Missing links : coordinating federal drug policy for women, infants, and children : hearing before the Committee on Governmental Affairs, United States Senate, One Hundred First Congress, first session, July 31, 1989.

Shipping list no.: 90-200-P.

UM Women's Track Team, 1980

Front Row (left to right): Cathy Sharpe, Brenda Kazinec, Renee Turner, Lorrie Thornton, Dawn Woodruff, Sue Frederick, Julie Clifford.

Middle Row: Coach Ken Simmons, Kathy Kampen, Tina Smith, Cornelia Kaufmann, Nanette Feleccia, Maureen Miner, Dana Loesche, Kathy Benner, Sheila Mayberry.

Back Row: Assistant Coach Scott Hubbard, Deb Williams, Janet Hallfriach, Karen Perry, Joanna Bullard, Melanie Weaver, Sheila Shatter

Missing: Lynn Fudala, Dede Key, Sherrie King, Penny Neer, Sharon Wigglesworth.

UM Women's Track Team, 1982

Front Row: Brenda Kazinec, Carol Lam, Suzanne Frederick, Maureen Miner, Judy Yuhn, Cindy Cook, Mary Evans, Catherine Sharpe, Lena Kasper.

Middle Row: Lisa Kozak, Maria Adnos, Martha Gray, Dina Zarin, Lisa Sims, Melanie Weaver, Lisa Larsen, Cindy Curlett, Catherine Guise.

Back Row: Asst. Coach James Henry, Lorrie Thornton, Dawn Rich, Teraisa Logan, Renee Turner, Joanna Bullard, Debra Williams, Hope Weisman, Julie Clifford, Melody Middleton, Head Coach Francie Goodridge.

Missing from photo: Kathy Kampen, Janet Schindler, Jamie Wainer, Dawn Woodruff, Patrice(?) Shanahan

UM Women's Track Team, 1983

Front Row: Lisa Larsen, Brenda Kazinec, Carol Lamb, Sue Foster, Patti Shanahan, Kari Manns, Lisa Sims, Lynn Fisher

Middle Row: Sue Schroeder, Cathy Smith, Melanie Weaver, Judy Yuhn, Kelly Bert, Melody Middleton, Maureen Miner, Maria Andos, Dawn Rich

Back Row: assistant coach James Henry, Hope Weisman, Darlene Fortman, Martha Gray, Joanna Bullard, Joyce Wilson, ?, Angie Hafner, head coach Francie Goodridge

Missing: Dana Loesche, Bonnie McDonald, Lorie Thornton

“How Do You ‘Do’ Bokeh?” The Aesthetics of How-to Videos about Background Blur and Eroticized Women

Producers of online instructional videos about bokeh emphasize disks of light and out-of-focus backgrounds. They demonstrate how camera lenses and technical features can render bokeh, or unfocused areas. Photographic and video bokeh ordinarily appears away from the center of attention. The bokeh genre, in opposition to typical photography and video practices, foregrounds the peripheral and proposes aesthetics and ways of looking by seeing and not seeing objects. However, producers of online instructional videos about bokeh sometimes couple their sensual aestheticization of backgrounds to their stated attempts to satisfy viewers’ investments in filling foregrounds with images of objectified women. These producers emphasize unconventional aesthetics as a means of establishing their creative and technical expertise and obscuring their reproduction of traditional conceptions of women as viewable and controllable. Close textual analysis, literature on photography and transparency, and feminist considerations of representation allow me to consider the aesthetics and functions of this how-to form.

The Mary Carleton narratives, 1663-1673, a missing chapter in the history of the English novel,

The singular life and curious biographies of Mary Carleton.--The Carleton publications of 1663.--The minor publications of 1673.--"The counterfeit lady," a fiction.--The narrative technique of "The counterfeit lady."--The historical significance of "The counterfeit lady."--The current doctrine of the rise of the English novel.--Bibliographical difficulties.