Inner Life
had disappeared shortly came loping toward me a giant nutria,
bounding part beaver, part rat, with yellow incisors visible like a
nine ball in its mouth. I could not get Louisiana. Huey Long and
open-skulled monkeys and logging canals and South American
rodents gamboling the land, and that land a weird admixture of
ordinary South-landscaped colonial brick Farmers & Merchants
Banks at crossroads where there appears no need for a bank, or for
a crossroads, or for roads, and no farms are about-and unordinary
South. The unordinary obtained when you found a canal named for
a man named Joe Bourgeois or Tennessee Williams, take your pick.
This canal here, in this swamp we ruined pulling oil out of it, and
pulling logs out of it before that, let's name it for John Doe-no, for
that guy (queer, I think) who made that streetcar of ours, which no
longer runs, I think, famous. Yes. Need him a canal. Somewhere out
in the vast swamp before me could be an intersection of forgotten
waterways called Dealy Plaza and Garrison Slough. I ran, a little
ahead of the nutria, back to my car. There I found a receipt that in-
dicated My Inner Life had had all his shots and was worm free and
had cost forty-five dollars.%
Musings continued from page 1
40 searches authorized. At this point, over
30 have been successful, others are still in
progress, and a few have been deferred to
next year. It is difficult to overestimate the
impact of each entering "class" of CLAS
faculty in terms of what they may accom-
plish for their departments and the morale
that their arrival produces. If you could
see, as I do each year, the credentials of the
faculty our departments are able to attract to
UF, you would be equally impressed with
the outlook for our future. Outstanding
faculty are the lifeblood of any university.
Congratulations to the search committees.
And then there are the new students
who replenish our ranks each summer and
fall, including talented graduate students,
who come from all over this country (and
beyond) to study with our faculty. President
Lombardi has asked that we grow at the
graduate level, and CLAS is making every
effort to comply, particularly in areas that
offer solid reason for expansion. The reputa-
tion of CLAS programs is steadily building,
which will be more and more helpful in the
difficult competition for top-ranked gradu-
Finally, the core of our programs, the un-
dergraduate students, mostly from Florida,
who have objective quality scores that show
them to be among the best entering class
of any public university. Because these
students stream to UF each year, seemingly
without any real effort on our part, there is
the danger of overlooking their importance.
We should all stop and be grateful that we
live in a state with such demographics to
produce an apparently unending supply
of outstanding students. I assure you that
my fellow deans in many other parts of the
country envy our student reservoir. Again
this year, the bright faces and terrific minds
will descend on Gainesville, and aren't we
the lucky ones for it.
Transitions are an exciting part of work-
ing at a major university. Much changes
from year to year. Overall, our perception
of each year's progress will vary, but only
a true curmudgeon would find this life less
than interesting. Thanks to all who keep
things moving upward.
A Note From the Chair
W hat is an English Department?
It used to be that an English Department
combined faculties in English literature, American
literature, and required composition. At UF, faculty
continue to produce outstanding scholarship in these
areas. Mel New is adding the third set of elaborately
introduced and heavily annotated volumes, on Senti-
mental Journey, to his Florida Sterne edition. Richard
Brantley is working on the Emily Dickinson install- /
ment in his series of intellectual and literary histo-
ries tracing the relations of Locke's empiricism and
Wesley's evangelicalism through English and Ameri-
can writers. John Seelye's Memory's Nation; the
Place of Plymouth Rock and Malini Schueller's U.S.
Orientalisms: Race, Nation, and Gender in Literature,
1790-1890 offer both traditional topics and new mate- Ira Clark, Chair
rials, methods, and perspectives. Department of English
Our department, however, also extends these
traditional English disciplines. We now have thirteen models that undergraduate ma-
jors can adapt, including the less familiar African American/African Diaspora; Cultural
Studies; Feminisms, Genders and Sexualities; Film & Media Studies; and Theory. Many
of our faculty reflect this diversity. Debra King recently published Deep Talk: Reading
African American Literary Names and Naming and won Ford and Schomburg grants to
begin study of "African Americans and the Culture of Pain." Mark Reid is studying "Post-
Negritude Visual Culture," African diaspora imagery in films, videos, photos, and litera-
ture in France and America. Robert Ray is extending his criticism of mid-century movies
in "Four Classic Hollywood Films." And Greg Ulmer's theory of media, rhetoric, and
pedagogy is in progress. Popular culture and cultural studies range from Jim Twitchell's
argument that advertising is our culture to Susan Hegeman's history of conceptions of
"culture" among anthropologists, critics, and writers during the first half of the twentieth
century. Twitchell's Lead Us Into Temptation: A hI,. "' U,, ... Packaging, Branding, Fashion
and the Triumph of American Materialism and Hegeman's Patterns for America: Modern-
ism and the Concept of Culture are just out.
What unifies all these disparate disciplines is attention to analyzing and interpreting
the ways texts or representations work and the ways we talk and write about them persua-
Increasingly, too, we produce the very kinds of texts we analyze. For twenty-five
years we have been among the few English departments that include Creative Writing.
And many of our faculty produce both "academic" and "creative" works. William Logan
has won awards for both his reviews and his poems. This year sees the publication of
Logan's verse in The N'ilt Battle as well as his reviews in Reputations of the Tongue.
Stephanie Smith has won grants to work on both her fiction, including Other Nature, as
well as on her forthcoming American scholarship, Household Words: Composing Com-
mon Sense for a Democratic Culture. Amitava Kumar fuses the creative and the scholarly
in Pure Chutney, a prize-winning video
about Indian diaspora in the Caribbean.
He is creating a sequel now in South Af-
rica. Kumar's new scholarly book, Pass-
port Photos, employs his own photojour-
nalism, poetry, fiction, and translations as
well as analyses to consider immigrant
experience, movements, and nationalities.
So, if you ask a colleague to define or
even characterize the profession of Eng-
lish, don't be surprised if we fall silent,
stammer, or, as here, offer a partial sketch
of what we are doing.
CLASnotes is published monthly by the College
of Liberal Arts and Sciences to inform faculty and
staff of current research and events.