text:
User talk:Stevecole888/enes100/My Work 3

good job on starting the project lets finish this one strong i see you already made more than one design.dgilliland (talk) 23:52, 16 April 2012 (UTC)

Good job on pushing the project forward.Jsnyder6518 (talk) 15:01, 18 April 2012 (UTC)

week 1 p3 grading 1sfoerster (talk) 19:48, 24 April 2012 (UTC)
 * 10/10/100 .. this is the first video with audio on how to use software ... what tools did you use to do this?

good job on what you have done on the project lets keep up the work.dgilliland (talk) 21:45, 24 April 2012 (UTC)

week 2 p3 grading 1sfoerster (talk) 16:58, 1 May 2012 (UTC)
 * 10/10/10 .. good report

Good job on helping to keep the project moving forward.Jsnyder6518 (talk) 20:21, 6 May 2012 (UTC)

good job this week.dgilliland (talk) 17:26, 7 May 2012 (UTC)

week 3 p3 grading 1sfoerster (talk) 13:13, 8 May 2012 (UTC)
 * 0/0/0 .. nothing to grade

good job this week.dgilliland (talk) 18:56, 14 May 2012 (UTC)

week 4 p3 grading 1sfoerster (talk) 20:34, 15 May 2012 (UTC)
 * 0/0/0 .. nothing to grade


text: Portal:Hebrew/External Links

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Portal:Hebrew/External Links


text:
Instructional design/ARCS Model

Definition
The ARCS Model was created by John Keller and focuses on motivation. The 4 key components of the ARCS model are:

 * Attention
 * Relevance
 * Confidence
 * Satisfaction

Without the proper motivation for learners, any learning experience (i.e. e-learning) will not be successful. Motivation is not only important because it is a necessary causal factor of learning, but because it mediates learning and is a consequence of learning.

John Keller's ARCS Model of Motivational Design
As discussed in the video, ARCS Model of Motivational Design was created by John Keller when he was researching ways to support learning with motivation. The model is based on the expectancy-value theory, which presumes learners are motivated if there is value in the knowledge presented (i.e. fulfilling personal preferences and needs) and if there is an optimistic expectation for success.

 * The attention mentioned in this model refers to the interest displayed by learners in taking in the knowledge or skill being taught. For example, in a resume writing tutorial, students are given 10 resumes and 3 minutes to decide who to hire.
 * The relevance, according to Keller, must be established by using language and examples that the learners are familiar with. For example, in the same tutorial, the Human Resources staff is invited to show examples and non-examples of effective resumes that are well written. They also talk about the process involved in choosing quality candidate based on the quality of the resume.
 * The confidence component centers on establishing positive expectations for achieving success among learners. For example, the students start to learn write section by section for the resume.
 * Learners must obtain some type of satisfaction or reward from a learning experience to a sense of achievement. As long as the students follow the "resume writing guideline" they will get a certificate for passing the class.

Practice
Part i

{Which of the following example is the application of the attention in the ARCS Model? - A. An e-learning courseware designed to provide precise feedback which is also appropriately highlighted + B. Showing learners a problem with an interesting illustration online so that they may be engaged in brainstorming - C. Presenting a problem to learners with a video clip so that they apply newly acquired knowledge or skills - D. Designing a self-running tutorial that will allow learners to choose their own assignments based on prior experiences
 * type=""}
 * Oops, try it again! You are almost there! Providing precise feedback is a method for confidence so learners should feel that they could achieve the learning goals with the feedback.
 * Yes, you are great!
 * Oops, try it again! You are almost there! Allowing learners to apply newly acquired knowledge or skills give the opportunity to succeed. Hence, they obtain some sort of satisfaction.
 * Oops, try it again! You are almost there! Relevance allows learners to link their personal experience or something they are familiar with to the knowledge or skills to be learned.

{Which of the following example is the application of the satisfaction in the ARCS Model? - A. Using a short documentary to explain the usefulness of learning this particular content for job searching in future - B. Providing corrective feedback once the online quiz is submitted + C. Adding a "show and tell" section to an e-learning course as to let student present the results of their efforts for a sense of accomplishment - D. Varying the delivery methods in a self-running tutorial including a live lecture, photos, and videos }
 * type=""}
 * Oops, try it again! You are almost there! Relevance, instead of satisfaction, orients learners to the importance of the goal by describing how the goal will help the leaner now and in the future.
 * Oops, try it again! You are almost there! Providing feedback and personnel reinforcement to help learners feel in control of content mastery and thus they feel confident.
 * Yes, you are great!
 * Oops, try it again! You are almost there! Varying the delivery methods is to maintain learner attention.

Part ii

Scenario: Now you are going to design a in-person workshop based on the ARCS Model for high school students in a public school district in Alaska. Goal is to introduce students to the basics skills of scientific inquiry. You have formed some general ideas for this two-hour workshop in which you will target the main elements of an scientific experiment:
 * Ask a question.
 * Do background research.
 * Construct a hypothesis.
 * Test a hypothesis by doing an experiment.
 * Analyze data and draw a conclusion.
 * Communicate your results.

Your audience is Grade 9 (freshmen, adolescents) Alaska Native students who are a mix of non-native and native English speakers. With your survey, observation, interviews with the students' former teachers, as well as the research studies you managed to find, it shows the students have low literacy skills yet very strong visual skills.

By clicking the "edit" tab, apply at least one method for each component in the ARCS Model, considering the context and background provided above.

Name:

A: Use visuals such as handouts and videos that have other adolescents 'teaching' how to perform the tasks.

R: Have students perform a task that is relevant to their everyday life.

C: Have students use other 'good' work as a reference point to complete their project.

S: Provide regular feedback from the start of the project to the end result.

Example
Now, take a look at how others apply the ARCS Model for this workshop.

title: Instructional design/ARCS Model


title: File:CORDIC.c.20120417.pdf


text: File:CORDIC tb.c.20120417.pdf

title: File:CORDIC tb.c.20120417.pdf


text: File:Cordic acc.20120417.pdf

title: File:Cordic acc.20120417.pdf


text:
User:Lawoe Thailand

Lawoe Thailand

About Lawoe Thailand
Lawoe Thailand is the little brother of Lawoe College (Lawoe Technological College) and our Teaching English Programs are the evolution of the Lawoe Technological College Internship Program. We run a trial program that feeds onto a job placement and potentially a career. We are a non-corporate, (local to Thailand) professional team who aim to provide the best service possible to our Schools and Teachers.

Lawoe College (Lawoe Technological College)
As we have previously stated we are an off shoot (little brother) of Lawoe College, one of the main colleges in Lop Buri.

1972
They opened their doors in May of this year, as Lawoe Technical Commercial

1973
This year saw the start of its major program in communications.

1974
The following year saw its major programs evolve to add a new electrical major to its programs

1983
It name was upgraded to Lawoe Technical School

1984
The year after saw the initiation of it first Diploma courses for Business Administration (Major of Accounting, Marketing, Computer) and Industrial Engineering(Mechanics, Mechanical Plant, Electrical); as well as the introduction of vocational and technical courses for Business Administration (Major of Accounting, Marketing, Computer)

2010
Lawoe Technical School was promoted to Lawoe Technology College With these changes came new challenges for Lawoe Technology College, such as the need for its students to learn and speak English in order to function within an international market and work place and so the Lawoe School Technology Internship Program came about. Lawoe Technological College Internship Program It started small to fulfil the need of Lawoe Technical School for English Speaking Teachers and then friends of Lawoe Technical School needed some and so it grew from there, even more so when they discover what great teachers and support they could get with the Lawoe Technological College Internship Program. In order to fulfil this sudden need Lawoe partnered with a major agency.

2012
They parted company with this agency and so Lawoe Thailand was created to continue the good teacher supply to Lawoe Technology College and the many Schools that relied on the internship program. The internship was replaced by the Teacher program and other programs such as the English Camp program were added.

Lawoe Thailand was set up as an off shoot to focus on getting quality teachers for these programs.

Currently Available Programs
All Programs are designed to give people experience currently within the field of Teaching English as a Foreign Language or to Speakers of Other Languages. People find they get more than just a teaching experience through interacting with Thai people and Culture with in school time and with the spare time they have. They can find themselves learning a new language and about a wonderfully warm culture, even seeing sight that not many people have seen from amazing beaches to spiritual temples, to the wildlife native to Thailand from monkey temples to tiger sanctuaries to elephant treks. Thailand itself has a lot to offer, if you are willing to spend time and make an effort, Thailand will give back to you a lot more.

-Teacher Program
Whether you are seasoned teacher new to Thailand or new teacher wanting to get the experience or even a taster of what teaching can off you this is the program for you.

-English Camp Program
If you are looking to volunteer your time and energy and give back to a well deserving people who want to improve their English or maybe you can’t commit to the Teacher program but still want some experience of teaching English as foreign language or to speakers of other languages outside of the class room in a less academically focused environment setting, helping them to gain confident and realise how useful and how much fun it can be using English

Please check out the website : Lawoe Thailand for more details about Lawoe Thailand

title: User:Lawoe Thailand


text:
User:MathewTownsend

 * Web Design/Learning Basic HTML and CSS

title: User:MathewTownsend


text:
User talk:Jromanch0088

 Hello Jromanch0088, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. After you leave a comment on a talk page, remember to sign and date; it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. All users are expected to abide by our Privacy policy, Civility policy, and the Terms of Use while at Wikiversity.

To get started, you may

 * Take a guided tour and learn to edit.
 * Visit a (kind of) random project.
 * Browse Wikiversity, or visit a portal corresponding to your educational level: pre-school, primary, secondary, tertiary, non-formal education.
 * Find out about research activities on Wikiversity.
 * Explore Wikiversity with the links to your left.

 * Read an introduction for teachers and find out how to write an educational resource for Wikiversity.
 * Give feedback about your initial observations
 * Discuss Wikiversity issues or ask questions at the colloquium.
 * Chat with other Wikiversitans on #wikiversity-en.
 * Follow Wikiversity on twitter (http://twitter.com/Wikiversity) and identi.ca (http://identi.ca/group/wikiversity).

You don't need to be an educator to edit. You only need to be bold to contribute and to experiment with the sandbox or your userpage. See you around Wikiversity! Jtneill - Talk - c 13:27, 17 April 2012 (UTC)

 Hi , I am Percy. Nice to meet you. I love the beach, swimming, fishing, and I am currently doing some research at Wikiversity on oceanography. I am also learning to play piano. What do you like? Can I be your mascot?

Your projects
FYI, I've moved your work projects into your user space and updated the links on your user page - User:Jromanch0088. Sincerely, James -- Jtneill - Talk - c 13:27, 17 April 2012 (UTC)
 * FYI, here are the details of files I've moved out of main space into your user space:

 * My Work Project moved to User:Jromanch0088/My Work Project by Jtneill
 * En.wikiversity.org/wiki/User:Jromanch0088/enes100 moved to User:Jromanch0088/enes100 by Jtneill
 * En.wikiversity.org/wiki/User:Jromanch0088/enes100/My work moved to User:Jromanch0088/enes100/My work by Jtneill
 * User:Jromanch0088/enes100/My Work Project - created by 1sfoerster - may now be duplicate of User:Jromanch0088/My Work Project
 * Let me know if I can do anything else. Sincerely, James -- Jtneill - Talk - c 21:27, 17 April 2012 (UTC)

title: User talk:Jromanch0088


text:
User:Christopher.nunez/enes100/illuminationProject/code

/* LilyPad Project * by Chris Nunez * * Based on 'Loop' by David A. Mellis * * Lights 20 LEDs, two at a time, in a rotational sequence. * */

int timer = 100;                  // The higher the number, the slower the timing. int pins[] = { 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20 }; // an array of pin numbers int num_pins = 20;                 // the number of pins (i.e. the length of the array)

void setup { int i;

for (i = 0; i < num_pins; i++)  // the array elements are numbered from 0 to num_pins - 1 pinMode(pins[i], OUTPUT);     // set each pin as an output }

void loop { int i;  for (i = 0; i < num_pins/2; i++) { // loop through each pin state (there are six) digitalWrite(pins[i], HIGH);  // turn one LED on, digitalWrite(pins[i+num_pins/2], HIGH); //then turn its opposite LED on (six positions away) //now turn the previous LEDs off: if (i == 0){               //turn the last LED off from the previous go 'round digitalWrite(pins[num_pins-1], LOW); // } else{ digitalWrite(pins[i-1], LOW);   // turn off each previous LED }   digitalWrite(pins[(i+num_pins/2)-1], LOW); delay(timer);                 // pausing

}

}


text:
Gene transcriptions/Elements/Initiators

In the biosynthesis of any human protein, the gene that contains the nucleotide sequence which is translated into that protein must be transcribed. For RNA polymerase II holoenzyme to transcribe the gene, the gene's promoter must be located. After the promoter is located, the transcription start site (TSS) is pinpointed by using nucleotide sequences that include the TSS. Within the promoter, most human genes lack a TATA box and have an initiator element (Inr) or downstream promoter element instead.

On the basis of descriptions available, various Inrs are located to test whether the known TSS is located.

Notations
Notation: let the symbol Inr denote an initiator element.

Notation: let the symbol +1 designate the nucleotide that is the transcription start site (TSS).

Genetics
Inr in humans was first explained and sequenced in 1989.

The Inr element for core promoters was found to be more prevalent than the TATA box in eukaryotic promoter domains. In a study of 1800+ distinct human promoter sequences it was found that 49% contain the Inr element while 21.8% contain the TATA box.

Gene transcriptions
Two subunits, TAF1 and TAF2, of the TFIID recognize the Inr sequence and bring the complex together.

The interaction between TFIID and Inr is believed to be most imperative in initiating transcription due to the Inr sequence overlapping the start site.

The Inr element is also believed to interact with the activator Sp1 transcription factor (Sp1), specificity protein 1 transcription factor, which is then able to regulate the activation and initiation of transcription

Promoters with a functional Inr are more likely to lack a TATA box or to possess a degenerate TATA sequence because a gene with an active Inr is less dependent on a functional TATA box or additional promoters. Although Inr element varies between promoters, the sequence is highly conserved between humans and yeast. An analysis of 7670 transcription start sites showed that roughly 40% had an exact match to the BBCA+1BW Inr sequence, while 16% contained only one mismatch TFIID and subunits are very sensitive to the Inr sequence and nucleotide changes have been shown to drastically change the binding affinity, where the +1 and -3 positions have been identified as the most critical for transcription efficiency and Inr function. A replacement of the Adenosine (A) nucleotide at the +1 to G or T changes transcription activity by 10% and a replacement of Thymine (T) at the +3 position changes transcription activity levels by 22%.

Theoretical initiator elements
Here's a theoretical definition:

Def. a series of nucleotides including a transcription start site on one DNA strand whose presence in a gene promoter eventually leads to a chain reaction or polymerization such as transcription is called an initiator element.

RNA polymerase IIs
"RNA pol II itself recognizes features of the Inr which might assist the correct positioning of the polymerase on the promoter (Carcamo et al., 1991; Weis and Reinberg, 1997)."

RNA polymerase II may form a stable complex on TATA-less promoters that contain Inr elements and possess a weak, intrinsic preference for Inr-like sequences.

RNA polymerase II holoenzyme complexes
Gene ID: 672 is BRCA1 BRCA1, DNA repair associated. "This gene encodes a nuclear phosphoprotein that plays a role in maintaining genomic stability, and it also acts as a tumor suppressor. The encoded protein combines with other tumor suppressors, DNA damage sensors, and signal transducers to form a large multi-subunit protein complex known as the BRCA1-associated genome surveillance complex (BASC). This gene product associates with RNA polymerase II, and through the C-terminal domain, also interacts with histone deacetylase complexes. This protein thus plays a role in transcription, DNA repair of double-stranded breaks, and recombination. Mutations in this gene are responsible for approximately 40% of inherited breast cancers and more than 80% of inherited breast and ovarian cancers. Alternative splicing plays a role in modulating the subcellular localization and physiological function of this gene. Many alternatively spliced transcript variants, some of which are disease-associated mutations, have been described for this gene, but the full-length natures of only some of these variants has been described. A related pseudogene, which is also located on chromosome 17, has been identified."

Gene ID: 1660 is DHX9 DExH-box helicase 9 (aka LKP; RHA; DDX9; NDH2; NDHII). "This gene encodes a member of the DEAH-containing family of RNA helicases. The encoded protein is an enzyme that catalyzes the ATP-dependent unwinding of double-stranded RNA and DNA-RNA complexes. This protein localizes to both the nucleus and the cytoplasm and functions as a transcriptional regulator. This protein may also be involved in the expression and nuclear export of retroviral RNAs. Alternate splicing results in multiple transcript variants. Pseudogenes of this gene are found on chromosomes 11 and 13."

BRCA1 has been shown to interact with DHX9; i.e., overexpression of a protein fragment of RNA helicase A causes inhibition of endogenous BRCA1 function and defects in ploidy and cytokinesis in mammary epithelial cells and the BRCA1 protein is linked to the RNA polymerase II holoenzyme complex via RNA helicase A.

ATP-dependent RNA helicase A (RHA; also known as DHX9, LKP, and NDHI) is an enzyme that in humans is encoded by the DHX9 gene.

RNA polymerase II subunit A C-terminal domain phosphatase is an enzyme that in humans is encoded by the CTDP1 gene.

Gene ID: 9150 is CTDP1 CTD phosphatase subunit 1. "This gene encodes a protein which interacts with the carboxy-terminus of the RAP74 subunit of transcription initiation factor TFIIF, and functions as a phosphatase that processively dephosphorylates the C-terminus of POLR2A (a subunit of RNA polymerase II), making it available for initiation of gene expression. Mutations in this gene are associated with congenital cataracts, facial dysmorphism and neuropathy syndrome (CCFDN). Alternatively spliced transcript variants encoding different isoforms have been described for this gene."

"This gene encodes a protein which interacts with the carboxy-terminus of transcription initiation factor TFIIF, a transcription factor which regulates elongation as well as initiation by RNA polymerase II. The protein may also represent a component of an RNA polymerase II holoenzyme complex. Alternative splicing of this gene results in two transcript variants encoding 2 different isoforms."

CTDP1 has been shown to interact with WD repeat-containing protein 77, GTF2F1 and POLR2A.

Gene ID: 168400 is DDX53 DEAD-box helicase 53. "This intronless gene encodes a protein which contains several domains found in members of the DEAD-box helicase protein family. Other members of this protein family participate in ATP-dependent RNA unwinding."

"DEAD/DEAH box helicases are proteins, and are putative RNA helicases. They are implicated in a number of cellular processes involving alteration of RNA secondary structure such as translation initiation, nuclear and mitochondrial splicing, and ribosome and spliceosome assembly. Based on their distribution patterns, some members of this family are believed to be involved in embryogenesis, spermatogenesis, and cellular growth and division. This gene encodes a DEAD box protein with RNA helicase activity. It may participate in melting of DNA:RNA hybrids, such as those that occur during transcription, and may play a role in X-linked gene expression. It contains 2 copies of a double-stranded RNA-binding domain, a DEXH core domain and an RGG box. The RNA-binding domains and RGG box influence and regulate RNA helicase activity."

Consensus sequences
As in other metazoans, for genes lacking a TATA box, the Inr is functionally analogous, with a base pair (bp) consensus 5'-YYA+1NWYY-3', to direct transcription initiation. Using the degenerate nucleotide code, the consensus sequence is 5'-C/T-C/T-A-A/C/G/T-A/T-C/T-C/T-3', or in the direction of transcription on the template strand: 3'-C/T-C/T-A-A/C/G/T-A/T-C/T-C/T-5'.

"TATA-less core promoters that lack AT-rich sequences in the -30 region and do not stably bind TBP are likely to assemble PICs via alternative pathways and to be regulated by distinct mechanisms (Smale and Kadonaga, 2003). However, the number of such bona fide TATA-less genes remains unclear in eukaryotic genomes."

In Entamoeba histolytica, the consensus sequence is AAAAATTCA.

The Inr has the consensus sequence YYANWYY. Similarly to the TATA box, the Inr element facilitates the binding of transcription Factor II D (TATA binding protein TAF).

Enhancers
An Inr for mammalian RNA polymerase II can be defined as a DNA sequence element that overlaps a TSS and is sufficient for

 * 1) determining the start site location in a promoter that lacks a TATA box and
 * 2) enhancing the strength of a promoter that contains a TATA box.

TATA binding protein associated factors
"Although any isolated TAF may not exhibit sequence-specific interactions at the Inr element in the absence of a TATA-box, a combination of TAFs may bind sequence specifically to the Inr element regardless of the TATA-box and/or DPE (Chalkley and Verrijzer, 1999)." Bold added.

TAF1 "binds to core promoter sequences encompassing the transcription start site. It also binds to activators and other transcriptional regulators, and these interactions affect the rate of transcription initiation."

Prior to transcription, stable binding to an Inr occurs by a complex consisting of TAF1 and TAF2.

TATA box-likes
The Inr is the only element in metazoan protein-encoding genes known to be a functional analog of the TATA box, in that it is sufficient for directing accurate transcription initiation in genes that lack TATA boxes.

General transcription factor II As
General transcription factor II A is critical for the cooperative binding of TFIID to the Inr.

General transcription factor II Ds
The general transcription factor II D (TFIID) is one of several general transcription factors that make up the RNA polymerase II preinitiation complex. Before the start of transcription, the transcription factor II D (TFIID) complex, binds to the core promoter of the gene.

TFIID is the first protein to bind to DNA during the formation of the pre-initiation transcription complex of RNA polymerase II (RNA Pol II).

General transcription factor II Is
General transcription factor II I, or TFII-I, is a factor capable of binding the Inr element.

Transcription start sites
Usually the Inr contains the TSS.

"[T]he initiator (INR) element located at, or immediately adjacent to, the TSS, ... is recognized by the TBP-associated factors TAF1 and TAF2 of the TFIID complex".

"[T]ranscription does not need to begin at the +1 nucleotide for the Inr to function. RNA polymerase II has been redirected to alternative start sites by reducing ATP concentrations within a nuclear extract, by altering the spacing between the TATA and Inr in a promoter containing both elements, and by dinucleotide initiation strategies".

Hypotheses

 * 1) A1BG is not transcribed by an initiator element.
 * 2) A1BG is not transcribed by a TATA box.

title: Gene transcriptions/Elements/Initiators


text:
User:Jromanch0088/enes100/My Work Project

Write problem/project Goal
To build a quad copter controlled autonomously by the arduino

My First Task
I am going to help hook up four motors to a single arduino, and also test the different motors to see how much lift they can generate.

Summary of actual work over first weekend
I did not get around to hooking up and testing the four motors, instead I tested the Zagi motor (orange prop) with two different setups. The first setup was very crude and I was afraid the motor was going to pull the screw out so I made a different one and tested that.

Week1 Narrative
I created the "lift test" platform during the week, there were two versions, the first was a very crude setup which consisted of a block of wood, the motor, and a screw. I tested this and after running it for less than 2 seconds and I was afraid the screw was going to get ripped out. So I made a better design for a new platform, drilled out a hole for the motor, secured the motor with three screws, and also a tether system was used this time so we would not have to endanger our fingers. We could not achieve lift off with this program, it was right at the point of lifting off but it couldn't actually lift the block of wood off the table. It was kind of "floating" if you could say that. You could push the motor around and it would move freely on the table with no friction but it was not "flying". Because of this we decided to change the program because we wanted to achieve liftoff. After running the program a few times a change was made so the motor would run at its maximum speed of 150 for 15 seconds. The motor ran for about 8 seconds at this speed then at this point it started smoking and smelled of burning parts. Success on killing our first motor! The first time we tried the lift test we could not achieve spin up. This was because we needed the ESC to reset but we could not get it too at first. Here is that video. First lift test (Failed) This is the first video of testing with the first block setup which was actually successful. First Lift Test This second video is of the second block with the tether system. Second Lift Test This video is of the Spin Up program, we had some problems with this program for some reason. It would spin up as seen but it would not hold its spin up speed as long as it had been set to hold it for. Anyhow here is the video for this. Spin Up with lift test The video of when we killed the motor with the modified spin up test. The video did not start when I hit play that is why the motor is spinning when the video starts. It started about 5 seconds after spinning, then the motor died. Here is the video of that. Killed Motor

My Second Task
I plan on testing the other purple motor with the lift test, as well as trying to get four motors hooked up to the arduino.

Summary of actual work over second weekend
I documented the different propellers and got the Hacker A10-13L motor running with three different propellers.

Helicopter Propellers & Lift Test
I found and documented the different propellers available to the group. There was a problem with the propeller on the lift test. This problem was that the helicopter blade was pushing air up, not down. This caused the lift test to fail completely because the propeller was pushing the platform into the table, not away. Here is the video of the lift test with the propeller pushing air up, propeller name R8x4.5 Lift Test #2 R8x4.5. I took a guess at possible solutions and first I tried just flipping the propeller upside down. This produced and interesting result, the propeller pushed even more air in the upwards direction. Here is the video for Lift Test #2 R8x4.5 (UpsideDownPropeller). Another possible solution I came up with was to change out the propeller. I found a 12x4.5 blade and swapped it out with the original R8x4.5 propeller. After a few problems with the power supply, I got the blade spinning and this blade had the correct orientation. Here are the two videos with two different power supplies that both did not supply enough power First Failed Attempt with 12x4.5. After switching the power supply out I got the same result here is the video of that Second Failed attempt with 12x4.5. And the final failed time Third Failure. While the propeller spins, it only spins once for about 1 second then I have to change the power supply. Finally I found a power supply that supplied enough power to spin the blade. It was pushing air downwards and liftoff was achieved. Here is the first successful liftoff Lift test success!. At this point I figured out how the labeling key worked on the propellers. If the propeller dimensions have an "R" in front of the dimensions that propeller requires a motor spinning clockwise to achieve lift. If the propeller dimensions do not have an "R" in front of the dimensions the propeller requires a motor spinning counter-clockwise to achieve lift. There are three different propellers I documented. The 12x4.5 is the largest of all of the propeller. The amount of lift generated by the 12x4.5 seems to be the same as the other two propellers but with the large blade it takes longer for it to lift off. This is most likely because the propeller it larger so its spin up is not quite as fast. The 10x4.5 is the medium sized propeller. It creates a large amount of lift with quick liftoff. Barely any delay when the ESC resets to when it is airborne. The last propeller is the 8x4.5 propeller. It can lift the same amount as the 12x4.5 blade. This is probably the blade we should go with considering the size-lift ratio.

Here are the other videos of the lift test that I took:

First lift test setup with 12x4.5 Propeller, achieved liftoff. - First lift test setup

First lift test setup with 12x4.5 Propeller with extra weight, this could not achieve liftoff. - Extra weight

First lift test setup with 12x4.5 Propeller with half the extra weight as the above video, liftoff just achieved. - Half extra weight

First lift test setup with 12x4.5 propeller with half extra weight and liftoff achieved much more visibly - True liftoff with half weight

Second lift test setup with 12x4.5 propeller with half extra weight, liftoff achieved but barely visible because the tethers were too tight - Second lift test extra weight

Second lift test setup with 12x4.5 propeller with no extra weight, liftoff achieved - Second lift test no extra weight

Second lift test setup with 10x4.5 propeller with no extra weight - Second lift test 10x4.5

Second lift test setup with 8x4.5 propeller with no extra weight - Second lift test 8x4.5

Sea-Saw
In class our team worked on setting up the sea-saw so we could begin testing the accelerometer and gyro. I drilled the holes for the motor with help from Amir. Then I attached the motors. After that i attached the escs then ran wires to the arduino which was centered in the middle of the sea-saw.

My Third task
I am going to try and get both motors running off of one arduino so I can test out the sea saw.

Summary of actual work over third weekend
What I did over the third week was test the see saw. I also wrote some new programs to alter the behavior of the see saw.

Week3 Narrative
Over the week I worked with the see saw. My main problem was with the power supply. After successfully running the esc spinup programs the power supply failed after running the program for about .5 seconds. This causes major issues for me because I could not test out the new programs I wrote to test if they work. I wrote a program that runs the propellers at a low speed and with a teeter totter motion. This program was run successfully for 2 minutes nonstop, then the power supply started acting up.

My Fourth task
My next goal is to try and figure out what is causing the power supply to fail. As well as test my new programs if i get the power supplies up and running.

Summary of actual work over fourth weekend
What I did over the week was figuring out how the power supplies worked. As well as testing out my new code which worked.

Week4 Narrative
I played with the see saw, as well as figuring out a wiring issue that was related with the power supply failures.

Complete Team Page
Heli team page


text:
Talk:Engineering Projects/HoverCraft/Howard Community College/Spring2012/p2550JW

project 2 grading ... 0/100 points 1sfoerster (talk) 18:16, 17 April 2012 (UTC)

project 2 regrading .... 100 points 204.126.132.241 21:20, 19 April 2012 (UTC)


text: Template:Biochemistry

title: Template:Biochemistry


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Collaborative project-based learning

Introduction to CPBL
Let's familiarize yourself to CPBL first. By the end of this module, you will be able to define collaborative project-based learning.

What is CPBL?
Collaborative project-based learning is an instructional method based on constructivist learning theory, in which learners work on an authentic, ill- defined project in a group and demonstrate their understanding by performing the project. In CPBL, learners constantly involve in problem solving in which they apply their content knowledge to address real-world issues.

Reading about it does not help you get your head around it. Watch the following video to get a sense what is CPBL. While watching it,try to answer the following questions while watching the video. Introduction to CPBL
 * How it is different from traditional instruction,
 * Why it is good,
 * What are learning outcomes

title: Collaborative project-based learning


text:
Instructional design/CPBL/Introduction

{| Let's familiarize yourself to CPBL first. By the end of this module, you will be able to define collaborative project-based learning.

What is CPBL?
Collaborative project-based learning is an instructional method based on constructivist learning theory, in which learners work on an authentic, ill- defined project in a group and demonstrate their understanding by performing the project. In CPBL, learners constantly involve in problem solving in which they apply their content knowledge to address real-world issues.

What is really CPBL?
Reading about it may not help you much get your head around. Watch the following video to get a sense what is CPBL:

PBL, Explained
 * This video is: briefly introducing CPBL.
 * Pay attention to:
 * How it is different from traditional instruction,
 * Why it is good,
 * What are learning outcomes

 * }

title: Instructional design/CPBL/Introduction


text:
Instructional design/CPBL/Benefits

{|

Now that we know what is CPBL, let’s see how it is implemented in a real classroom and what are the benefits of CPBL.

CPBL in a real classroom
Watch the following video: Benefits of CPBL
 * This video is about: How CPBL has been implemented in a high school in Seattle.
 * Pay attention to: What are the main benefits of CPBL.

Benefits of CPBL
As you see in the video, CPBL engages learners in a complex, real-life project where they can actively use their knowledge in problem solving. As a result, we get increased student motivation and increased application and retention of information, which lead to increased academic achievement. Also, collaborative problem solving promotes critical thinking, communication, and collaboration, which are important 21st century skills.

In sum, CPBL has benefits of
 * Increased academic achievement, more specifically, increased application and retention of information
 * Promotion of critical thinking, communication, and collaboration
 * Increased student motivation
 * }

title: Instructional design/CPBL/Benefits


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Instructional design/CPBL/Design Principles

{|

There are several benefits of CPBL as we learned. Then, how can we design our own CPBL that maximize the benefits? In this module, you will learn design principles of CPBL.

There are two aspects in designing CPBL: 1) project tasks that students will work on and 2) student activities.

{|

Project Tasks (CIA)
Project tasks should be CIA: Complex, Intentional, and Authentic.
 * Complex: Project tasks should be complex or ill defined.Complex problems have multiple ways to solve the problems and multiple solutions. Performing such task requires multiple perspectives, knowledge, and skills.
 * Intentional: Tasks should be intentional or goal-directed. Intentional tasks allow students to focus on intended goals and prevent them from deviating from learning objectives. Therefore, you should select academic standards first, and select your project task to address the specific standards.
 * Authentic: Tasks should be authentic. Working on real-world issues lets students situate their leaning in a context, which will increase their application and retention of information.

Activities (CPR)
Students should perform CPR: Collaboration, Problem-solving, and Reflection.
 * Collaboration: Working collaboratively lets learners interact with one another and engage in discussions where they build their knowledge and perspectives, resolve their misconceptions and internalize and solidify their knowledge. However, collaboration is often accompanied with undesirable intragroup conflicts and social loafing. In order to reduce undesirable intragroup conflicts and social loafing, you can have students discuss their roles, responsibilities, processes, and group norms upfront, and encourage students to productively resolve their conflicts. Also, research shows that the more group members you have, the more likely social loafing occurs. Therefore, three to four members in a group are appropriate.
 * Problem-solving: Problem solving or decision making is a key activity where students apply their knowledge into a real context. Therefore, you should make sure there are multiple problem-solving/decision making activities, and you provide corrective feedback along the way so that they correctly construct their knowledge.
 * Reflection: Reflection is known to be an essential component in CPBL. By reflecting what they have learned and the processes that they have taken, they can have a time to internalize any knowledge and skills that they have acquired. Reflection should take place during and after the project, preferably every time they engage in a decision-making process.

Remember the design principles: CIA performs CPR. We will practice these principles at the next module.

 * }

 * }


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Instructional design/CPBL/Design Practice

{|

In this practice, you are given one CPBL, and you will identify strengths and weaknesses of the project task and design student activities and process of the project using the CIA and CPR design principles.

Case: Your Favorite Oreo Boxes
Context Ms. Pershing teaches a 7th grade mathematics class. There are 18 students, and there are 5 computers available in the classroom. Mathematics software can be installed on the computers.

Project In order to address the standard, “solve real-life and mathematical problems involving angle measure, area, surface area, and volume, Ms. Pershing devised a project, called “Your favorite Oreo boxes”. In this project, students are supposed to come up with an Oreo box design for each of the two different sizes of Oreo snacks (i.e., bite size and regular size) The box designs should be economical in terms of its conservation of the contents, that is snacks and storing and distribution of the products.
 * }

Exercise1: Strengths & Weaknesses of the Project Task
Question: Based on the CIA design principles, what are strengths and weaknesses of the project task? How can you improve the task? Direction: Click "edit" for this section, and add your answer below. Sign your name by inserting four ~'s.
 * Example: I think the project task well addresses the academic standard. Dablee (talk) 21:11, 17 April 2012 (UTC)
 * I think that by specifying the package needs to be a box is too limiting. It should be more generically described as "packaging" (Weakness) Phonebein (talk) 20:59, 22 April 2012 (UTC)

Exercise2: Project Activities
Question: Based on the CPR design principles, discuss how you would design the process and activities of the project and your rationale. Direction: Click "edit" for this section, and add your answer below. Sign your name by inserting four ~'s.
 * Example: I may start with introducing the project and grouping students into 5 groups, so that there are 3-4 students in a group based on their initial oreo box design, and then... (I would continue discussing my activity design.) Dablee (talk) 21:17, 17 April 2012 (UTC)


text: Instructional design/CPBL/Practice Feedback


text:
Talk:Blood cooler

project 2 grading 100 1sfoerster (talk) 20:25, 17 April 2012 (UTC)

title: Talk:Blood cooler


text:
Talk:Wind Tunnel/Howard Community College/Spring 2012/BJM550

100 ... project 2 grading 1sfoerster (talk) 20:31, 17 April 2012 (UTC)


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User:Engsihn/myWork3

Write problem/project Goal
Provide how to build the most effective bridge.

My First Task
Gather information on bridge model.

Summary of actual work over first weekend
I anticipated to build actual bridge, but instead, the team is to come up with informations only for those who want to spend time to build bridges.

Week1 Narrative
Bridge trusses are necessary to discuss for those who build the first time. Following information and diagrams will be based on the ppt provided by Professor Foerster and author by Jerome Clifford. Briefly, bridge trusses explain about bridge being most effective under compression, not bending. Also, beam with higher diameter gives more strength than one with higher length. For design, triangles are basic and effective way to draw bridge model. However, builder should always keep in mind that bridges are in 3-dimension. Epoxy is commonly used material that glue or connects each beam of a bridge.

Currently, the material focuses on pasta, which is used to make spaghetti, but there are many other bridges that were made by different material, yet showing its efficiency in strength. Those bridges vary from popsicle stick to cable wires, which seem odd to use flexible beams as bridge components.

It is also interesting to mention that nowadays engineering and aesthetics can work together. In other words, real bridge is not only effective with moving objects like cars, but also appeals to eyes in general. In one article, a college student majoring in civil engineering finds interest in 19th century bridge that was also a work of art. Triangles are effective component in enhancing bridge strength, and they can also be artistic. For more information, follow the link: article_1

My Second Task
I will keep updating the information on bridges, focusing on examples from competitions.

Summary of actual work over second weekend
How is what you did different than what you planned?

Week2 Narrative
Tell a detailed story describing what you did for your team over the weekend.

My Third task
Record what you are planning on doing for the team during the third weekend.

Summary of actual work over third weekend
How is what you did different than what you planned?

Week3 Narrative
Tell a detailed story describing what you did for your team over the weekend.

My Fourth task
''Record what you are planning on doing for the team during the final weekend of project work. ''

Summary of actual work over fourth weekend
How is what you did different than what you planned?

Week4 Narrative
Tell a detailed story describing what you did for your team over the weekend.

Complete Team Page
Fill out the Team Form (should have already copied the form, created the team page, linked to it and started filling it out).

title: User:Engsihn/myWork3


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Instructional design/Goal setting

← Go back to ID Page

 * Bulleted list item

Introduction
In the classroom or the training session, some students are more motivated to learn, for example, they try to utilize different learning strategies or seek for different resources by themselves while others are not. After retirement, some people are willing to enroll online educational organizations or attend workshops to continue their learning whereas others are not.

What makes the difference between motivated learners and unmotivated learners?

Goal setting is one of the elements that can explain the difference between these two groups of people (motivated and unmotivated learners). Students who can set their goals for learning are more motivated and active learners who can plan, monitor, and regulated their own learning process. As a teacher or an instructor, who don't want their students to be more motivated? But HOW? There has been abundance of research on how to motivate the learners by having them set the goals for their own learning.

In this Wikiversity lesson, we are going to focus on one of the most influential factors related to learner motivation and self-regulated learning, which is "Goal Setting". Your learners will be setting up their goals for learning through the goal setting activity you designed for them. Are you ready to explore how you can design a goal setting activity for your learners? Are you ready to have more motivated and self-regulated learners? Let's start our journey!

Objectives
By the end of this Wikiversity lesson, you will be accomplishing the following learning objectives (1 Key objective and 5 Enabling objectives)

 * Given instructional content, you will be able to design a goal-setting practice activity. The practice activity should be rated excellent in more than 80% of categories provided in the evaluation checklist.
 * Explain what goal setting process is
 * Define task goals and process goals
 * Identify well-defined task goals and process goals
 * Explain how to design goal setting practice
 * Design a practice goal setting base on the content of their instruction

Go to the next Goal Setting Process Page

title: Instructional design/Goal setting


text:
Talk:Engineering Projects/Power projects/Howard Community College/Spring2012/p2550TK

100 points project 2 grading


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User:1wPhipps/enes100/myWork for Part 3

''This is designed for a person working on a project for 4 weeks as part of a 3 credit class. Please copy this form to your user page. Then delete everything in italics when filling out this form.''

Write problem/project Goal
My goal for this cycle is to be able to integrate the infrared system to the arduino, then use it with the hovercraft

My First Task
I am going to hook up the IR sensor to the arduino and get it to return some signals

Summary of actual work over first weekend
How is what you did different than what you planned?

Week1 Narrative
Found a Link a code that works with the sensor

A new tutorial was found that uses the same type of software that we have, except with a ping sensor. What I will have to do is use that program, edit it to make it work with IR instead of ping sensors, and put it in the arduino

My Second Task
My Second task is to begin to understand C, the language of arduino coding, in order to write a successful program that will integrate the new found tutorial

Summary of actual work over second weekend
How is what you did different than what you planned?

Week2 Narrative
I also added a tutorial on how to use shrink wrap on a soldering joint, since part of my job was to get the hovercraft ready to hold the Arduino.

I figure the best way to mount the Arduino is on top of the baterry pack, and feed all of the leads underneath the battery pack, where there are hols leading to the belly of the hovercraft. If there is no space, I can always drill two small holes on the side or top, out of the way of anything important. For now I choose to do this though.

My Third task
Record what you are planning on doing for the team during the third weekend.

Summary of actual work over third weekend
How is what you did different than what you planned?

Week3 Narrative
Tell a detailed story describing what you did for your team over the weekend.

My Fourth task
''Record what you are planning on doing for the team during the final weekend of project work. ''

Summary of actual work over fourth weekend
How is what you did different than what you planned?

Week4 Narrative
Tell a detailed story describing what you did for your team over the weekend.

Complete Team Page
Fill out the Team Form (should have already copied the form, created the team page, linked to it and started filling it out).

title: User:1wPhipps/enes100/myWork for Part 3


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Book Reviews/Eugene Onegin

Introduction to Eugene Onegin
Aleksandr Pushkin's Eugene Onegin is one of the most famous and remarkable works of Russian literature, and a good place to start when beginning your study of the Russian novel. Although the plot of the novel is by no means a new or original in its subject matter, its unique form and innovative treatment of the narrator prove it to be enjoyable and fascinating to read. Indeed, one of the most intriguing elements of Pushkin’s work is his decision to characterize it as a piece of verse rather than prose. Though the plot may sometimes read as a work of prose, the form of Eugene Onegin is indeed one of verse, strictly following Pushkin’s intentionally incorporated rhyme scheme—stanzas of iambic tetrameter with the unusual rhyme pattern of AbAbCCddEffEgg, an innovation that took the author nearly eight years to perfect (Culture of Russia). According to this scheme, now often called the “Pushkin sonnet,” the uppercase letters represent feminine rhymes whereas the lowercase represent masculine rhymes (Culture of Russia). In many ways, Pushkin’s work is as much a masterpiece of form and construction as it is of literary inspiration.

The Novel's Title

Many of Pushkin’s contemporaries were rattled by the subtitle, “A Novel in Verse”, and claimed they could not accept it as a “novel”, per se, citing its “digressive quality” as well as its “improvisatory” tendencies (“Eugene Onegin: An Inverted Byronic Poem”). Early critics, most distinctly Nikolai Polevov and Nikolai Nadezhdin, even concluded that Eugene Onegin lacked “unity and wholeness” and was no more than “a poetic album of lively impressions” (“Eugene Onegin: An Inverted Byronic Poem). Furthermore, these critics argued that Pushkin’s so-called “novel in verse” starkly resembles the attributes of romantic poetry, a genre associated most notably with the English poet Lord Byron; such similarities include the plot, the portrayal of the hero, the lyrical narration that profoundly heightens the work’s emotionality, and the abrupt opening (“Eugene Onegin: An Inverted Byronic Poem”). Therefore, the provocative title of Pushkin’s work not only recalls authorial wit, innovation, and originality, but it also references the romantic writing style made popular by Lord Byron and reveals the prominence of Romanticism in literary Russia.

According to Richard Freeborn, “Pushkin’s relationship to his ‘novel in verse’ is authoritarian: he is its author and he does not pretend otherwise” (The Rise of the Russian Novel, page 11). For instance, Onegin’s stanzas overtly follow a pattern pre-established by the author—all stanzas with the exception of the letters. Freeborn continues discussing the impact of the poetic form, stating,

 * “What it achieves is never somber. It suggests a sprightliness and inherent vivacity even at those moments, particularly at the time of the duel and Lensky’s death, when the words and images are specifically intended to invoke solemnity. It is a rhythm primarily of the dance, not of the elegy or the ballad or the ode. It can encompass the full range of moods and manners from the pensive or philosophical to the most graceful and active” (The Rise of the Russian Novel, p. 12-13).

It is this unique style that distinguishes Pushkin’s work, particularly Eugene Onegin, to Russia and to the world.

History of Composition and Publication
The novel was written over a seven-year period between 1823 and 1830 and published serially between 1825 and 1832; it first appeared as a complete book in 1833, with a second edition (now widely accepted as the standard authoritative text) in 1837. The first chapter was published as a separate text in February 1825 and it immediately caused a sensation, sparking a series of critical responses claiming Pushkin to be Russia's new "national poet." The author's preface to the initial publication of the first chapter indicated that Pushkin had other chapters in draft form at the time, but stated that he himself did not know whether the novel would ever be finished (Lotman, Evgeny Onegin. Kommentarii, 546). Indeed, although the eight extant full chapters arguably form a complete whole, the additional incomplete fragments, "Onegin's journey" and the surviving sections of a tenth chapter, give the work a sense of being unfinished (see Nabokov for a comprehensive publication history).

Because the novel was written over an extended period of time covering the reigns of two tsars (Alexander I and Nicholas I) and including the tumultuous events of the December uprising (after which a number of Pushkin's friends were sent to Siberia or sentenced to death), the work varies in tone and texture ranging from youthful sprees and erotic musings to darker passages on disappointment, betrayal, and a pointless, wasted life. Much of the writing of the chapters 3, 4, and 5 was carried out during Pushkin's own internal exiles at his family's estate in Mikhalovskoe, and most of chapter 8 was completed during a three-month cholera quarantine at his family estate in Boldino. The protracted composition of the novel led to a change in plans several times concerning the its overall composition. In the end, the final thematic dominant of each chapter of novel is as follows:

 * Chapter 1: Onegin (a day in the life, family history, inheritance)
 * Chapter 2: The Poet
 * Chapter 3: Tatiana
 * Chapter 4: The Russian Countryside
 * Chapter 5: The Name Day Party
 * Chapter 6: The Duel
 * Chapter 7: Moscow
 * Chapter 8: The Grande Monde (Onegin's letter)
 * Fragments of Onegin's Journey
 * Remaining Fragments of Chapter 10

Plot
The plot of Eugene Onegin is rather skeletal and simplistic: A young St. Petersburg dandy inherits his uncle's estate and moves to the country only to languish in boredom, break the heart of a young girl, and kill his best friend in a classic Romantic duel. After this unintended tragedy he leaves town (and the novel) for an extended period of time, and in his absence the young girl who had been so captivated by his urbane posturing, Tatiana, riffles through his personal library to gain insight into his inner soul, only to discover him to be a shallow, Europeanized philistine and "a parody." Despite being a simple country girl, Tatiana proves herself to be a character of significantly greater depth: she is sent to Moscow to find a husband on "marriage mart," and after making brilliant match she is transformed into a high society lioness; however, her greatest desire is to return to the simple country life, which is now forever behind her. Predictably, when Onegin returns to St. Petersburg some years later he falls hopelessly in love with the gracious, but impenetrable, Tatiana. Her pledge of eternal fidelity to her husband only heightens the misfortune of missed opportunity and love lost due to poor timing.

For nearly two centuries critics have pointed out that the essence (суть) and magic of Eugene Onegin lies not not in its plot, but in its extensive and numerous digressions: Eugene's daily grooming routine and dress, Tatiana's family traditions, the history of Russian belle letters, the condition of Russian roads in springtime, and the alluring beauty of women's feet are all treated (among many other subjects) with affectionate poetic virtuoso. The narrator, a figure similar to Pushkin's public persona who ironically plays with this proximity to the author, on many occasions steals the show with his delightful descriptions of Russian life and culture, high and low, which have caused this work to become known as an "encyclopedia of Russian life."

Main Characters
The Narrator: The narrator of Eugene Onegin is both omniscient and omnipresent, and though he seemingly narrates from a point in history several years after the story he tells, he is still very active and present in the plot (“Lyric and Narrative Consciousness in Eugene Onegin”). The narrator’s involvement and relationships to the other characters are quite apparent, particularly his sympathy towards Tatiana and his friendship with Onegin.

Eugene Onegin: Often deemed a friend of both the narrator and author, Onegin is the quintessential dandy who is bored by the lifestyles of high society. Onegin’s character is complex and posed in a system of binary contradictions. As the reader we want to understand him, but it seems that Onegin simply will not let us. In literature, Eugene Onegin may often be characterized as the superfluous Man or the Byronic hero.

Tatyana: Presented as the heroine of Eugene Onegin, Tatiana is the pure, uncorrupt, and morally deep counterpart to Onegin’s character. After Onegin refuses her, Tatyana never ultimately leads a life of happiness. Despite this, though, her influences on Russian literature are optimistic and profound: according to Vissarion Belinsky, she is the “apotheosis of Russian womanhood”; for Craig Cravens, she is the first fully-developed character in Russian literature, a woman who is allowed “unmediated self-expression (Lyric and Narrative Consciousness); and to Barbara Heldt she represents the ideal character of the perfect woman.

Lensky: Lensky is the foil to Onegin’s character, and in many ways he is emblematic of the stereotypical Romantic character. He is naïve and enthusiastic and has a passion for life, and his innocence and youthful idealism serve as a direct counterpart to Onegin’s maturity and worldly skepticism (The Rise of the Russian Novel).

Olga: She, much like Lensky to Onegin, represents the innocent, idealistic, and vain counterpart to her sister Tatyana’s character. She is simple-minded and easily swayed and soon becomes engaged to Lensky.

Major Themes
Fiction and Real Life

Within Eugene Onegin there is a profound inclusion of “real” details and facts and incorporation of them into the narrative. Such details include: place names; people names, such as Chaadayev; allusions to contemporary European celebrities, such as Adam Smith and Rousseau; and lists of food and wine. Pushkin’s characters are also placed into a “realistic” context, as they are sometimes detailed with features from Pushkin’s own life (namely Onegin, who may be deemed a direct parallel of the author) and placed into particular areas of society that we all know and recognize (Freeborn).

According to Richard Freeborn in his book, The Rise of the Russian Novel:

 * Validity and authenticity of background provide for validity and authenticity of character: such is the principle behind Pushkin’s method. It follows that it is Pushkin’s aim to make his fiction appear to be a replica of history. Moreover, the ‘story’ in which hero and heroine become involved can be seen to have it special chronology… The chronological exactness of the novel’s story is very striking: it is set in an historical time and in an authentic context… The fiction appears to be motivated by the assumption that, as time passes, situations and people change (19-20).

Love, rejection, and loneliness:

One of the main plots in Eugene Onegin is the relationship between Tatyana and Onegin, a relationship that serves as an important characterization of both figures. Had Onegin not wooed Tatyna, nor had Tatyana addressed the supposed love between them, a substantial portion of the narrative would have become nonexistent. Likewise, had Tatyana not led such a sheltered lifestyle in the country swayed by romance novels and had Onegin not wasted such a critical time of his life in the hustle of society, the concept of love would have not been so painful as in this novel. According to Freeborn, “The ironic Pushkin now insists that one should love only oneslf; indulgent egoism is the only worthwhile emotion” (30). Both Onegin and Tatyana ultimately lead lives of unsatisfied love, and the only element of happy, simple love lies in the relationship between Olga and Lensky. Not coincidentally, though, Onegin kills Lensky, therefore symbolizing the defeat of simple love by one that is complex and tortured.

Fate, death, and social convention:

Freeborn says that “the enigma of Onegin has caused perennial debate” (24), and indeed, his puzzling and elusive character dominates the narrative. In a letter Pushkin wrote to Gorchachov in 1822,

 * I wanted to describe him, that indifference to life and all its pleasures, that premature aging of the soul, which has become the distinguishing feature of the youth of the nineteenth century (Freeborn, 23).

Pushkin intended his character to reflect the impact of various social and psychological pressures, the result of upbringing and prolonged life in a particular environment, namely the city. Onegin’s only familiar world is that which he finds in St. Petersburg, and it is in the unfamiliar—everything outside of St. Petersburg—where his fate and tragedy lie (Freeborn, 24). Within Onegin’s character we can see the interplay of fate and death and their almost interdependency. For instance, the death of his uncle took him to the countryside, where he meets Tatyana and ultimately begins the unraveling of his fate of unsatisfied love. The influence of social customs and conventions also proves to have a major impact on character development, especially with regard to Onegin. Freeborn says,

 * The observance of social custom dictates the habitual daily round of Onegin’s life in St. Petersburg. More than this: the despotism of social orthodoxy is as important as fate, it would seem, in determining Onegin’s character and his subsequent behavior in the novel. The effect of fate in the context of social relations is both to condition man to the hierarchical structure and to emphasize the insignificance of his human individuality… For his serfs, being their master, he played the role of fate, just as conventions, social or otherwise, had their part to play in determining his own destiny, his own view of mankind and his view of himself (25-26).

Lensky, Onegin and the duel:

The relationship between Lensky and Onegin is marked by the contrast between innocence and maturity and youthful naïveté and world-weary skepticism. Whether or not the relationship between these two characters reflects an actual relationship in Pushkin’s own life, they represent a classic “Pushkinian stricture that friendship is impossible” (Freeborn 26). Lensky’s role in the novel is that of innocence victimized by a patronizing friend character (Onegin). Though his character may sometimes be a refreshing counterpart to the perpetually enigmatic Onegin, he nevertheless represents human transience and the contrast between simplicity and complexity (which is later portrayed, by the death of Lensky, as the dominance of complexity).

One of the key moments in the novel’s plot is the duel, a subject which all four characters influence. Onegin, irritated by Tatyana at the nameday feast and by Lensky for taking him there, acts vengefully against his friend and dances with Olga, Lensky’s love and fiancé. An offended Lensky then challenges Onegin to a duel, which he ultimately looses. Throughout the novel, never less poignant during the duel, is the importance of public opinion. Onegin admits to making light of a young and innocent love, saying that Lensky, then only eighteen, could be forgiven for such naïve foolishness. Public opinion, however, is not so compassionate, and for that reason Lensky must die. Pushkin therefore suggests “that our lives follow conventions and that they who create such conventions behind the scenes—the gossip-mongers, the social law givers—are the source of the tragedy” (Freeborn, 32).

Tatyana’s dream: Chased across a frozen winter landscape by a ferocious bear and bombarded by demons in a hut that she hopes will provide shelter, Tatyana’s dream represents the aggressive nature of the world that had until recently remained concealed. This is a classic dream of being chased, but in it are the binaries that remain so prevalent throughout the novel—most notably, particularly with regard to the dream, the contrast between superstition and rationality. The dream doesn’t necessarily move the plot, but by including it Pushkin perhaps provides a commentary of Russian society, again calling attention to artificiality and superficiality versus authenticity.

Gender as a signifying system: The city (urban) and the country (pastoral) provide an excellent framework for a series of gender-defined characterizations that further reveal the personalities of Onegin’s main figures. The city, as defined by masculinity, represents a Western Russia, selfishness, new-fangled modernism, cynicism, elitism, passivity, and inauthenticity. The country, as defined by femininity, symbolizes a Slavic Russia, virtue, morality, loyalty, sacrifice, tradition, idealism, naïveté, sincerity, activity, authenticity, and closeness to the Russian people. Revealed in the contrast between pastoral and urban life is also a binary of simplicity and complexity, respectively. Complex characters seek a sense of inner and outer peace, whereas simple characters crave something more adventurous. Tatyana, for example, begins as a country girl who falls in love with a corrupt, enigmatic man from the city. She eventually leaves the country and marries a high-ranking public official, where she in turn craves the pastoral, simple life in which she is more secure and content.

Literary Significance
The significance and influence of Eugene Onegin in the history of Russian letters is difficult to overstate. Its own composition was influenced by Byron's Childe Harold's Pilgrimage, Griboedov's Wit Works Woe, and the works of Pushkin's teacher and mentor, Vasily Zhukovsky, himself one of the early Russian Romantic poets. Pushkin has been credited with establishing the Russian literary language and with bringing Russian literature in line with the other great European literatures an original national literature in its own right. Eugene Onegin occupies a special place in this legacy by problematizing Russia's European heritage on the levels of plot, themes, digressions, and gender. The novel has been hugely influential on the subsequent development of Russian literature, and especially on the novels of Turgenev and Tolstoy. The figures of Onegin and Tatiana have functioned as archetypes for the subsequent development in Russian literature of such figures as the "superfluous man" and the ideal Russian woman, whose moral superiority to her male counterpart has become a defining feature of the gender binary in Russian literature (cf. Barbara Heldt).

Adaptations

Opera:

Peter Ilyich Tchaikovsky’s adaptation of Alexander Pushkin’s Eugene Onegin debuted in 1879 at the Maly Theater in Moscow, performed by students from the Moscow Conservatory. In 1881, a grander and more accomplished version was premiered at the Bolshoi Theater in Moscow. In the same way Eugene Onegin adapted various Western European literary styles, most notably the concept of the Byronic Hero, Tchaikovsky transformed Western European operatic forms into a distinctly Russian piece of instrumentation and performance.

Ballet:

John Cranko’s ballet adaptation of Eugene Onegin premiered in April of 1965. Rather than using Tchaikovsky’s score, though, Cranko commissioned an arrangement from Kurt-Heinz Stolze, who ultimately used none of Tchaikovsky’s music from his own operatic version of Eugene Onegin. Since it’s opening, many critics claim this piece as Cranko’s masterpiece.

A more modern ballet interpretation by Boris Eifman was debuted in 1991. The characters and setting are in modern Moscow, and like Cranko, Eifman also commissioned music from another source, Alexander Sitkovesky, rather than the esteemed Tchaikovsky. Many critics, though, find Eifman’s adaptation to be too eccentric and a piece that takes away from the profoundness and brilliance of Pushkin’s novel.

Play:

In the Soviet Union in 1936, Sigizmund Krzhizhanovsky’s play adaptation was set for production to commemorate the centennial year of Pushkin’s death. Under the direction of Alexander Tairov and accompanying music by Sergei Prokofiev, the play’s production was unfortunately halted and dismissed because of Stalinist disapproval regarding the writer’s various liberties as well as the disagreement between Tairov and Krzhizhanovsky. In 2012 the theater department at Princeton University staged Krzhizhanovsky’s play, though it is still considered a somewhat disagreeable version of Pushkin’s novel.

In 1989 Christopher Webber’s play Tatyana was written for Nottingham Playhouse for actress and comedian Josie Lawrence.

Film:

Yevgeni Onegin (1911)—Russian silent film directed by Vasili Goncharov and starring Arseniv Bibikov, Petr Birjukov, and Pyotr Chardynin

Eugene Onegin (1919)—German silent film directed by Alfred Halm and starring Frederic Zelnik

Eugene Onegin (1958)—Russian film adaptation of the opera by Tchaikovsky directed by Roman Tikhomirov and starring Vladim Medvedev, Ariadna Shengelaya, Igor Ozerov, and singers of the Bolshoi Theater

Eugen Onegin (1972)—German music film

Eugene Onegin (1988)—Film adaptation of the opera by Tchaikovsky directed by Peter Weigl starring Michal Docolomanský and Magdaléna Vásáryová (argued to be one of the twenty-five best opera films)

Yevgeny Onyegin (1994)—TV film by British director Humphrey Burton starring Wojtek Drabowicz.

Onegin (1999)—British-American film directed by Martha Fiennes and starring Ralph Fiennes, Liv Tyler, and Toby Stephens.

Study Questions
1. Characterize the hero based on these phrases: Romantic or Byronic? Tragic hero? “Round” character? Superfluous Man? Russian character? Anti-hero?

2. Why did Pushkin write this in verse as opposed to a less constricting style?

3. How is the novel structured? What is each chapter devoted to in terms of its content, and how does each chapter advance the narrative? What is the arc of this narrative and is it typical for European Romanticism?

4. What do you think the poetic and romantic Lensky is meant to represent? Why is he forgotten so quickly after his death?

5. What do you make of Tatiana’s dream in Chapter 5? What is the effect and purpose of this extended passage?

6. Compare Tatiana’s and Eugene’s letters. What do they say about each character, about literary conventions, and about the “spirit of the times”?

7. What do you make of Tatiana as a literary heroine? How is she treated in relation to the hero and counterpart, Eugene? Does the narrator favor one over the other? What do the two of them together convey about Russian culture in the beginning of the 19th century?

8. To what extent does Lensky’s death initiate character development in Onegin?

9. How does Westernization play a part in Pushkin’s masterpiece?

10. How does the narrator portray Russia in this novel? Give specific examples demonstrating how, where, and what exactly the narrator conveys of Russian culture. What kind of aggregate picture of Russia do we get from this novel?

11. In James Falen's introduction to the novel, he states, "To some, Onegin is a victim of his environment, a potentially creative man whose personal fulfillment is frustrated by the limited opportunities available to him in his era. To others he is an "anti-hero, an amoral hedonist and misanthropic egoist" (xviii). How do you interpret Eugene? Do you see him as one of many "superfluous men" in Russian novels? If so, why do you think the Russian literary tradition has produced so many such (male) heroes?

title: Book Reviews/Eugene Onegin


text:
Book Reviews/We

Introduction to We

 * Man ceased to be an ape, vanquished the ape, on the day when the first book was written. The ape has not forgotten it to this day: try to give it a book- it will immediately spoil it, tear it up, befoul it. -Zamyatin, 23 December 1928. (Ginsburg 131)

Yevgeny Ivanovich Zamyatin's We (Мы) is hailed as the first dystopian novel, instrumental in the formation of the genre and vital in any study of dystopian fiction, science fiction, or early Soviet works (Sterling, 2006). Although it takes place nearly one thousand years in the future, the totalitarian One State, in which every action is public and people have numerical designations instead of names, mirrors the aspects of Bolshevik rule that drove Zamyatin into self-imposed exile. The experience of reading the novel, told through the journal of a high-ranking One State engineer, is at once fascinating and horrifying, and provides modern readers with a window into the far future and the not-so-distant past.

The Novel's Title
The title We refers to D-503's self-identification as part of the society's consciousness. The novel immediately contradicts this title, however, beginning with the word "I." The citizens of the One State view themselves as united, indivisible cogs making up the society, "...D-503 repeatedly asserts that his "I" has value only when it is a synecdoche for "we": and "I" that protests its independence is no more viable than I severed finger" (Borenstein 667). The title is initially eponymous, because D-503 views his self as part of the We. D-503 is obsessed with numbers as a fraction of a whole. People are referred to as "cyphers," and are each assigned a number and letter, emphasizing them not as named individuals but as components of the whole.

Over the course of the novel, D-503 begins to understand himself as an independent individual: "...as a part of the larger group, D-503 might seem minute and insignificant, but his relative smallness makes him appear indivisible" (Borenstein 674). Two things contribute to this burgeoning self-awareness: falling in love with I-330, and beginning to write. By these actions, D-503 begins to realize that he is an indivisible whole within himself. In falling in love, "...D-503 leaves the larger, social sphere for incorporation within a smaller, intimate 'nation of two' (Borenstein 673). In order to comprehend their unique relationship, he must psychologically divide them from everyone else: "we walked off together as a twosome- a onesome..." (Zamyatin 87).

As the society, the We, begins to fragment, the course of the novel also begins to become more complex. D-503's sentences become more descriptive as he observes the complexities of other people, the environment, and himself. At the end of the novel, however, after he receives the operation, his sentences have become even more simplified than they were at the onset: "And I hope we will win. More than that- I know we will win. Because reason should win" (Zamyatin 203). It is only through the destruction of his mind that he is truly able to become part of the We.

Plot
"In the name of the Benefactor, let it be known to all citizens of the One State:

''All those who are able are required to create treatises, epics, manifestos, odes, or any other composition addressing the beauty and majesty of the One State. (Zamyatin, 3-4)''"

We takes place in the far-future One State, a totalitarian society one thousand years after a cataclysm which killed the majority of the world's population. It is told from the point of view of D-503, an engineer and mathematician. Through his journal, initially undertaken in response to the State order to create writings glorifying their society, we learn about the totalitarian One State and the secret rebellion plotting to take it down.

As the Builder of the Integral, the massive spaceship intended to conquer and subjugate alien societies under the totalitarian and mathematically perfect rule of the One State, D-503 is an esteemed member of the One State. He is initially completely subsumed in the ideology of the One State, and thrills in the uniformity and emotionless repetition of the life in the Metropolis. His only regret is that his hairy, atavistic arms remind him of humanity's more primitive roots. In the One State, such physical characteristics appear to be one of the few remaining ties to the life of the people who lived before the One State, the "Ancients." The One State's citizens are shielded from nature inside the Green Wall and privacy - except for during State-sanctioned "sex visits" - is a thing of the past. D-503's regular companions include his lover O-90, who laments being too short to be allowed children, and his friend R-13, a State poet and also O-90's lover.

D-503's blissfully regulated world is shaken when he meets I-330, a femme fatale whom he finds simultaneously repulsive and irresistible. I-330's influence over D-503's life increases as she takes him to the Ancient House, gradually reveals her use of illicit substances such as alcohol and tobacco, and tells D-503 that she can have a corrupt doctor excuse him from work. D-503 is horrified, but finds himself incapable of turning I-330 over to the authorities.

D-503 becomes increasingly smitten and begins to have dreams at night, a crime in the One State. Upon visiting a doctor, he is told that his affliction is that he has developed a "soul." I-330 ultimately reveals the existence of human beings living beyond the Green Wall and of the MEPHI, an underground resistance movement whose aim is to destroy the Green Wall and the totalitarian One State government. D-503 increasingly questions the mathematical perfection and soullessness of the One State. After he fulfills O-90's request for an illegal pregnancy, he has I-330 smuggle her beyond the wall.

The rebels spark a revolution, destroying parts of the Green Wall and allowing birds to re-enter the city. D-503 is arrested and his imagination removed using x-rays, after which he tells the Benefactor and Guardianship Agency all that he knows about MEPHI. I-330 is brought before D-503 and the Benefactor and tortured for information; she gives none, which perplexes D-503. The novel ends with D-503 saying that all MEPHI agents in captivity will be executed. The battle for the city goes on, but D-503 is confident that the One State will win, "Because reason should win" (Zamyatin 203).

Main Characters

D-503:
 * I am D-503. I am the builder of the Integral. I am only one of the mathematicians of the one state. My pen, more accustomed to mathematical figures, is not up to the task of creating unison and rhyme. I will just attempt to record what I see, what I think- or, more exactly, what we think. (Yes, that's right: we. And let that also be the title of these records: We.) (Zamyatin 4)

The protagonist and narrator of the novel. A fairly high member of the society, he is working to build the spaceship the Integral. As the novel wears on, and he begins to fall in love with I-330 and understand himself as an independent individual.

I-330:
 * What an obnoxious, taunting tone. I definitely felt: now I hate her again.  But, why "now"?  I had hated her the whole time. (Zamyatin 50)

 * Silence, a pulse. I am a crystal, and I am dissolving in her, in I-330. I feel it clearly, totally: a melting, the melting of the polished facets that confine me in space. I am disappearing, dissolving in her knees, in her. I am becoming even smaller and simultaneously even wider, even bigger, ever unbounded. Because she is not she, but the universe.  (Zamyatin 115)

D-503's lover. She opens his mind to his soul and convinces him to aid the rebellion against the One State. She is described by her "sting-smile of white, sharp teeth" and "her eyes lowered, like blinds" (Zamyatin 25).

0-90:
 * Sweet O! It always seemed to me that she looks like her name: she is about ten centimeters below the Maternal Norm, which make her lines all rounded, and a pink O- her mouth- is able to receive my every word. Also: there are the round, chubby creases on her wrists- such as you see on the wrists of children.(Zamyatin 6)

The sexual partner of R-13 and D-503. She is desperate to have a child, but is legally too short to reproduce. D-503 harbors protective feelings for her, and views her as a childlike innocent.

R-13:
 * ...the poet with the African lips, a person everyone knows. (Zamyatin 20)

D-503's childhood friend, with whom he shares O-90. He is a poet who creates works to be read at executions.

U:
 * "Her name was U... but then again, I'd better not give her digits in case I write something bad about her. Though, in reality, she is a very respectable elderly lady. The only think you might dislike about her was that her cheeks droop somewhat-like fish gills..." (Zamyatin 45).

A monitor for the One State, she is infatuated with D-503 and watches closely as he begins to step out of line.

S-4711:
 * S... Why do I hear his flat, puddle-squelching footsteps behind me all day, every day... like a shadow? It's up ahead, behind me, beside me, this gray-blue, two-dimensional shadow: everyone walks through it, steps on it, but it is nevertheless invariably here, nearby- fastened to me with an invisible umbilical cord. (Zamyatin 77).

A member of the Bureau of Guardians, the secret police, who follows D-503. D-503 calls him a "twice-bent, S-shaped man" (Zamyatin 14).

The Benefactor:
 * The Benefactor, the Machine, the Cube, the Gas Bell Jar, the Guardians- all these are good, all these are majestic, wonderful, noble, sublime, crystal-clean. Because they guard our non-freedom- that is, our happiness (Zamyatin 55).

The leader of the one state, often elevated to superhuman status. Towards the conclusion of the novel, when the Benefactor meets with D-503, the reader and D-503 begin to recognize him as a human being.

Major Themes
The City: The city in We is a remarkable piece of engineering. Built of transparent super-glass, it enables maximum industrial efficiency while at the same time safely separating its inhabitants from the disordered, liberating influences of nature and enabling easy surveillance.

 * "The 'city' when it does occur in Zamyatin's writings is a monster of mechanical efficiency...And always, in those impossible, dream-like cities, there are characters who rebel against them and try to find their way to the free air 'outside the wall'" (Brown 22).

The rift between urban and rural that pervades so many Russian novels is taken to a new height in We. The Green Wall separates Ciphers from nature - all except for weather and the occasional drift of "yellow honey-dust from a flower of some kind" (Zamyatin, 5) - while residents of the city no longer dependent on the countryside even for food. Zamyatin describes a future world in which all roads were destroyed, and a wild jungle grew up in between:

 * "Our ancestors conquered hunger at a heavy cost: I am talking about the Two-Hundred-Year War, the war between the city and the countryside" (Zamyatin 20).

The result is the One State's capital, a teeming hyper-metropolis inspired by the heavy industry, urban reforms, dehumanizing and undignified conditions, and starvation that Zamyatin himself experienced in Revolutionary-era Petrograd.

Individual v. The Collective: "My whole being was beating and pulsing in the (fortunately, opaque) under which I had hidden my records" (Zamyatin 146).

The title of Zamyatin's 1921 work makes clear from the start that We is a novel at least partially about the collective. In We, Zamyatin makes clear that true collectivism - that absolute lack of independence or even the importance of the individual weighed against the collective - is capable of achieving astounding feats of engineering. It is equally clear, however, that that is not worth the costs to humanity: it is bad enough to give up privacy, but true collectivism, or at least the Bolshevik collectivism of the 1920's and onward, also require the sacrifice of imagination and the soul. The challenge of the individual versus the collective also surfaces as the tension between the happiness and freedom.

 * The [ancient] State (humaneness) forbade killing to death any one person but didn't forbid the half-killing of millions. (Zamyatin, 13)

This stands in sharp contrast to the One State, which takes the collective to such an extreme that no cipher bats an eye when several workers are accidentally slain by a test-firing of the Integral's engines; as is pointed out, they are only an infinitesimally minute fraction of the population, almost too nominal to be worth calculating (if anything were too nominal to be worth calculating).

Surveillance and Freedom: "And there is nothing happier than digits, living according to the well-constructed, eternal laws of the multiplication table." (Zamyatin 59)

Written in an era before the invention of the television, Zamyatin had no way of anticipating the staying power of 1984's Telescreens. Nonetheless, his One State was not without its ever-present State spies, the Guardianship Agency, aided in their task by the glass walls of the city. Surveillance, of course, helps the Benefactor to stay in power and easily identify - and publicly execute - any radical elements or Ciphers who just don't seem to fit in. But the dual themes of surveillance and freedom run deeper than that: they are explicitly linked to happiness.

 * "Those two in paradise stood before a choice: happiness without freedom or freedom without happiness; a third choice wasn't given." (Zamyatin 55)

In the struggle between happiness and freedom, the founders of the One State chose happiness, and willingly force this choice on everyone within their (considerable) reach. The only way to prevent the sins of Humanity, it is explained, is to remove all temptation, all ability to sin. The One State seeks to return its Ciphers to the biblical Garden of Eden, where paradise can be found even if man no longer knows of good and evil. In this regard, D-503 serves as Adam (R-13 even refers to him as such), and I-330 as Eve (Gregg, 1965). Alternatively, from the point of view of the reader, the One State is seen not as paradise but as something far worse; in this regard, I-330's self-sacrificing attempts to save Humanity can be interpreted with I-330 as a Christ figure (Fogley).

The Written Word: "A Declaration. The Wisest of Lines.  An Epic." (Keywords for Record One, We)

The written word is a thing of great potency in Zamyatin's We. The One State is aware of this, instructing all citizens to create works glorifying their society so that they can use this propaganda to subjugate alien races: as D-503 explains, force will be used, but only if the word has failed. This is also the policy for within the City, where State propagandists like D-503's friend R-13 create poetry and other works that glorify the State and read such works at public executions. In the contemporary Soviet Union, Zamyatin grew ever more disheartened by the use of propaganda and literary censorship by the nascent Bolshevik government, a practice which eventually drove Zamyatin to flee the country.

Nature: "D-503's atavistic hair lends to him a possibility of irrational adventure that should not exist for the good citizen of a well-ordered state. (Brown 24)"

The One State presents Nature as a force that was conquered long ago. And while it is true that human beings no longer depend on food from the Earth, it is clear from the mere existence of the Green Wall that the One State can only enforce order and obedience on its ciphers (if that) and not on the wider world, and that the existence of the totalitarian regime is dependent on its ability to separate its citizens from nature both internally and externally. This proves most challenging with regards to love and sexuality.

 * "So it's natural that having subjugated Hunger... the One State began an offensive against the other master of the world-against love." (Zamyatin 21)

The sub-theme of sexual desire is important in Zamyatin's work. As Thomas Horan explains in Revolutions from the Waste Downwards: Desire as Rebellion in Yevgeny Zamyatin's We, George Orwell's 1984, and Aldous Huxley's Brave New World, D-503's physical attraction to I-330 serves as "an aspect of the self that can never be fully appropriated, and therefore as a potential force for political and spiritual regeneration from within the totalitarian state" (Horan, 2007). Horan goes on to argue that this same technique is applied in Aldous Huxley's Brave New World and George Orwell's 1984. Sexual desire, even more so than love, is most fundamental biological force on this Earth; and though the One State can travel into space, they can never conquer desire.

Composition History
Zamyatin, born in 1884, was heavily influenced by the turn-of-the-century Russian revolutions and push for industrialization. His is a history of controversial and critical writings, leading to a series of arrests and exiles: first by the Tsarists in 1905, 1911, and 1914; then by the Soviets in 1919 and 1922; and ultimately in 1931 through self-imposed retreat from Bolshevik censorship (Sterling, 2006)

Zamyatin studied engineering in St. Petersburg between his exiles of 1905 and 1911. In 1911, he was sent into internal exile until 1914 when one critical work, "In the Backwoods," nearly let to the arrest (again) of Zamyatin and his publisher. That year, Zamyatin was sent to England to as a naval engineer, tasked with overseeing the construction of Russian icebreakers (Sterling, 2006). It was in the British shipyards that Zamyatin experienced firsthand the dehumanizing effects of heavy industry and the labor-productivity reforms championed by Frederick Winslow Taylor, both of which can be seen mirrored and exaggerated in We.

Zamyatin returned to Russia just before October Revolution of 1917. Although in support of the Bolshevik cause both before and after the Revolution, he quickly became disillusioned with the Bolshevik's attempts at censorship over the creative and literary arts. It was during this time, in 1920-1921, that Zamyatin wrote We (Rudy, 1959).

Unsurprisingly, We was denied publication in Russia and received the dubious honor of being the first book to be banned by Goskomizdat (Госкомиздат), the Bolshevik censorship bureau. Nonetheless, manuscripts were illicitly distributed in Russia and smuggled out of the country, and were quickly translated into English, French, and Czech (Spartacus Educational; Sterling, 2006). In 1922, Zamyatin and a group of writers inspired by him founded The Serapion Brothers, a group dedicated to the pursuance of writing without enforced political ideology (Spartacus Educational; Sterling, 2006; Brown, 1976). This did not help Zaymatin's standing among State critics and censors, and criticism of We and Zamyatin's other work resulted in a general ban of his writings, a punishment that Zamyatin described as a writer's death sentence (Rudy, 1959).

In 1931, Zamyatin wrote a letter to Joseph Stalin to ask that he and his wife be allowed to leave the country; they were, perhaps due to the influence of Maxim Gorky. Zamyatin moved to Paris, where he died in poverty in early 1937 (Sterling, 2006; Rudy, 1959).

Publication History
We was first published in English in 1924 by the New York publisher E.P. Dutton, translated by Gregory Zilboorg. Three years later, under the title My, it was published in Prague by Štorch-Marien, after being translated into Czech by Václav Koenig. A French edition (translated by Cauvet-Duhamel under the title Nous Autres) was published in Paris in 1929 by Gallimard; at the same time, a Russian edition was re-translated from Czech and published outside of the USSR (Rudy, 1959; Sterling, 2006). In 1952, roughly a decade and a half after Zamyatin's death, a Russian edition was printed by the Chekhova publishing company in New York. We was not printed in the Soviet Union until 1988 (Randall, 2006).

Literary Significance
We helped to found the dystopian genre. This genre serves to criticize progress for progress's sake by depicting extreme future societies in which modern ideas have been fully realized. The genre depicts dire warnings about the future in the hope of changing the present. Although many types of dystopian novels now exist, Thomas Horan has retroactively categorized We in a unique set of dystopian works. He calls these works, which also include Aldous Huxley's Brave New World and George Orwell's 1984, "projected political fiction". Each of these works projects contemporary trends onto a disturbing futurescape, by which, according to Horan, it can achieve:

 * ...one of two not always mutually exclusive purposes: either it serves as a warning to the author's contemporaries to help them avert an impending governmental disaster, or it predicts what the seemingly unavoidable future will look like. (Horan, 2007).

In the case of Zamyatin's We, the projections were of collectivist, dehumanizing labor reforms and the government surveillance that was increasingly used to ensure their unquestioned functioning. As Brown writes:

 * ...the more complex and highly organized a society becomes, the less free are its individual members. [We, 1984, and Brave New World] all ... assume the direction of modern European society is toward larger and more complex organization, and that the regimented world of Ford, Taylor, or the proletarian extremists will result at last in the disappearance of the individual being in favor of the mass (Brown 39).

Orwell's 1984 and Huxley's Brave New World are other early, and highly influential, tomes of the genre. We helped to inspire these two famous works.

 * "The first thing anyone would notice about We is the fact--never pointed out, I believe--that Aldous Huxley's Brave New World must be partly derived from it." -George Orwell, in a review of We written 3 years before writing 1984 (Orwell, 1946)

These works show that traditional human values must not be shattered by authoritarianism. According to the translator Natasha Randall, "[Zamyatin] believed in constant revolution, eternally making energy and avoiding entropy" (Gathman). Dystopian authors depict modern values as utopian by showing the evil of their perfect consummation.

 * All three works assume that certain indispensable human values- respect for the individual person, love, honor, and even poetry- are 'somehow'... preserved on the lower and less well-organized levels of life while they disappear from the higher. (Brown, 40)

In addition to influencing later - and, generally, more well-known works - We draws upon past literary traditions. Perhaps his strongest foreign literary inspiration was the British author H.G. Wells, now best known for his science fiction but during his lifetime also an outspoken socialist and social critic; Zamyatin had close contact with Wells' works while working as a translator in Russia following the Revolution (Sterling, 2006).

Adaptations
In 1981, We was adapted as Wir for German television. It was directed by Vojtech Jasný. <>

Study Questions
1. Why is it important to note that the novel is written from D-503's perspective? What motivates him to begin writing?

2. What is the significance of the novel's structure? Is it important that the novel is written in journal form, and what is the significance of the keywords at the beginning of every Record?

3. D-503 describes others by unique physical attributes, such as the wrinkle in O-90's wrist, I-330's eyes, and R-13's lips. Why is D-503 so concerned with others' appearances?

4. What causes D-503's hesitation to turn I-330 in to the authorities when she first breaks the law? Is this a minor plot device or a sign of something more important?

5. How does Zamyatin portray women in the novel? In the context of the early Soviet period, would you interpret his viewpoint as sexist? Feminist?

6. What is the place of the divine in this novel? How do D-503, I-330 and the One State present God?

7. What is the role of nature in We? How does this compare to other works from the era? From today?

8. What makes We a dystopian novel? What similarities and differences exist between We and other dystopian novels, such as Brave New World, 1984, and Farenheit 451?

9. Is We a work of social commentary? If so, what are the messages that Zamyatin is attempting to portray?

10. What aspects of the One State, if any, are visible in today's society? Were these themes more or less relevant in early Soviet society?

11. Why does the novel conclude with D-503's Operation and I-330's death, despite the destruction of the wall?

title: Book Reviews/We