Crafting an Effective Writer: Tools of the Trade – Week 2: Writing Assessment {Coursera / MSJC}

Choose two of the sentences listed below to expand by adding logical additional parts of speech (nouns, pronouns, verbs, adjectives, adverbs, prepositional phrases). Your sentence should be at least twelve to fifteen words.

• The children play.
• The woman walks.
• The sharks swim.
• The flowers bloom.
• The wind blows.
• The computer hums.

Expansion attempts: 

The group of great, white sharks swim ominously closer to the diver in circles, while he is trying to capture a decent photo of them, alas in vain.

For days I rove about the soulless plains but, all I seem to be able to listen to, is the cold, northern wind that blows incessantly, humming through the frigid landscape of what was once a city of humans, long before the “Others” arrived in their spaceships, bringing an end to the age of Men on planet Earth. 

ps. That was the most fun and challenging assignment I had so far in a course!

Crafting an Effective Writer: Tools of the Trade – Week 2: Journal entries 1 & 2 {Coursera / MSJC}

Module 1 Writing Activity

In your journal, write down a list of at least five to ten nouns and five to ten adjectives as you observe a scene at home, work, or in your community.

For the purposes of this assignment I chose a scene from my community, my town called Alexandroupolis situated in Northern Greece.

Nouns [10]: 

• sea
• lighthouse
•  cafés
• seagull
• street
• cars
• amusement park
• square
• fountain
• street lamps

Adjectives [10]:

• bustling
• bright
• towering
• local
• colorful
• flying
• seaside
• cozy
• luminous
• azure (blue)

Module 2 Writing Activity

In your journal, continue your list of nouns and adjectives by adding in five to ten verbs and adverbs. Then, write a couple of sentences using your list of nouns, adjectives, verbs, and adverbs.

Verbs [10]:

•  teem with
• glow
• are located
• squawk
• discern
• marvel
• stretch
• stroll
• draw one’s gaze
• is/are

Adverbs [10]:

• brightly
• casually
• noisily
• enough
• typically
• almost
• soon
• virtually
• surely
• there

Sentences [8]:

How can you not  marvel at the azure blue sea that stretches beyond the horizon?

A flying seagull squawks noisily up ahead in the distance.

If you look close enough, you could almost discern a small fountain next to the  towering lighthouse.

The bustling street is teeming with cars parked across the lane.

On the left our gaze is drawn by a colorful wheel; an amusement park is surely somewhere over there.

People in the square are casually strolling around or drinking refreshments at the local cafés.

Typically, seaside cafés are located virtually everywhere in Greece; cozy tables of four accomodating groups of friends or family reunions discussing hours on end while sipping “frape”.

As nightfall time closes in,  luminous street lamps will start glowing brightly.

Contributing MOOC reviews

Well it seems MOOCs are well underway – I can see the newest trend coming: separating the wheat from the chaff. Emerging MOOC platforms are numerous, so are the lessons provided. But are they all worth the trouble? Can they be made better? It remains to be seen.

I have contributed two personal reviews for http://moocnewsandreviews.com during the past two weeks and it has helped me reflect immensely what worked for me and what didn’t. To be honest, we are only at the beginning, so feedback is crucial for a MOOC platform to succeed. Speaking of platforms, you might want to check out Sylvia Moessinger’s international guide to MOOCs around the world,with more parts soon to follow.

You can also check my review on Coursera’s Songwriting and Property & Liability MOOCs – all comments welcome!

Funny how in almost a year since I first entered a MOOC class I managed to catch a glimpse of Law, Music, Classics, Social sciences and Academic writing. My next MOOC involves video  game paratextual elements and – yeah did I mention that? – video games. I think I ‘ve discovered heaven…

 

Ancient Greek and Roman Mythology Assignment 1 {Coursera / Penn University}

Prompt 2.     Professor Struck has analyzed parts of the Odyssey using the theory of Functionalism. In this theory, a myth serves to legitimize social values and norms (such as the practice of xenia). Choose one episode from the Odyssey that was not given a Functionalist reading in lecture, and analyze this episode through a Functionalist lens. It is up to you to decide how long or short an episode is. What social norm does this episode legitimize? Be sure to spell out your reasoning very carefully. The best answers to this question will move from the evidence to your conclusion with careful attention to detail. Avoid generalities.

Functionalism in Homeric epic: The Odyssey

Reading myth from a functionalist perspective has become a popular trend among anthropologists and philosophers so as to deduce social norms of a certain era based on hidden symbolism within mythical context. Thus from a tiny episode in Odyssey we are to understand further connotations that relate to social rules and way of thinking during Homer’s time.

In his epic journeys we are told that Odysseus has to face two sea nymphs, one more terrifying than the other; Scylla a six-headed monster eager to devour anything in its path and Charybdis a life consuming water whirlpool. Both preside over the Strait of Messina on the way to prized Ithaca and – unfortunately – there is no way to draw a different course, regardless Odysseus’ dexterity (Butler 2009: XII, line 31). The episode of Odysseus facing Scylla and Charybdis is of functionalist note here. Butler recounts of how Circe advises the Greek hero to approach those two monsters:

“…you must hug the Scylla side and drive ship by as fast as you can, for you had better lose six men than your whole crew.” (Butler 2009: XII, lines 26-27)

Circe tries at first to let Odysseus decide upon the outcome of the morbid dilemma (Butler: XII, line 14) and yet she offers the “best” seeming choice; six men over the entire ship reflects cold logic. Fundamentalists would argue that during Homeric times logic was considered not only a virtue but a priority over other emotions. “Polytropos” Odysseus himself portrays a man of multiple twists and turns, a man of logic. Scylla is insofar as functionalism goes not only the lesser evil of the two but the ultimate triumph of a hard decision based on the greater good.

In retrospect, we can echo Bentham’s utilitarianism in Homeric society; the choice over the greater good versus the individual good is legitimized, in this case logic over emotion. In A Fragment on Government, Bentham says, “it is the greatest happiness of the greatest number that is the measure of right and wrong” (Bentham 1776: Preface, line 5). Perhaps these words reflect what Odysseus had in mind when he chooses to follow the witch’s advice and also not warn his men over what was awaiting. Cold logic ensued; still the sight was unbearable to witness. [Butler 2009: XII, lines 55-63]

Emotionally draining, this experience was not meant for the weak; logic harshly overrides feelings for loved ones among other things.  The cultural value of a sacrifice for the common welfare– a repeated motif in Ancient Greek tragedies and epic– represents that a scapegoat is painfully necessary for a greater benefit to arise.

The functional meaning of the episode still applies in society nowadays. At the end of the day, having to choose between two evils, between Scylla and Charybdis, what will your criteria be?

 

Works cited:

Bentham, Jeremy. “A fragment of Government”. 1776. Web. Retrieved 19^th May 2013 from http://www.constitution.org/jb/frag_gov.htm

Butler, Samuel. Translation of the “Odyssey” by Homer. 2009. Web. Retrieved 19^th May 2013 from http://classics.mit.edu/Homer/odyssey.html

The Modern and the Post modern 8th (final) assignment {Wesleyan / Coursera}

Which two thinkers in our class do you think Anthony Appiah would consider “cosmopolitan” in his terms?

Cosmopolitan versus the Really real.

Richard Rorty’s analytical philosophy introduces the concept of post-modern pragmatism and the dire relationship of the vocabulary we use and perceive as “truth” with the community we belong to. Worlds outside this community do not qualify for us to review or judge, since we are in effect irrelevant to these and these to us.  The notion is close to the Hegelian ideals and their sense that human dignity and moral derive from being a part of the community [4].

Kwame Anthony Appiah takes this idea a step further and suggests that people, who belong in different communities, are in fact capable of exchanging ideas about morality – what’s right or wrong – thus engaging in a globalized discourse. These people are considered “cosmopolitans” [1], a term coined from the 4^th century BCE Ancient Greek words “cosmos” (world) and “polis” (city state). A global citizen of the world is briefly described in his book “Cosmopolitanism: Ethics in a World of Strangers”:

“Cosmopolitans think human variety matters because people are entitled to the options they need to shape their lives in partnership with others”. [1]

He’s being careful while analyzing the “cosmopolitan” post-modernist identity by refusing to put fixed cultural tags to specific groups of people; one can rather accumulate a range of characteristics from various communities in order to shape his own cultural identity through a multiplicity of traditions. In a sense a cosmopolitan identity is an overlap of identities; depending on what context one finds oneself, one projects the most suitable part of it accordingly.

What about the criticism against “global citizens”? Well, Appiah doesn’t advocate the purity of a certain tradition – meaning that it is only meant for members of that particular community alone to uphold – but he doesn’t want to abandon the sense of belonging to your community either. Originally a paradox but Appiah explains that we in fact need to both have a healthy sense of national pride as well as understanding international neighbor communities without letting our own background overlap all others. He remarks

“And the one thought that cosmopolitans share is that no local loyalty can ever justify forgetting that each human being has responsibilities to every other”[1]

Appiah might have considered some key figures of (post -)modernist philosophy and art as “cosmopolitans”.  Rorty after all believes that it is in art we must seek to converse, in order to discover our identity:

“The principal backup for historiography is not philosophy but the arts, which serve to develop and modify a group’s self-image by, for example, apotheosizing its heroes, diabolizing its enemies, mounting dialogues among its members, and refocusing its attention”.[4]

 In his poem “Crowds” [2], Baudelaire wanders around the boulevards of Paris, with no particular reason. His idea of the “flâneur“ means essentially finding delight in observing people and witnessing unknown scenes of human interaction, which might come as a refreshing surprise to the viewer. In retrospect the wanderer becomes less selfish by getting out of his lonely shell, of his boring sheltered space and delving into the wider world, “the Crowd”. Appiah’s words do portray a sense of belonging to a broader world yet the backbone of his philosophy is there in Paris Spleen; go out and meet the world, whether that’s the Earth’s countries or just the other part of the city you rarely visit.

Coming to a more recent thinker, Butler seems to uphold that same “cosmopolitan” ideal as well, despite focusing on gender issues alone. In her book “Undoing Gender” she is convinced that gender is “a practice of improvisation with a sense of constraint.” [3] If we take this definition and apply it to having a globalized identity then

1. People do improvise when coming to terms with other customs, religions, beliefs in their attempt to understand them
2. People are constrained in their own social, economic and cultural background, thus making it hard to wholly embrace the “Other” – in return they engage in a dialogue with it, trying to understand it – achieving the “cosmopolitan” global ideal.

Appiah’s post-modern tradition is interesting, since it connects the modern human world with a sense of practicality. It also reaches out equally to developed and emerging societies, without falling victim of euphemology or global utopia (Hippy 60s style). He shows a deep understanding of how difficult the task of global understanding is, he respects tradition as well as co-existence and offers valuable insight instead of vague empty philosophical rhetoric of what’s really “Real”.

Works cited:

1. Appiah, Anthony “Cosmopolitan Contamination” from Cosmopolitanism: Ethics in a World of Strangers. 2006.
2. Baudelaire, Charles: Le Spleen de Paris. 1869. Web. Retrieved 13^th May 2013 from http://baudelaire.litteratura.com/le_spleen_de_paris.php#.UYeb-LWeOSo
3. Butler, Judith.  “Undoing Gender”.  2004.
4. Rorty, Richard. “Postmodern Bourgeois Liberalism”. The Journal of Philosophy
   Vol. 80, No. 10, Part 1: Eightieth Annual Meeting of the American Philosophical Association, Eastern Division. 1983

The Modern and the Postmodern 7th assignment {Coursera / Wesleyan}

Butler writes that gender “is a practice of improvisation within a scene of constraint.”

Discuss how her idea of improvisation compares with notions of creativity and self-invention we have seen in one other writer we have read this semester.

The “normal-different”

Judith Butler’s “Undoing Gender” critically reflects the political feminist movement, continuing her previous work on gender theory and queer studies. In her work, the notion of gender is described as “performative” and re-defined as “a practice of improvisation within a scene of constraint”. [Butler 2004: p.1]

For Butler the question is not “what is really real” or what is really feminine or masculine. She approaches the issue of gender identity not as self- defining per se but rather as a product of social rituals in combination with individual improvisation.  At this point we are presented with a paradox; although people themselves strive for obtaining a unique, genuine role within the post-modern society, the latter still dictates norms in which gender roles must be “performed”. In this way, the individual mimics- creatively enough – a theatrical performance; the mask worn is what society conforms, the artist is the individual self, seeking to please the crowd in an endless effort to reinvent himself first. The postmodern men or women become creative in search for a self – definition; they are still bound however by the politically-correct norms of society.  Society argues that “difference is […] code for heterosexual normativity” [Butler 2004: p.202-203], thus implying that any transgression could be “unliveable”.

The seemingly non-academic writing style of the author gives way to practical examples of her analysis, especially concerning linguistic discourse.  Towards the end of her book, Butler  tries to exhibit that “…a prohibition on certain forms of love becomes installed as an ontological truth about the subject: The “am” of “I am a man” encodes the prohibition “I may not love a man,”…” [Butler 2004: p.199]. Chapter 5 of her book is attributed to kinship and heterosexual dominance in family ties and role-models [Butler 2004: p.102-130]. Gay marriage – a new creative, self-inventing proposal in order to belong – is taken as case in point and the author asks herself whether conforming to legal sanction of the marriage institution actually excludes those who do not wish to adhere to the nuclear, hierarchical prototypes.

“The stable pair who would marry if only they could are cast

as illegitimate but eligible for a future legitimacy, whereas the sexual

agents who function outside the purview of the marriage bond and

its recognized, if illegitimate, alternative form now constitute sexual

possibilities that will never be eligible for a translation into legitimacy.” [Butler 2004: p. 106]

Žižek is another post-modernist thinker that has been associated with creativity and the self-invented Real. His main political and philosophical inspiration is attributed to the vast applicability of Freudian psychoanalysis and radical leftist political stance. Žižek likes using hype Lacanian terms such as the “Other” and the “Real” but he frequently adorns his speech with unconventional pop culture references.  Similar to Butler, the philosopher wonders:

“Why does the decline of paternal authority and fixed social and gender roles generate new guilts and anxieties, instead of opening up a brave new world in which we can enjoy shifting and reshaping our multiple identities?” [Žižek 1999]

Again we see the self-identity struggle is marred by the social surroundings which allow little room for the “Other”. Power mechanisms that dominate society are attributed to libidinal Freudian pleasure taken when one exercises / obeys the law. We are growing in a society pseudo – liberal where acceptance is a guise for further restriction of the “Self” indirectly. The postmodern man / woman is reflexive when he listens to modern day doctrines;

 “This reflexivity undermines the notion of the Post-Modern subject free to choose and reshape his identity. The psychoanalytic concept that designates the short-circuit between the repression and what it represses is the superego.” [Žižek 1999]

It seems according to both authors the pursuit of self-identity and self-invention is contrary to populace beliefs not entirely a process of creativity; it is rather marked within boundaries of what society indicates or finds acceptable. Could the term “normal different” emerge in such a context? Perhaps.

Works cited:

Butler, Judith.  “Undoing Gender”.  2004.
Žižek, Slavoj. “You May!” London Review of Books, vol. 21. March 1999. Web.  Retrieved  8^th May 2013 from:  http://www.lrb.co.uk/v21/n06/slavoj-zizek/you-may

Optional assignment: The Modern and the Postmodern {Coursera / Wesleyan}

Optional assignment: Compare at least two of our thinkers on the possibility of “coming to terms with the past.”  How do they understand the importance of understanding history or memory?

 

Defiance of memory against time in art

 

Coming to terms with our past denotes huge emotional strength, which at times humans fail to exhibit; letting go is a hard thing. Nostalgia according to a popular universal law is one of the most powerful aspects of life. It is in our history and memory where we find things were much better, more proper.  However, reminiscing the old hides the danger of failing to accept what’s innovative and new. How are we to attain progress if we insist on inhabiting the past? Prominent literature figures like Virginia Wolf and Charles Baudelaire have spent extensive amount of their work exploring issues arisen as regards memory and history.

It is hard for the average fiction reader to follow Virginia Wolf’s “stream of consciousness”. It is like we are sucked in the very minds of the protagonists, trying to follow their chain of thought and their inner preoccupations; at the same time a plot, perhaps insignificantly so, unfolds.

In “The Lighthouse” [3] we witness the symbolic depiction of the sea as a figurative metaphor of time. The beautiful calm sea turns violent and waves come crushing to the shores, much like time abruptly brings about change.  Woolf is talented in visual description: what we see is also what we should try to perceive.  The second chapter exhibits strongly the devastating alterations that come to pass within a ten year bracket.  Recounting the deaths of Prue and Andrew Ramsay, Woolf’s sentences become few and short. Symbolism again dictates that their deaths were either violent (war victim) or unjust (during childbirth); either way time causes premature loss. Mrs. Ramsey’s death is also indicative of untimely departure, leaving Mr. Ramsey almost helpless and unable to continue his philosophical research.

Near the novel’s conclusion Lily finally gets to finish up the painting she started ten years ago (again the past is echoed). Can art be our only consolation of stability in an ever-changing world? Lily contemplates: “nothing stays, all changes; but not words, not paint.” The forces of time may be unrelenting; neither Mr. Ramsay’s philosophy nor Mrs. Ramsay’s social gatherings were able to preserve memory. However art seems, according to Woolf, to be able to attain our experiences, meaningful moments of our lives.

Charles Baudelaire was also a man, whose art was meant to capture the fleeting little precious moments of life “for art is long and time is brief «as he suggested.  In his prose – like poetry he deploys symbolism and images taken from the “modern” urban boulevards of 19^th century Paris. Again visual imagery – much like in Woolf’s writings – plays a crucial role in evoking nostalgia and intimacy for the past, as a true Romanticist would attempt.

Two of the poems in Baudelaire’s “Paris Spleen” [1] are mainly focused on the poet’s views concerning the passing of time. ‘Enivrez-Vous’ (“Get drunk”) calls for intoxication and indulging in life’s sinful pleasures. Time flees quickly and change comes in the form of death. So in turn men must seek ways to “Get drunk! Stay drunk! On wine, virtue, poetry, whatever!” if they do not wish to end up “martyred slaves of Time”. Art and pleasures again can save the day and push back time’s decaying omens. The poem “Already” – in French “Deja” – poses a puzzling riddle for the poet. How is it that in all its power, nature cannot save the humans from mortality?

Time seems indeed devastating and unbeatable. Yet memories of the past and even the sweetness of the present can be preserved through the medium that these two predominant artists know all too well. Literatures, poetry, paintings or whatever the ancient Muses inspire keep the past intact as time runs with incredible speed, stampeding everything in its wake.

Shakespeare once wrote a sonnet [2] explaining that yet another force is able to stand against the menacing Time: true love. The beauty of art and love transcend time, providing mortals with immortal values. As the years pass, rest assured we will still enjoy the writings of Baudelaire, Woolf and Shakespeare. Such is the power of memory in the arts.

Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O no! it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth’s unknown, although his height be taken.
Love’s not Time’s fool, though rosy lips and cheeks
Within his bending sickle’s compass come:
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved. 

(Sonnet 116)

 

 

References:

1. Baudelaire, Charles: Le Spleen de Paris. 1869. Web. Retrieved 6^th May 2013 from http://baudelaire.litteratura.com/le_spleen_de_paris.php#.UYeb-LWeOSo
2. Shakespeare, William: Sonnets.1609. Web. Retrieved 6^th May 2013 from http://www.shakespeare-online.com/sonnets/116.html
3. Woolf, Virginia: To the Lighthouse. 1927. Web. Retrieved 6^th May 2013 from http://www.polyglotproject.com/books/English/to_the_lighthouse

 

 

 

 

 

 

 

 

 

English Composition I: Achieving Expertise – Visual image analysis final {Duke/Coursera}

 

Rozalia Zeibeki

English Composition I: Achieving Expertise

Prof. Denise Comer

“Arthas, The Lich King” (1962) by Maryxyan (www.deviantart.com artist)

Approx.1280 x 811 in.

Digital image (created with Photoshop)

Viewed at http://maryxyan.deviantart.com/art/Arthas-The-Lich-King-96293514 (Retrieved: 22 April 2013)

 

 

 

 Gamers’ exploits in World of Warcraft:

Crafting expertise in online phantasy realms

 

Representational images retrieved from the world of video games are meant to grab the viewer’s attention. They consume you to another parallel dimension, where legend and heroism become intrinsic goals of the player that lead to a decisive victory against a “world boss”. What the average viewer perceives as mere graphic art, the gamer connects to his overall progression and success within the immersive digital environment.

 

 ”Your heart…its incessant drumming disgusts me. I will silence it as I did my own.”

 

The dominant subject at hand is that of a man sitting upon what seems to be a frigid throne. Enter Arthas,[1] our protagonist, the prince of Lordaeron,[2] the promised son. He looks skeptical yet one cannot help but notice a small grin; is he contemplating a recent victory or a future one as you glimpse those scarry azure eyes? Despite its static appearance the gaze of Arthas is haunting; the use of cobalt blue heightens the sense of an icy landscape that expands beyond the image: we are now situated at the frozen continent of Northrend. [3] An illuminated sword stands out in front of him, filled with ominous skull details; seven runes etched across the blade form a death curse, still not deciphered to this day. As all epic swords usually do, this one has even got a name: Frostmourne. [4] Shades of gray intervene with silvery notes as one is immersed in a daunting feeling almost like the dark values within the image; how many lives has that sword taken? For an outsider the horror continues as he notices plenty other skull ornaments in the main character’s armor. A dragon encapsulated in ice soon gains our attention in the bottom right, only to serve as another threat. In the background a barely perceptible black tower amidst the fog beckons (spatial illusion); alas, we are in Icecrown [5] – the land of the cursed undead.

As a gamer, surviving against the full power unleashed by Arthas {transformed into the vile Lich King} was a moment of elation in an online PC game called World of Warcraft. The WoW [6] universe is considered by many the epitome of Massively Multiplayer Online Role playing Games. Wikipedia quotes:

“As in all RPGs, players assume the role of a character (often in a fantasy world) and take control over many of that character’s actions. MMORPGs are distinguished from single-player or small multi-player online RPGs by the number of players, and by the game’s persistent world (usually hosted by the game’s publisher), which continues to exist and evolve while the player is offline and away from the game.” [7]

Blizzard Inc., the game’s production company, boasts about its product’s ten million player subscription base. Multiply that number by hours spent individually to build a character and make it to the prized end game content and you will understand that this game is quite serious and extremely profitable.

It takes a lot of time to reach the top ladder of the aforementioned base. Players tend to be rather social, occasionally logging in and dealing with parts of the game that are plain fun. To quote Colvin: “For most people, work is hard enough without pushing even harder. Those extra steps are so difficult and painful they almost never get done”. [8] There are those however that fall in the “hardcore” category. These people literally devour hours on end in order to achieve the highest performance. Many go so far as to stay awake at night, just to get that last piece of equipment that is missing from their “epic” gear or repeat “ the brutal discipline of their practice routines” [8]. In the end, all efforts lead to a last big successful rundown aka the “boss fight”.

Arthas used to be such an opponent of immense power during the “Wrath of the Lich King” [6] expansion. In order to defeat him, players had to learn his tactical maneuvers by heart and deploy countermeasures accordingly. It was a matter of wits, focus, gear level and mechanics. Colvin claims: “You will achieve greatness only through an enormous amount of hard work over many years. And not just any hard work, but work of a particular type that’s demanding and painful.” [8] For Wow players it takes weeks or months, not years yet the other portion of the statement stands true: grandeur in gaming takes copious practice.

To sum up, the image is indicative of reaching expertise in the Warcraft universe since it resembled the game’s final stage fight chief opponent during the expansion. Should the player succeed killing Arthas, he or she is granted with an achievement and a matching title: “the Kingslayer”. [9] The digitalized image of the Lich King might be gruesome to the average Joe; to a gamer it serves as a reminder of paced excellence and ultimate triumph.

References:

1. “Arthas Menethil.” WowWiki. Wikia.Inc. 17 April 2013. Retrieved 22 April 2013 from http://www.wowwiki.com/Arthas_Menethil
2. “Lordaeron.” WowWiki. Wikia.Inc. 21 January 2013. Retrieved 22 April 2013 from http://www.wowwiki.com/Lordaeron
3. “Northrend.” WowWiki. Wikia.Inc. 8 October 2011. Retrieved 22 April 2013 from http://www.wowwiki.com/Northrend
4. “Frostmourne” WowWiki. Wikia.Inc. 29 December 2012. Retrieved 22 April 2013 from http://www.wowwiki.com/Frostmourne
5. “Icecrown.” WowWiki. Wikia.Inc. 3 July 2012. Retrieved 22 April 2013 from http://www.wowwiki.com/Icecrown
6. “World of Warcraft”. Wikipedia. Wikimedia Foundation. 16 April 2013. Retrieved 22 April 2013 from http://en.wikipedia.org/wiki/World_of_Warcraft
7.  “Massively multiplayer online role-playing game.” Wikipedia. Wikimedia Foundation. 15 April 20 2013. Retrieved 22 April 2013 from http://en.wikipedia.org/wiki/Massively_multiplayer_online_role-playing_game
8. Colvin, Geoffrey. “What It Takes to be Great.” Fortune 19 October 2006. Retrieved online 22 April 2013 from http://money.cnn.com/magazines/fortune/fortune_archive/2006/10/30/8391794/index.htm
9. “The Kingslayer”. WowWiki. Wikia Inc. 28 April 2010. Retrieved 22 April 2013 from http://www.wowwiki.com/The_Kingslayer

 

 

 

Are you indeed in a MOOC?

http://learnadoodledastic.blogspot.co.uk/2013/04/are-you-participating-in-mooc-or.html

 

 

 

Date a Girl Who Reads (A reblog must read)

 

Date a Girl Who Reads (A reblog must read).