I am a Professor of English at D’Youville College in Buffalo, New York.<\/p>\n
D’Youville College<\/strong><\/p>\n Eng 111 \u2013 Introduction to Literature I: Academic Writing<\/strong><\/p>\n In this course, students write and present short essays on short fiction, respond to the work of other students verbally in class and in writing on a course website, and write formal essays based on revisions of their course work. In addition, students keep freewriting journals, engage in peer workshops, and produce final portfolios that survey their work in the class.<\/p>\n Texts<\/b>: Victorian Short Stories,\u00a0<\/em>ed. Dennis Denishoff;\u00a0Franz Kafka, Selected Stories<\/i>; James Joyce, Dubliners<\/i>; Charlotte Perkins Gilman, \u201cThe Yellow Wallpaper,\u201d James Joyce, \u201cAraby,\u201d Toni Cade Bambara, \u201cThe Lesson,\u201d William Faulkner, \u201cBarn Burning,\u201d Flannery O\u2019Connor, \u201cA Good Man is Hard to Find,\u201d James Baldwin, \u201cSonny\u2019s Blues,\u201d Alice Walker, \u201cEveryday Use,\u201d Nathaniel Hawthorne, \u201cYoung Goodman Brown,\u201d Edgar Allan Poe, \u201cThe Cask of Amontillado,\u201d Herman Melville, \u201cBartleby,\u201d Ernest Hemingway, \u201cHills Like White Elephants,\u201d Raymond Carver, \u201cCathedral,\u201d Sherman Alexie, \u201cWhat You Pawn I Will Redeem,\u201d Margaret Atwood, \u201cDeath by Landscape,\u201d Shirley Jackson, \u201cThe Lottery,\u201d DH Lawrence, \u201cThe Rocking-Horse Winner,\u201d Octavia Butler, Parable of the Sower<\/i><\/p>\n Eng 112 \u2013 Introduction to Literature II: Research Writing<\/strong><\/p>\n In this course, students examine how authors build arguments in conversation with other critics, how arguments are shaped for particular audiences, and how, as students, they can enter into such conversations in appropriate ways. The course provides extensive practice in writing and critical thinking and includes units on peer reviewing and revision. Course requirements: five essays (summary, critique, synthesis, review, and revision), essay workshops, common error workshops, and participation.<\/p>\n Texts<\/b>: Graff & Birkenstein, They Say, I Say<\/i>; Gardner, Writing About Literature<\/i>. Films: Richard III<\/i>; Richard III <\/i>(dir. Loncraine); Richard III <\/i>(dir. Olivier); Looking for Richard <\/i>(dir. Pacino). Essays: Kossak, \u201cLaurence Oliver\u2019s Richard III<\/i>,\u201d Noshpitz, \u201cRichard III<\/i>: Self-Hatred at Loose in the World,\u201d Hodgdon, \u201cReplicating Richard: Body Doubles, Body Politics,\u201d Johnson, \u201cThe Propaganda Imperative: Challenging Mass Media Representations in McKellen\u2019s Richard III<\/i>,\u201d Donaldson, \u201cCinema and the Kingdom of Death\u201d<\/p>\n Eng 202 \u2013 British Literature II<\/strong><\/p>\n This course surveys British literature from 1789 through Modernism. Readings focus on four eras: the Romantics; the Victorians; fin-de-siecle writers, aka the Edwardians; and modernism. Readings in poetry and prose occur in historical sequence, and include nonfiction prose selections to provide historical and cultural context.<\/p>\n Texts: <\/b>Broadview Anthology of British Literature Concise Volume B. <\/i>Selections: Contexts: Women and Society; Anna Letitia Barbauld, \u201cWashing Day,\u201d \u201cThe Rights of Woman\u201d; Jane Austen, from <\/span>Pride and Prejudice<\/i>; Wollstonecraft, chapter 2 from <\/span>A Vindication of the Rights of Women<\/i>; Wordsworth, Preface to <\/span>Lyrical Ballads<\/i>, \u201c[Strange fits of passion I have known],\u201d \u201cSong [She dwelt alone among th\u2019 untrodden ways],\u201d \u201cLucy Gray,\u201d \u201cI wandered lonely as a cloud\u201d; Blake, \u201cLondon,\u201d \u201cThe Chimney Sweeper,\u201d \u201cHoly Thursday,\u201d \u201cThe Human Abstract,\u201d \u201cThe Tyger,\u201d \u201cA Song of Liberty\u201d; Contexts: The Natural, The Human, The Supernatural, The Sublime; Coleridge, \u201cKubla Kahn,\u201d PB Shelley, \u201cMont Blanc,\u201d Keats, \u201cOde to a Nightingale\u201d and \u201cOde on a Grecian Urn\u201d; In Context: The Peterloo Massacre; \u201c Shelley, \u201cOde to the West Wind,\u201d \u201cOzymandias,\u201d \u201cSong to the Men of England\u201d & \u201cEngland in 1819\u201d; Byron, \u201cPrometheus\u201d; Contexts: The Abolition of Slavery; Mary Prince; Carlyle, from <\/span>Past and Present <\/i>\u201cGospel of Mammonism\u201d & \u201cCaptains of Industry\u201d; Dickens, \u201cA Walk in the Workhouse\u201d and \u201cThe Story of Little Dombey\u201d; Ruskin, \u201cThe Nature of Gothic\u201d Mill, from <\/span>The Subjection of Women<\/i>; Robert Browning, \u201cMy Last Duchess\u201d; DG Rossetti, \u201cThe Blessed Damozel\u201d; Christina Rossetti, \u201cGoblin Market\u201d and \u201cWinter: My Secret\u201d; Prostitution and the Contagious Diseases Act; William Morris, \u201cThe Defence of Guinevere\u201d; DG Rosetti, \u201cJenny\u201d; Augusta Webster, \u201cA Castaway\u201d; Contexts: Race, Empire, and a Wider World; Tennyson, \u201cUlysses,\u201d \u201cLocksley Hall,\u201d & \u201cThe Charge of the Light Brigade\u201d; Arnold, \u201cDover Beach\u201d & from <\/span>Culture and Anarchy<\/i>; Tennyson, \u201cThe Lady of Shalott\u201d; Robert Browning, \u201cFra Lippo Lippi\u201d; Arnold, \u201cStanzas from the Grande Chartreuse\u201d; Swinburne, \u201cHymn to Proserpine\u201d; GM Hopkins \u201cGod\u2019s Grandeur,\u201d \u201cThe Windhover (To Christ Our Lord),\u201d \u201cNot, I\u2019ll not, carrion comfort,\u201d Contexts: Race, Empire, and a Wider World: Conservatives, Liberals, and Empire; Kipling; Joseph Conrad, \u201cThe Secret Sharer,\u201d Sir Arthur Conan Doyle, \u201cThe Speckled Band,\u201d Wilde, <\/span>The Importance of Being Earnest<\/i>; The First Wilde Trial; Contexts: War and Revolution; Hardy, \u201cChannel Firing\u201d and \u201cIn Time of \u2018The Breaking of Nations,\u2019\u201d Housman, \u201cEpitaph on an Army of Mercenaries,\u201d Sassoon; Owen; TS Eliot, \u201cThe Waste Land\u201d; Contexts: Work and Working Class Life; Joyce, \u201cEveline\u201d and \u201cThe Dead\u201d ; Virginia Woolf, \u201cMrs Dalloway in Bond Street\u201d; from <\/span>A Room of One\u2019s Own<\/i>; Yeats, \u201cEaster 1916,\u201d \u201cMeditations in Time of Civil War,\u201d \u201cLeda and the Swan,\u201d \u201cSailing to Byzantium,\u201d \u201cCrazy Jane Talks with the Bishop,\u201d and \u201cThe Circus Animals\u2019 Desertion\u201d; Auden, \u201cSpain 1937,\u201d \u201cSeptember 1, 1939,\u201d \u201cIn Memory of WB Yeats\u201d; Katherine Mansfield, \u201cThe Garden Party\u201d; Jean Rhys, \u201cLet Them Call It Jazz\u201d; Ngugui wa Thiong\u2019o, <\/span>Decolonising the Mind<\/i>;<\/span> <\/i>Chinua Achebe, \u201cDead Men\u2019s Path\u201d; Salman Rushdie, \u201cIs Nothing Sacred?\u201d; Beckett, <\/span>Krapp\u2019s Last Tape; <\/i>Coetzee, \u201cThe Lives of Animals\u201d; Monty Python<\/span><\/p>\n Eng 210 \u2013 Science Fiction<\/strong><\/p>\n Eng 216 \u2013 World Literature II<\/strong><\/p>\n As a language, English is the language of global empires–British and American–and the daily language of nations once subject to imperial control. In this class, we will examine how writers outside of the British and American literary context use English to construct literature that responds to the language’s problematic past while making it their own. Recurrent questions we will see are: What makes a people into a nation? What is the difference between the state, the nation, and the individual? How do beliefs, religious or otherwise, affect group identification? And how do interactions with people from elsewhere affect these identifications?<\/p>\n Texts: <\/b>Coetzee, The Life and Times of Michael K<\/i>.; Rushdie, The Satanic Verses<\/i>; Schreiner, Story of An African Farm;<\/i> Concert of Voices<\/i>: Njabulo S. Ndebele, \u201cGuilt and Atonement: Unmasking History for the Future,\u201d Es\u2019Kia Mphahlele, \u201cThe Coffee-Cart Girl,\u201d Nadine Gordimer, \u201cIs there Nowhere Else We Can Meet?\u201d Alex La Guma, \u201cA Matter of Taste,\u201d Mulk Raj Anand, \u201cDuty,\u201d Saros Cowasjee, \u201cHis Father\u2019s Medals,\u201d Bharati Mukherjee, \u201cHindus,\u201d RK Narayan, \u201cMother and Son,\u201d Rohinton Mistry, \u201cSwimming Lessons,\u201d Rushdie, \u201c \u2018Commonwealth Literature\u2019 Does Not Exist,\u201d \u201cOutside the Whale,\u201d Louise Bennet, \u201cAnancy an Ticks,\u201d Willi Chen, \u201cAssam\u2019s Iron Chest,\u201d Jack Davis, \u201cWhite Fantasy\u2014Black Fact,\u201d \u201cPayback,\u201d Anita Desai, \u201cSurface Textures,\u201d Wilson Harris, \u201cKanaima,\u201d Keri Hulme, \u201cHooks and Feelers,\u201d Witi Ihimaera, \u201cThis Life is Weary,\u201d Eva Johnson, \u201cMurras,\u201d Jamaica Kinkaid, \u201cOn Seeing England for the First Time,\u201d VS Naipaul, \u201cB Wordsworth,\u201d \u201cJasmine,\u201d Ngitji Ngitji, \u201cPossum Woman,\u201d Jean Rhys, \u201cI used to live here once,\u201d Philip Sherlock, \u201cThe Warau People Discover the Earth,\u201d Archie Weller, \u201cPension Day\u201d<\/p>\n Eng 237 \u2013 Introduction to Literary Studies: Critical Lenses on Empire<\/strong><\/p>\n This course will provide students with the necessary skills to work consciously and effectively within the discourse of the discipline. Emphasis will be given to the following: further refinement of close critical reading skills; understanding of literary terms; understanding of basic critical and theoretical terms, concepts, and methodologies; and understanding of genres.<\/p>\n In this course, we will focus on the different critical lenses used to interpret literature, from feminism, psychoanalysis, Marxism, and deconstruction, to post-colonial theory, cultural studies, and new historicism. Power is central to all of these perspectives\u2014who has it, how it is used, and what it does. Readings will span genres, including prose fiction (Conrad\u2019s Heart of Darkness <\/i>and Shelley\u2019s Frankenstein<\/i>) <\/i>and film\u00a0(Hitchcock’s\u00a0Psycho<\/i>). Course requirements include a reading journal, presentations on scholarly essays, two essays responding to critical readings, an annotated bibliography of scholarly work, and a research essay.<\/p>\n Texts<\/b>: Conrad, Heart of Darkness. Case Studies in Contemporary Criticism<\/i>; Psycho <\/em>(dir. Hitchcock) and Kolker, ed., Alfred Hitchcock\u2019s Psycho: A Casebook<\/em>; Shelley, Frankenstein. Case Studies in Contemporary Criticism<\/i>; <\/i>Graff and Birkenstein, They Say, I <\/i>Say; Ryan, An Introduction to Criticism<\/i>.\u00a0[Past iterations have included:\u00a0Shakespeare, The Tempest: A Critical Case Book<\/i>; Bronte, Jane Eyre: A Critical Case Book<\/i>; Conrad, Lord Jim: Norton Critical Edition<\/i>; Jean Rhys, Wide Sargasso Sea: Norton Critical Edition<\/i>]<\/p>\n Eng 312 \u2013 Topics in British Literature: The Gothic Eng 316 \u2013 British Modernism<\/strong><\/p>\n This course will examine the work of British Modernist writers from approximately 1908-1939. In addition to close critical analysis of the literary texts, the course will explore the cultural contexts of the movement, including its precursors and its influence on British culture. This semester, we will focus our readings on prose works, including Ford\u2019s The Good Soldier, <\/i>Forster\u2019s Maurice, <\/i>Joyce\u2019s Portrait of the Artist as a Young Man, <\/i>Woolf\u2019s Mrs Dalloway, <\/i>and Rhys\u2019s Voyage in the Dark. <\/i>To engage with Modernist poetry, we will read TS Eliot\u2019s The Waste Land <\/i>as a class, then each student will create a research project on one poet, building a portfolio of materials on the poet and a class presentation during our last week of classes.<\/p>\n Major Texts<\/b>:<\/strong> Conrad, Heart of Darkness; <\/i>Ford, The Good Soldier; <\/i>Forster, Maurice;<\/i> Joyce, Portrait of the Artist as A Young Man; <\/i>Woolf, Mrs Dalloway <\/i>and Room of One\u2019s Own; <\/i>Rhys, Voyage in the Dark; <\/i>Eliot, The Waste Land<\/i>.<\/p>\n Eng 317 \u2013 Myth and Literature: Oedipus and the horror of knowing<\/strong><\/p>\n This course examines connections between myth and literature across genres and historical periods. What does it mean to know? How does the desire to know provide us with some of the pleasures of literary and visual culture? And why do these pleasures often come through the representation of pain? To consider these questions, we will engage this semester with the story of Oedipus in literature and film. Oedipus will lead us inexorably to psychoanalysis, and we will consider the effects of psychoanalysis on literature and film. Course requirements include reading and film responses, in-class presentations, and midterm and final essays.<\/p>\n Major Texts: <\/strong><\/strong>Sophocles, Oedipus Tyrannus; <\/em>Freud, Interpretation of Dreams, Three Essays on Sexuality, <\/em>\u201cThe Uncanny\u201d; Hoffman, \u201cThe Sandman\u201d; Leader, Introducing Lacan<\/em>; Laura Mulvey, \u201cVisual Pleasure and Narrative Cinema\u201d; Storr, Freud: A Very Short Introduction<\/em>; Grant, ed., The Dread of Difference<\/em>; Psycho <\/em>(dir. Hitchcock); Peeping Tom<\/em> (dir. Powell); Bay of Blood aka Twitch of the Death Nerve <\/em>(dir. Bava); Halloween<\/em> (dir. Carpenter); Alien<\/em> (dir. Scott); Rosemary\u2019s Baby<\/em> (dir. Polanski); The Shining<\/em> (dir. Kubrick); Carrie<\/em> (dir. De Palma); Deep Red <\/em>(dir. Argento); Ringu<\/em> (dir. Nakata); The Ring <\/em>(dir. Verbinski)<\/p>\n Eng 322 \u2013 The Novel: Dickens and Eliot<\/strong><\/p>\n The 300-level novel course is meant to provide students with detailed exposure to a particular interest in the novel. This version of the course guided students through two versions of the triple-decker novel, Dickens and Eliot\u2019s two epic accounts of British society, Our Mutual Friend and Middlemarch, alongside critical readings on the novels and the form. Course requirements include a reading journal, reading quizzes, presentations on British history and culture, annotations of critical readings, and two essays.<\/p>\n Texts: <\/b>Charles Dickens, Our Mutual Friend<\/i>; George Eliot, Middlemarch<\/i>; Eve Sedgwick, from Between Men, <\/i>Catherine Gallagher, <\/i>from The Body Economic, <\/i>Brian Cheadle, \u201cImprovising Character in Our Mutual Friend<\/i>,\u201d John P. Farrell, \u201cThe Partner\u2019s Tale: Dickens and Our Mutual Friend<\/i>\u201d ELH <\/i>66.3 (1999), <\/i>Nancy Aycock Metz, \u201cThe Artistic Reclamation of Waste in our Mutual Friend<\/i>\u201d Nineteenth-Century Fiction<\/i> 34.1 (1979), DA Miller, from Narrative and its Discontents, <\/i>Peter Garrett, from The Victorian Multiplot Novel, <\/i>Gillian Beer, from Darwin\u2019s Plots, <\/i>Sally Shuttleworth, from George Eliot and Nineteenth-Century Science<\/i><\/p>\n Eng 406 \u2013 Critical Theory<\/strong><\/p>\n This course guides students through major movements in critical theory, in part by reflecting on critical theory\u2019s historical development from Russian formalism to poststructuralism and postcolonial theory. Students were responsible for presentations on individual readings, responses to critics, an annotated bibliography, and a research essay.<\/p>\n Texts: <\/b>Literary Theory: An Anthology <\/i>(Blackwell Publishing); Eagleton, Literary Theory: An Introduction<\/i>; James, Turn of the Screw: A Critical Case Study. Shock Corridor <\/i>(dir. Fuller). <\/i>Essays: Shklovsky, \u201cArt as Technique,\u201d Brooks, \u201cThe Formalist Critics\u201d & \u201cThe Language of Paradox,\u201d Wimsatt, \u201cThe Structure of the Concrete Universal,\u201d Bourdieu, \u201cDistinction,\u201d Fish, \u201cInterpretive Communities,\u201d Culler, \u201cThe Linguistic Foundation,\u201d Chatman, \u201cStructure of Narrative Transmission,\u201d Barthes, \u201cMythologies,\u201d Heidegger, \u201cIdentity and Difference,\u201d Derrida, \u201cDiff\u00e9rance,\u201d Deleuze and Guattari, \u201cA Thousand Plateaus,\u201d Baudrillard, \u201cSimulacra and Simulations,\u201d Freud, \u201cInterpretation of Dreams,\u201d Lacan, \u201cThe Mirror Stage\u2026\u201d Fanon, \u201cThe Negro and Psychopathology,\u201d Rubin, \u201cTraffic in Women,\u201d Gilbert and Gubar, \u201cThe Madwoman in the Attic,\u201d Foucault, \u201cHistory of Sexuality,\u201d Butler, \u201cPerformative Acts and Gender Constitution,\u201d Marx, selections from German Ideology<\/i> and Capital, <\/i>Gramsci, \u201cHegemony,\u201d Althusser, \u201cIdeology and Ideological State Apparatuses,\u201d Walter Benjamin, \u201cWork of Art in the Age of Mechanical Reproduction,\u201d Horkheimer and Adorno, \u201cThe Culture Industry,\u201d Dick Hebdige, \u201cSubculture,\u201d Zizek, \u201cSublime Object of Ideology,\u201d Thompson, \u201cWitness Against the Beast,\u201d Foucault, \u201cDiscipline and Punish,\u201d Armstrong, \u201cSome Call It Fiction,\u201d Bahktin, \u201cDiscourse in the Novel,\u201d Said, \u201cJane Austen and Empire,\u201d Spivak, \u201cThree Women\u2019s Texts and a Critique of Imperialism,\u201d Bhabha, \u201cSigns Taken for Wonders,\u201d L\u00f3pez, \u201cThe Social Construction of Race,\u201d Lowe, \u201cHeterogeneity, Hybridity, Multiplicity: Marking Asian American Differences\u201d<\/p>\n Eng 409 \u2013 British Literature and Culture<\/strong><\/p>\n Secret identities, stolen jewels, furtive trysts, and supernatural threats\u2026 In this course, we\u2019ll examine how popular British texts put these devices to use in order to reflect on social problems of money, work, and contemporary life. Readings will include Daniel Defoe\u2019s Roxana<\/em> (the fictional memoirs of an eighteenth-century courtesan), Wilkie Collins\u2019s The Moonstone <\/em>(the first British detective novel), and Bram Stoker\u2019s Dracula<\/em>, as well as prose and poetry to help explore cultural contexts. As a WIP course, requirements include three essays, two peer review letters, two revision projects, and a final essay.<\/p>\n Major Texts include:<\/strong>\u00a0Collins, The Moonstone<\/em>; Defoe, Roxana; <\/em>Stoker, Dracula<\/em><\/p>\n State University of New York at Plattsburgh<\/strong><\/p>\n \u00a0<\/strong>Eng 338 \u2013 Utopias in Literature<\/strong><\/p>\n This course explored utopias in literature as worlds created to explore what is not but could be<\/em>. Students read utopian texts and contemporaneous social, political, scientific, and philosophical material to consider how utopian texts try to resolve historically contemporary issues. Course requirements include written homework, class presentations, discussion participation, and two formal essays (one essay analyzes a single text and uses criticism; a second essay analyzes multiple texts).<\/p>\n Texts: Bellamy, Looking Backward, 2000-1887<\/em>, Butler, Parable of the Sower<\/em>, Butler, Erewhon, <\/em>Dick, Do Androids Dream of Electric Sheep?<\/em>, <\/strong>Gilman, Herland, <\/em>Huxley, Island<\/em>, LeGuin, The Dispossessed<\/em>, More, Utopia<\/em>, Morris, News from Nowhere, <\/em>Plato, The Republic, <\/em>Wells, The Time Machine<\/em>, Zamyatin, We.<\/em><\/p>\n Films: Metropolis <\/em>(1927), Blade Runner <\/em>(1982), Brazil <\/em>(1985).<\/em><\/p>\n \u00a0<\/em>Eng 422 \u2013 Globalization in Film and Literature<\/strong><\/p>\n This course examined how globalization and neoliberalism inform contemporary cinema and how cinema (most especially art film) tries to capture globalization by combining fiction and documentary forms. Course requirements included response papers; presentations on directors; film notes; a research essay analyzing the production, distribution, and aesthetics of one film; one written midterm exam, and a written final exam.<\/p>\n Texts: Steger, Globalization: A Short Introduction<\/em>; Harvey, A Brief History of Neoliberalism<\/em>; Conrad, Nostromo<\/em>; from Globalization, The Greatest Hits: A Global Studies Reader<\/em>: Joseph Stiglitz, \u201cThe Promise of Global Institutions,\u201d Michael Hardt and Antonio Negri, \u201cPreface to Empire,<\/em>\u201d Roy, \u201cAl Qaeda and the New Terrorists\u201d (GH) & Steger, \u201cFrom Market Globalism to Imperial Globalism,\u201d Castells, \u201cThe New Public Sphere\u201d (GH); PDF selections: Fredric Jameson, \u201cClass and Allegory in Contemporary Mass Culture: Dog Day Afternoon <\/em>as a Political Film,\u201d David Harvey, \u201cTime-Space Compression,\u201d David Bordwell, \u201cThe Art Cinema as a Mode of Film Practice,\u201d Che Guevara, \u201cGuerrilla Warfare,\u201d Casey, from Che\u2019s Afterlife, <\/em>Michael Hardt and Antonio Negri, \u201cMultitude Against Empire,\u201d Stella Abruzzi, \u201cThe Performative Documentary.\u201d<\/p>\n Films: Dog Day Afternoon <\/em>(1975), Children of Men <\/em>(2006), Time Out <\/em>(2001), La Promesse <\/em>(1996), Che: The Argentine <\/em>(2008), Hunger <\/em>(2008), The Battle of Algiers <\/em>(1965), Four Lions <\/em>(2010), The Battle for Haditha <\/em>(2007), Fitzcarraldo <\/em>(1982), Duck you sucker! <\/em>(1971), Cach\u00e9 <\/em>(2005), Let the Right One In <\/em>(2008).<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" I am a Professor of English at D’Youville College in Buffalo, New York. D’Youville College Eng 111 \u2013 Introduction to Literature I: Academic Writing In this course, students write and present short essays on short…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":43,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"class_list":["post-19","page","type-page","status-publish","hentry"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t
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