#Derounian

[lonestarflight]

Grumman President E. Clinton Towl (far right) describes the Lunar Excursion Module to (from left) Congressman John W. Wydler, Steven Derounian, and George P. Miller.

Date: February 4, 1963

Long Island Daily Press Identifier: aql:33411 ldp-003508 ldp-003508

[dwellordream]

American Gothic Culture: The Pre-History of the American Vampire

“Like Stoker’s Renfield anticipating the arrival of Count Dracula, the cultural imaginary of nineteenth-century American literature was haunted by vampires prior to the actual emergence of the literary figure, and the vexed issue of American race relations is at the core of many of these ‘proto-vampire’ accounts. James Fenimore Cooper’s Last of the Mohicans (1826) is a case in point. Cooper ‘supernaturalizes’ American Indians as spirits of the forest with almost magical abilities to appear, disappear and track their quarry. 

He then bifurcates this image into the Rousseauan ‘noble savage’, represented by the stoic Mohican Chingachgook and his courageous son Uncas, and the barbaric, conniving Huron Indian Magua. Borrowing elements of the Native American captivity narrative, such as The Sovereignty and Goodness of God: Being a Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson (1682), in which Indians are presented as demonic ‘ravenous beasts’ and ‘hell-hounds’ (Rowlandson 2001: 308), the plot of Mohicans revolves around the kidnapping by Magua and attempted restoration of two white women, Cora and Alice. 

During a central scene, Indians massacre British soldiers peacefully vacating the surrendered Fort William Henry in the then-province of New York. In Cooper’s words, ‘as the natives became heated and maddened by the sight’ of flowing blood that ‘might be likened to the outbreaking of a torrent’, ‘many among them even kneeled to the earth, and drank freely, exultingly, hellishly, of the crimson tide’ (Cooper 1982: 198). Cooper’s portrayal of the vampiric Indian also drew upon and influenced lurid anthologies of anti-Indian propaganda that proliferated across the nineteenth century. 

With titles such as Horrid Indian cruelties! (1799) and Indian Atrocities! Affecting and Thrilling Anecdotes Respecting the Hardships and Sufferings of Our Brave and Venerable Forefathers, in Their Bloody and Heartrending Skirmishes and Contests with the Ferocious Savages (1846), these compendiums freely mixed fact with fantasy, often with avowedly genocidal intentions. 

As Kathryn Derounian-Stodola and James Arthur Levernier note, sensational accounts of murder and torture predominate in such works: ‘Babies are thrown into cauldrons of boiling water, fried in skillets, eaten by dogs, or dashed against trees or rocks . . . The aged are dispatched with tomahawks and scalped. Women are sexually violated, and captives of all ages and both sexes are burnt at the stake, dismembered, and sometimes even devoured in orgiastic rituals said to be almost, but not quite, “too shocking a nature to be presented to the public”’ (Derounian-Stodola and Levernier 1993: 33). 

Robert Montgomery Bird adopts this dim view of Indians in his popular Nick of the Woods (1837), written as a direct refutation of Cooper’s romantic representation of noble Indians. Symbolically named protagonist Nathan Slaughter is an Indian hater intent on the destruction of his barbaric foes. The cannibalistic propensities of indigenous populations are also at the centre of Herman Melville’s first novel, Typee: A Peep at Polynesian Life (1846), although Melville adopts a more tolerant perspective toward native characters. 

As in his more famous story ‘Benito Cereno’ (1855), which thematizes a shipboard slave revolt, Typee displaces antebellum American racial anxieties to the South Seas as the protagonist Tommo finds himself captive of the cannibalistic Typee tribe on the island of Nuku Hiva in the Marquesas Islands. Provoking the ire of conservative critics, Melville’s novel seems to excuse the indigenous cannibalization of enemies slain in battle by comparing this horror in an otherwise pastoral society to Western white men consumed by greed, disease, anxiety and unfulfilled desire. 

The native’s ‘savage’ practice pales in comparison to how modern existence debilitates and sucks dry ‘civilized’ men. To varying extents works by Cooper, Melville or Bird represent atavistic savagery as an intrinsic feature of indigenous populations whose racial otherness is then counterpoised against Anglo defenders of enlightened civilization enlisted to combat the hellish creatures of night and forest. 

While not immortal or literally able to transform, Indians are nevertheless both more and less than human, possessing almost supernatural powers of stealth and observation. They are savage, demonic creatures able to appear and disappear at will, to move silently, to sense and control nature, and to track their quarry across forbidding terrain. 

Unlike James Malcolm Rymer’s serialized account of Varney in his Victorian ‘penny dreadful’ Varney the Vampire; or, The Feast of Blood (1845–7), which influenced Bram Stoker’s Dracula (1897), there is no known nineteenth-century American literary equivalent of an ‘actual’ vampire. While nineteenth-century American fiction restricts blood drinking as a literal or conscious act to non-white races, it is nonetheless rife with psychic vampires who possess seemingly supernatural powers to drain the vitality of others. 

Like the fears of racial difference in the above accounts of dark-skinned cannibals, these narratives reflect American anxieties about exploitative power relations and often pivot around issues of sexual difference and control embodied by a vampiric female figure. Not surprisingly, such demonic entities figure in the dark romantic writings of Edgar Allan Poe and Nathanial Hawthorne, as well as the gothic fictions of Mary E. Wilkins-Freeman and Ambrose Bierce. 

In both Poe’s ‘Ligeia’ (1838) and ‘Morella’ (1835), for instance, mysterious and powerful females captivate their male companions and appear to defy death. After the demise of the eponymous Ligeia, the melancholic narrator remarries and, depending upon how one interprets the ambiguous conclusion, observes Ligeia’s spirit taking possession of his dying second bride. 

The titular character of ‘Morella’ similarly refuses to succumb to death, despite her apparent dissolution during childbirth. American literary critic Allen Tate has compared the surviving daughter – also named Morella and a doppelgänger of her namesake – to a vampire returning ‘to wreak upon her “lover” the vengeance due him’ for his lack of passion (Tate 1963: 385). Tate also considers Lady Madeline of Poe’s ‘The Fall of the House of Usher’, ‘back from the tomb, neither dead nor alive’, as someone who suffocates her brother in the vampire’s ‘sexual embrace’ (387). 

A more obvious case of psychic vampirism is featured in Poe’s ‘The Oval Portrait’ – originally titled ‘Life in Death’, an allusion to the vampiric figure in Samuel Taylor Coleridge’s Rime of the Ancient Mariner (1798) – in which an injured traveller seeking refuge in an abandoned chateau discovers an eerie account of a captivatingly realistic portrait. Providing a template for Oscar Wilde’s later The Picture of Dorian Gray (1891), the narrative explains how the portrait’s eccentric creator grew so obsessed with the artistic process that he neglected his model: his young bride. 

Upon completing the portrait, he exclaims, ‘This is indeed Life itself!’, followed immediately by his discovery of the death of his bride, her vitality drained and transferred to the portrait. One of many Poe tales about the death of a beautiful woman, ‘The Oval Portrait’ also allegorizes the artistic process as a vampiric one that entails the ‘murder’ of the thing represented. A gothic painting connected to life and blood similarly takes centre stage in Hawthorne’s The House of the Seven Gables (1851). 

The stern portrait of Colonel Pyncheon, scion of the Pyncheon family upon whom the curse ‘God will give him blood to drink’ was laid following the unjust appropriation of the land of accused witch Matthew Maule, casts its long shadow over the Pyncheon line. The colonel was indeed served up blood to drink, fittingly choking to death on his own before the events of the novel. 

Thus his blood drinking is figured as either supernatural payback or poetic justice for having spilt the blood of a disempowered other. In a more metaphoric sense, both Hawthorne’s Roger Chillingworth, the cuckolded husband in The Scarlet Letter (1850) who drains the life out of the guilt-ridden Reverend Dimmesdale, and (with interesting parallels to Poe’s ‘The Oval Portrait’) the alchemist Aylmer in Hawthorne’s ‘The Birth-Mark’ (1843), who ‘perfects’ his wife only at the cost of her life, feed vampirically on those over whom they exert control. 

Two more explicitly supernatural early vampire tales – both of which thematize the grasp of controlling women – are Mary E. Wilkins Freeman’s ‘Luella Miller’ (1902) and Ambrose Bierce’s ‘The Death of Halpin Frayser’ (1891). The former presents the account of the delicate eponymous character whose suitors and servants waste away and die. Seemingly incapable of caring for herself, Luella too sickens and dies when the townspeople will no longer approach her. 

In Bierce’s strange tale, a distraught mother returns from the grave, like Poe’s Lady Madeline, to wreak vengeance upon the son, Halpin Frayser, who left her. In one surreal scene, Frayser lies down in the woods and dreams of blood ‘about him everywhere’, only to find himself ‘staring into the sharply drawn face and blank, dead eyes of his own mother, standing white and silent in the garments of the grave!’ Frayser then ‘dreamed he was dead’ (Bierce 2013: 222), which may or may not be the case. 

Anticipating contemporary queer vampire stories, both tales associate vampirism with excessive or ‘unnatural’ affective attachment. Luella feeds upon the energy of those drawn to her, while the relationship between Frayser and his mother, who ‘were not infrequently mistaken for lovers’ (Bierce 2013: 220), transforms into blood-soaked violence and revenge from beyond the grave. 

Indeed, Bierce’s scenario, in which a revenant plagues its immediate family, is much truer to the folkloric roots of the vampire than most literary accounts. Blood drinkers also emigrated from Europe and England to the nineteenth-century American stage, which ‘produced a steady stream of plays about vampires, originating in France and quickly “cannibalized” by the English and Americans’ (Stuart 1994: 3).

- Jeffrey Andrew Weinstock, “American Vampires.” in American Gothic Culture

[chiseler]

Downward Christian Soldiers

Father Charles Coughlin, 1930s

On January 14 1940, the FBI arrested 18 men in New York City accused of plotting the overthrow of the U.S. government. Fourteen were snatched up in their homes in Brooklyn, the others in The Bronx and Queens. Searches yielded more than a dozen Springfield rifles, a shotgun, some handguns, thousands of rounds of ammunition, and the materials for homemade bombs. J. Edgar Hoover said they were plotting a terrorist campaign targeting transportation, power, and communications facilities; their goal was to rouse the military into staging a coup, placing a strong dictator like Hitler or Mussolini in power, and cleansing the country of Jews.  

The men were mostly of German or Irish descent, and ranged in age from 18 to 38. If employed (a few weren’t), they held low-end jobs, including an elevator mechanic, a telephone lineman, a chauffeur, a couple of salesmen, a couple of office clerks. The 18-year-old was a student. Most troubling was the fact that six of them were National Guardsmen.

They were all followers of a Father Coughlin-inspired movement called the Christian Front. In his mid-1930s heyday, Coughlin was arguably the most powerful pro-Fascist voice in America. An Irish Catholic originally from Canada, he had first turned to radio in the 1920s simply as a way to expand his ministry beyond his tiny congregation in Royal Oaks. He had a strong radio voice, and when CBS started syndicating his weekly sermons in 1929 it was an instant success. The crash and start of the Depression politicized him. His condemnations of Wall Street and President Hoover brought him tens of thousands of fan letters a week, and his high praises for Hoover’s opponent FDR surely had an impact on the 1932 elections. Then, when the invitation he craved to sit among President Roosevelt’s circle of advisors didn’t come, he turned bitter as a jilted lover. He began denouncing Roosevelt, his New Deal, his Jew York advisors, and his friends in the labor movement as all facets of an international Jewish-Communist conspiracy to destroy Christianity and democracy. He also praised Franco, Mussolini, and Hitler for defending their people against this spreading evil.

Coughlin’s call for a “Christian Front” to combat the Communists’ mid-1930s Popular Front coalition with other groups on the left resonated with the Depression-driven anger and paranoia of many Americans, especially in cities like Boston and New York with large communities of lower- and lower-middle class Irish Catholics, who tended to be shut out of other right-wing movements precisely because they were Irish and Catholic. At his peak, Coughlin had tens of millions of listeners to his Sunday radio sermons, a million readers of his weekly magazine Social Justice, and received millions of dollars in small donations.

By 1938, rabid anti-Semitism had become the centerpiece of Coughlin’s message. That year, at a Christian Front rally in The Bronx, he allegedly gave the Nazi salute and declared, “When we get through with the Jews in America, they’ll think the treatment they received in Germany was nothing.” In Social Justice he reprinted the anti-Semitic hoax The Protocols of the Elders of Zion, which also topped Henry Ford’s list of favorite reading. In the autumn of 1938, when Coughlin said the Jews had brought Kristallnacht on themselves, radio stations, including WMCA in New York, dropped him. Several thousand Fronters “picketed the station, its advertisers, and Jewish-owned stores throughout the city,” historian Robert A. Rosenbaum writes. “The pickets returned every Sunday afternoon for many months. In the meantime, gangs of Christian Fronters roamed the streets and subways, peddling copies of Social Justice, distributing anti-Semitic leaflets, and orating on street corners, while harassing and assaulting people they took to be Jewish.” The city’s police force, which was nearly two-thirds Irish, turned a blind eye; some number of them were Christian Frontiers themselves.

The Front thrived in parishes in all of New York City’s boroughs. Some of the first Front meetings took place in a church hall near Columbus Circle, and some of the most frequent and well-attended were in The Bronx. In Brooklyn, Father Francis Joseph Healy, the pastor of the St. Joseph’s parish in Prospect Heights, was also the editor of the Brooklyn diocese’s weekly paper, The Tablet, which he made a platform for extremely anti-Communist, pro-Fascist, and pro-Coughlin thought. After Father Healy’s death in 1940, his managing editor Patrick Scanlan continued the paper’s reactionary slant. Scanlan ran Coughlin’s rants on the front page. Healy’s successor at St. Joseph’s, Father Edward Curran, was also a major supporter of Father Coughlin and other pro-Fascist and isolationist groups. During the war in Spain Father Curran wrote dozens of pro-Franco columns for arch-conservative publications around the country.

By 1939 small cells of Fronters in Manhattan and Brooklyn were calling themselves “sports clubs,” though the only sport they practiced was target shooting at rifle ranges. The Guardsmen in the group evidently pilfered the rifles and ammo from their posts, and trained other Frontiers in how to use them. 


Along with the cops and Guardsmen, the Front cells were also peppered with spies. The FBI had informants keeping tabs on them. Two independent investigators would write very successful books in which they claimed to have infiltrated the Front as well, and dozens of other underground hate groups. Richard Rollins’ I Find Treason would be published by William Morrow in 1941; John Roy Carlson’s similar Under Cover would be a runaway bestseller for E. P. Dutton two years later, galloping through 16 printings in its first six months. Both writers used pseudonyms. Carlson was actually Arthur Derounian, an Armenian immigrant. Rollins was apparently Isidore Rothberg, an investigator for Congressman Samuel Dickstein of the House Special Committee on Un-American Activities. Partly because the writers used pseudonyms while naming scores of individuals they claimed were pro-Hitler and pro-Fascist, both books were widely denounced on the right as fabrications and smear campaigns.


Derounian wrote that he was riding the subway one day in 1938 when he picked up a leaflet of “bitterly anti-Semitic quotations” published by something called the Nationalist Press Association on East 116th Street in Italian East Harlem. He decided to research, and found himself exploring a vast underground world of wannabe Hitlers and Mussolinis, society matron super-patriots, racists, Anglophobes, White Russians, and assorted conspiracy theorists and kooks.
 Born in 1909, Derounian had grown up in another world of hate. After struggling to stay alive as Armenians in Greece at a time of chaos and slaughter in the Balkans, his family fled to New York in 1921. Arthur learned English and earned a degree in journalism at NYU in 1926. In 1933 he learned that the turmoil in the Balkans had followed him across the ocean, when the archbishop of New York’s Armenian Orthodox Catholics, while serving Christmas Mass in his Washington Heights church, was stabbed to death by radical Armenian nationalists opposed to his politics.

So when Derounian read that hate sheet on the subway in 1938, he was primed to follow up. The 116th Street address was an old tenement with a barber shop on the ground floor. The Nationalist Press “office” was a dingy back room stacked to the stained ceiling with right-wing books, newspapers and pamphlets. Poking around in the gloom were a few Italian men and Peter Stahrenberg, a tall blond Aryan type “with blunt features and a coarse-lipped, brutal mouth,” who wore a khaki shirt and a black tie with a pearl-studded swastika tie tack. Stahrenberg was the publisher of the National American, a pro-Hitler newspaper whose striking logo was an American Indian giving the Nazi salute before a large swastika. He was also the head of the American National-Socialist Party. Derounian, calling himself George Pagnanelli and expressing interest in the “patriotic movement,” wormed his way into Stahrenberg’s confidence.

As he explored Stahrenberg’s twilight world, Derounian claimed, he found pro-Nazis and pro-Fascists all over New York City, holding meetings and rallies in every borough. It was a topsy-turvy world where street thugs from the city’s poorest neighborhoods mingled with wealthy Park Avenue crackpots, and Irish Catholic Fronters convinced that Communism was an international Jewish plot sat in the same meetings with Protestant zealots convinced that the Vatican was a Jewish front. He met rabidly anti-Communist D.A.R. socialites, and retired military officers who were certain that FDR and the Jew Dealers were leading the nation to ruin. He met the prominent conservative organizer Catherine Curtis, introducing himself as George Pagnanelli; she kept calling him Mr. Pagliacci. He even found black pro-Nazis in Harlem. Some were attracted by Hitler’s anti-Semitism; others simply cheered the idea of a white man making trouble for other whites.

When the Christian Front clique was arraigned in Brooklyn’s federal courthouse in February, they all pleaded not guilty to charges of conspiracy and theft of government property. The lawyer for 12 of them was Leo Healy – Father Healy’s brother. A crowd jeered and booed as they were perp-walked into the courthouse. Winchell and La Guardia both derided them as “bums,” La Guardia adding that if they were the best the enemies of democracy could muster, no one need lose any sleep. But the defendants also had their sympathizers. Father Curran was the keynote speaker at a large rally in Prospect Hall to express support for them.  

Fourteen defendants were left when the trial began in April; one of the original 18 had committed suicide, and charges against three others were dropped. As the trial sputtered along through May, it began to appear that the FBI and prosecutors hadn’t built a very strong case. When the proceedings stumbled to a close on Monday June 24, the jury acquitted nine of the defendants and pronounced themselves hung on the other five.


It was a major embarrassment for Hoover. The Front and their supporters cheered it as a great victory, and would continue to spread hate and violence well into the war years. Through 1942 and 1943 there would be numerous reports in the press of roving gangs of young men, mostly identified as Irish and affiliated with the Front, beating and sometimes even knifing Jews in neighborhoods like Flatbush, Washington Heights and the South Bronx, where Irish and Jewish communities abutted. Many shops, synagogues and cemeteries were vandalized. Jewish leaders pleaded with Mayor La Guardia and Police Commissioner Valentine, but they took little action.

Coughlin would rant on into 1942, when the federal government shut down Social Justice as a seditious publication, and the Archbishop of Detroit finally ordered him to stop all political activity. Father Curran, however, continued undeterred, making anti-Semitic, anti-war speeches to Frontiers and others through the entire war.

by John Strausbaugh

[auskultu]

Friday, August 9, 1968

Richard M. Nixon stepped onto the baby-blue platform in Miami Beach Convention Hall last night and accepted the nomination of a Republican party to a large extent unhappy over his choice of Gov. Spiro T. Agnew of Maryland as his running mate. Mr. Agnew was approved by the delegates on a roll-call vote in which Gov. George Romney of Michigan received 186 votes. But the delegates cheered wildly when Mr. Nixon said, "Let's win this one for Ike." 

Mr. Nixon’s surprise nod to Mr. Agnew, shocked moderate Republicans but brought applause from the conservatives, who like his strong stand on street violence. 

Basking in the Minnesota sun, Vice President Humphrey could barely conceal his pleasure at the thought of running against the newly chosen ticket. "I have a feeling the choice represented a rather significant compromise” with the South, the Vice President said. In his dark, book-strewn Washington office, Senator McCarthy said he was “rather surprised” at the choice. "I thought he’d pick Steve Derounian,” he said, referring to the Goldwaterite. 

Racial violence in Miami provided a lurid backdrop for the convention’s closing session. Three Negroes were shot and killed in gun battles between policemen and Negroes. 

East Berlin sources said yesterday that the Soviet Union and East Germany seriously considered invading Czechoslovakia in mid-July and that there had been a partial—but unpubllcizcd—mobilization of 650,000 East German reservists. The thesis for action, the sources said, “was that the Czechoslovak party was like a rotten fish that begins stinking at the head.” The plan was to eliminate "the head,” meaning the reform leader, Alexander Dubček. At the same time, informed sources in Poland said that fresh Soviet administrative, support and communications troops were"swarming over Poland.” They interpreted the action as a reminder that.no departure from orthodox Communism would be tolerated there. 

[massispost]

New Post has been published on https://massispost.com/2021/04/naasr-receives-massachusetts-humanities-grant-for-programming-on-derounian-archive/

NAASR Receives Massachusetts Humanities Grant for Programming on Derounian Archive

BELMONT, MA — The National Association for Armenian Studies and Research in…

[essay-essai]

it seems to me that academic writing resembles administration – in both cases, precedent is viewed as dangerous; best to stick to the plan, the format, tried and trusted. But, after a cursory glance, this must be called in to question because the same approach has been around for yonks and over time there has been a revolution in communication – by internet, digital media, blogging and texting. Shouldn't academic writing be open to change and progression, to move with the times without – of course – losing precious rigour?

James Derounian, ‘Academic Writing: Why does it have to be so dull and stilted?’ in The Guardian (2011)

[vbartilucci]

I don't think an adult of your intelligence ought to be commended for simply, at long last, telling the truth.

Joseph Attanasio as Congressman Derounian, Quiz Show

[tillyvis-com]

‘Pauses before the Pinboard’ at KELDER, London

One route I thought about for my interactive art gallery was making it like a pinboard idea - where the community can come and ‘pin up’ there art work (rather than work straight on the walls) - this would make it more removable/changeable - people will be able to add to it more easily than the street art, on walls style! 

I saw this and thought that this was rather interesting - this is about “facilitating a pause, a reflection or response to each other” - I liked the style of this. The torn away aspect makes it seems timeless - like many people have been here, been apart of this - it shows the past! I also liked this as I thought this somewhat might reflect how my walls in my art gallery might look - after a while, the art at the bottom will look like this - ageing of the posters behind the newer art work!

I loved the past this shows - the teared edges makes it seem as if someone has tried to remove it - but hasn't fully, signifying that the past will always have fragments in the world. Could I use this pinboard idea? it does look a bit messy? but is that not also the beauty of creating accessibility to art? everyone can do it and contribute - meaning different styles and skill sets!

Overall, I liked looking at this - it reflects what my gallery walls may look like - a bit chaotic. After looking at this, I'm not so sure this binboard idea will be neater than straight onto the walls, street style idea! But, I still like the look of it! I really loved the ageing of this look - you can see the past - could I somewhat reflect that in my branding for the concept? aged poster? to show that it’s meant to fun/always there, even if you can't fully read it anymore? I could make more abstract posters - that fit with this similar aesthetic?

now: look into more of this pin board idea, while looking into street art as well - and maybe interactive art features seen in galleries today!?

[armeniaitn]

Death Notice: Zohrab Krikor Andonian

New Post has been published on https://armenia.in-the.news/society/death-notice-zohrab-krikor-andonian-60946-29-09-2020/

Death Notice: Zohrab Krikor Andonian

Zohrab Krikor Andonian

ZOHRAB KRIKOR ANDONIAN Born on May 1, 1928, Aleppo, Syria

It is with great sorrow that we announce the passing of our beloved father, grandfather and relative, who passed away on Thursday, September 17, 2020.

Funeral Service was held privately on Monday, September 28, 2020, at Duggan’s Serra Mortuary, in Daly City. The internment will be held at Cypress Lawn, in Colma, CA.

May Almighty God bless and keep the soul of Zohrab Krikor Andonian and all the faithful departed in Eternal Light, and may all of us be strengthened by the Comfort of the Holy Spirit at this difficult time.

He is survived by his: Daughter, Rostom and Hourig Aintablian and family Daughter, Vahan and Dzovig Derounian and family Son, Mouchegh and Grace Andonian and family Son, Aram and Aleen Andonian and family Grandson, Mher and Talar Aintablian and family Granddaughter, Armen and Lori Vartanian and family Granddaughter, Mher and Suzanna Sousanian and family Granddaughter, Hovig and Ani Dekeyan Brother-in-law,Archpriest Father Datev and Yeretzgeen Haygan Kaloustian and family

And the entire Aintablian, Derounian, Kaloustian, Sarkissian and Tokmajian families, relatives and friends.

In lieu of flowers, donations may be made to: ARF Krisdapor Gomideh or Homenetmen SF Chapter, 51 Commonwealth Ave. San Francisco, CA 94118.

Read original article here.

[garbis555]

#Repost @globalartsint ・・・ M A R C H 31 _________________________ S A N F R A N C I S C O _________________________ Capuchino H.S. Auditorium 1501 Magnolia Avenue, San Bruno, CA _________________________ For Tickets and Information: 650 302 3288 Dzovig Derounian 925 785 6051 Sako Shirikian _________________________ #GabyGaloyan #LiveINConcert #SanFrancisco #March31 #GlobalArtsInt #GlobalArts #GlobalArtsInternational #LevonTravel @gabygaloyan @gabygaloyan_team (at Los Angeles, California)

[tonygurney]

"Inspirational teaching in higher education" by James G. Derounian

“Inspirational teaching in higher education” by James G. Derounian

Is there more to teaching than the Socrative method? Of course there is. Good teachers are part expert, part counselor and part showman. If you’ve caught your class yawning perhaps the following paper might help.

This article discusses the qualities of inspirational teaching in higher education (HE). It starts by arguing how topical this subject is, given emphasis world-wide on quality assurancem…

[alaznegonzalez]

"Inspirational teaching in higher education" by James G. Derounian Mr

See on Scoop.it - Pedalogica: educación y TIC

This article discusses the qualities of inspirational teaching in higher education (HE). It starts by arguing how topical this subject is, given emphasis world-wide on quality assurance measures, such as the UK Government’s 2016 Teaching Excellence Framework TEF. The paper then moves to review the academic and practice literature in order to outline what comprises inspirational teaching in HE institutions. These components – in the form of key words - are extracted from the literature and then tested through primary research. Lecturers, at an English University, agreed to circulate a short survey to final year social sciences undergraduates. Fifty-two student returns from 2010 were analysed. A comparative survey of 25 undergraduates – from the same disciplines - was repeated in 2016. Three clear elements of inspirational undergraduate teaching emerge: First and foremost, undergraduates believe it to be motivating; second, and related – inspirational teaching is deemed encouraging and third such teaching flows from teachers’ passion for their subject. The paper presents exploratory and illustrative data and sets down a forward agenda for further research to explore aspects of inspirational university teaching linked to differing cultural expectations, potential impacts of gender, age and ethnicity.

[yadira-prime91kwh-blog]

Dissertation Marking

Dissertation Marking

MSc Marking Criteria. 1. MSc Marking Criteria. 80-100% (Brilliant Distinction). Work of exceptional quality (publishable in the case of a dissertation), based on a .

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MSc Marking Criteria. 1. MSc Marking Criteria. 80-100% (Brilliant Distinction). Work of exceptional quality (publishable in the case of a dissertation), based on a .

Criteria For Marking Dissertations. Upper First Class (80%+). This grade indicates work of very high quality which will demonstrate some, though not necessarily 

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Criteria For Marking Dissertations. Upper First Class (80%+). This grade indicates work of very high quality which will demonstrate some, though not necessarily 

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31 Aug 2016 Dissertation Marking Criteria (HST398). This is a guide to the criteria used by staff in assigning a mark to a piece of work. Broadly speaking 

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Marking Criteria - Dissertation (HST6560). The dissertation is an original piece of independent historical research. It will have an identifiable primary source 

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Marking Criteria for Mathematics MSc dissertations.

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31 Aug 2016 Dissertation Marking Criteria (HST399). This is a guide to the criteria used by staff in assigning a mark to a piece of work. Broadly speaking 

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16 Apr 2012 As dissertation deadlines loom, lecturer James Derounian reflects on his experiences and disagreements in marking, and offers some tips to 

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MSc Marking Criteria. 1. MSc Marking Criteria. 80-100% (Brilliant Distinction). Work of exceptional quality (publishable in the case of a dissertation), based on a .

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MA Marking Criteria. Items of coursework and the dissertation are all marked out of 100 points. The minimum pass mark for an individual piece of work for the MA  

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Marking criteria for written examinations and coursework for all taught Taught, Code of Practice for Research Governance and Dissertation Framework.

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31 Aug 2016 Dissertation Marking Criteria (HST398). This is a guide to the criteria used by staff in assigning a mark to a piece of work. Broadly speaking 

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16 Apr 2012 As dissertation deadlines loom, lecturer James Derounian reflects on his experiences and disagreements in marking, and offers some tips to 

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Marking Criteria - Dissertation (HST6560). The dissertation is an original piece of independent historical research. It will have an identifiable primary source 

learn More

MSc Marking Criteria. 1. MSc Marking Criteria. 80-100% (Brilliant Distinction). Work of exceptional quality (publishable in the case of a dissertation), based on a .

learn More

MA Marking Criteria. Items of coursework and the dissertation are all marked out of 100 points. The minimum pass mark for an individual piece of work for the MA  

Marking Criteria for Mathematics MSc dissertations.