DigitalCommons@C.O.D.

Giannini, Adelina

The Prairie Light Review
Volume 41 | Number 1 Article 45
Fall 12-1-2018
Kenya
Adelina Giannini
College of DuPage
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Giannini, Adelina (2018) "Kenya," The Prairie Light Review: Vol. 41 : No. 1 , Article 45.
Available at: https://dc.cod.edu/plr/vol41/iss1/45
Kenya
I opened my first door to a bank of knowledge
I believed it was my way out so to the institution I paid homage
But before I knew it I was drowning
Gasping for air, my heart was pounding
For nights my diet consisted of stress and sleep
I knew before long I’d be in too deep
My desperation had me out on a limb
So behind the next door I went out with him
In love, we were a modern day Bonnie and Clyde
Until he had to pick, his freedom or his bride
My next room was a border of bars
Where my mind drifted up to the stars
But there I stayed
No hope, no love, just the mess I made
I didn’t have to beg or plead
Because inmate 248 had made me bleed
A quiet corner in a concrete tomb
I bled, I laughed, this is my last room.
Adelina Giannini
Fall 2018 Journal .indd   11 1/3/19   4:36 PM
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Giannini: Kenya
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English

Kenya

McKenty, Natalie

The Prairie Light Review
Volume 41 | Number 1 Article 69
Fall 12-1-2018
Anxiety
Natalie McKenty
College of DuPage
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McKenty, Natalie (2018) "Anxiety," The Prairie Light Review: Vol. 41 : No. 1 , Article 69.
Available at: https://dc.cod.edu/plr/vol41/iss1/69
Anxiety
I am the festering wildfire
that spreads throughout all of your limbs
leaving you paralyzed
destroying everything in my path as I do
permanently altering your state of being
I am the hands that grab your throat
pressing and pressing
until you deflate like a balloon
I leave bruises there
for which you try to cover
in the winter with scarves and turtlenecks
in spring with long flowy locks
that you hope never blow in the wind
and although you may hope
the bruises will fade
I promise you
my fingertips will forever sear scars into your flesh
hopefully leading you to find a rope one May
I am the same reason why
horror movies can never do it for you
for their poorly acted screams
can never hold a candlestick
to the ones I give you
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McKenty: Anxiety
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every time you have a chance to be loved
to have true intimacy
you run away
for you fear they will discover me
and turn their back on you one day
you wish to run
you wish I’d go away
bother someone else one of these days
but don’t you see my dear
I plague many with my frightful games
for you’re not the only one of which I play
I just want it to seem that way
still it does not matter
you will never get out
in fear you will never speak of your doubts
you will never try to truly break free
never try to map a different route
away from me
you say you’re okay
you pretend it’s nothing
but if you continue on that path
I will make sure you will soon be rusting
after all I am the reason you write this damn poem
further immortalizing my internal power I hold 
upon you
Natalie mckenty
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2
The Prairie Light Review, Vol. 41, No. 1 [2018], Art. 69
https://dc.cod.edu/plr/vol41/iss1/69


Anxiety

The Prairie Light Review
Volume 41 | Number 1 Article 74
Fall 12-1-2018
Colophon
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(2018) "Colophon," The Prairie Light Review: Vol. 41 : No. 1 , Article 74.
Available at: https://dc.cod.edu/plr/vol41/iss1/74
Gratitude
We are grateful for programming support from Dr. An Rondeau, Dr. Kirk Overstreet, 
Barb Groves, Dean Chuck Boone, Dean Sandra Martins, and Cathie Walker. We applaud 
the constant nudging from faculty, who encourage their students to submit work, and we 
offer gratitude to the teaching staff, who help students revise and perfect their creative 
submissions. Thanks to Chuck Steele, Shannon Hernandez, Jelymar Mejia, Nicole Plum-
tree, Paolo Mazza, and the Office of Student Life for their constant publicity and support. 
Also, thanks to Bailey Kovac and Doug Wade for their knowledge, patience, and printing 
service at Alpha Graphics in Lisle.
Colophon
Twice a year for publication in the December and May issues, all students, faculty, staff, 
and the College of DuPage District 502 community are invited to submit up to four cre-
ative works per entrant of original fiction; nonfiction; vampire/mystery/fiction; essays; 
poetry; graphic essays; black and white and color photography; and 2D and 3D artwork of 
any medium. A class of student editors who are enrolled in English 2210 reads blind en-
tries before making final selections through a numerical voting system. The class is guided 
by a faculty advisor, who additionally leads the hiring process for the officer positions of 
Editor-In-Chief, Production Editor, and Marketing Editor. Over the course of the semes-
ter the Editor-In-Chief leads the team and supervises all operations, including assisting 
Marketing Editors as they work to advertise upcoming deadlines and events and oversee 
PLR correspondence, and assisting the Production Editor as they put together the maga-
zine. Final edits are approved by the editorial staff before the finished product is sent to the 
printers near the end of the semester.
Cover: 80 Pound Matte Paperstock
Design: Adobe Photoshop CC 2015.5, Adobe Indesign cs6, Adobe Illustrator cs6. Com-
posed on a custom Windows workstation.
Finance and Operation: The publication is funded through College of DuPage’s Student 
Life.
Publishing: AlphaGraphics, Lisle, Illinois.
Paperstock: 70 Pound Matte Paperstock.
Photography: All photography in this magazine is provided by the residents of district 502.
Vector Designs: Istock Photo.
Typography: Perpetua, Zapfino, and Lithos Pro. All fonts are open source and free to use, 
or paid for by Student Life.
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et al.: Colophon
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Colophon

ESSAI
Volume 16 Article 2
Spring 2018
Title Page
Follow this and additional works at: https://dc.cod.edu/essai
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Recommended Citation
(2018) "Title Page," ESSAI: Vol. 16 , Article 2.
Available at: https://dc.cod.edu/essai/vol16/iss1/2
  
 
 
 
 
 
 
 
 
 
ESSAI 
 
The College of DuPage Anthology  
 
Of 
 
Academic Writing Across the Curriculum 
 
 
(Volume XVI 2017-2018) 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
The College of DuPage, Glen Ellyn, Illinois 
 
 
The contents of this anthology copyright, 2018 
 
College of DuPage 
 
 
1
et al.: Title Page
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Title Page

Cherie, Jules

ESSAI
Volume 16 Article 11
Spring 2018
Sam Peckinpah as Film Auteur
Jules Cherie
College of DuPage
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ESSAI by an authorized editor of DigitalCommons@COD. For more information, please contact orenick@cod.edu.
Recommended Citation
Cherie, Jules (2018) "Sam Peckinpah as Film Auteur," ESSAI: Vol. 16 , Article 11.
Available at: https://dc.cod.edu/essai/vol16/iss1/11
11 
Sam Peckinpah As Film Auteur 
 
by Jules Cherie 
 
(Motion Picture Television 1113) 
 
 
 
PREFACE 
 
ay I begin this paper on a personal note? 
 I am intrigued by a recurring theme that appears in some of Sam Peckinpah’s 
films: the aging process and the resulting challenge of dealing with change. 
 I am presently 68 years old and certainly one of the oldest students at the College of DuPage. 
This is my third venture in the world of higher education and it has been much different than the first 
two. 
 I have also spent over four decades in a career that has undergone considerable change. And 
so I am now sometimes referred to as “old school.” But to me “old school” is synonymous with 
“thorough.” So to borrow a phrase from Pike Bishop in The Wild Bunch, “I wouldn’t have it any 
other way.” 
 I wish Sam Peckinpah were still alive. I would like to meet him. I think he would agree that 
one way of dealing with aging and change is to always try and do that which is right. But why is this 
the case? Is it to give more meaning to one’s life as one recognizes that the end is much closer than 
the beginning? Or is it an attempt to try and make up for the mistakes of the past? 
 In any event, I would have liked to talk with Mr. Peckinpah about such things. 
 
I 
A BIOGRAPHICAL SNAPSHOT OF 
SAM PECKINAH’S LIFE AND CAREER 
 
 On February 21, 1925, David Samuel “Sam” Peckinpah was born in Fresno, California. He 
was born into a family of lawyers and judges.1  Pursuing a different career path, Sam became 
involved in the theater, directed plays, and obtained a master’s degree from the University of 
Southern California.2  He also obtained work as a stagehand at a television station then known as 
KLAC in Los Angeles, but was fired.3  He next obtained employment at CBS, but claimed to have 
been fired after missing work to take his wife to the hospital to give birth to their second child.4  
Eventually Sam worked his way into the film industry, mentoring under director Don Siegel.5  Sam 
also started to write for television shows such as Gunsmoke, Broken Arrow and Have Gun Will 
Travel.6  He also developed a television series by the name of The Westerner, which ran briefly on  
 
 
 
  
1 Garner Simmons, Peckinpah. A Portrait in Montage, (New York Proscenium Publishers, Inc. 1998) 1-8. 
2 Bennetts, L (1984) Sam Peckinpah Movie Director, Dies. New York Times 
3 Simmons, Peckinpah. A Portrait in Montage, 23. 
4 Ibid 24 
5 Ibid 25 
6 Ibid 27-28 
M
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NBC.7  And although Sam directed some episodes of The Westerner, he first directed a feature film 
in 1961: The Deadly Companions.8  But Sam reached critical acclaim the following year with his 
second feature, Ride The High Country. And in 1969 he reached the pinnacle of his career with The 
Wild Bunch, now considered by the American Film Institute as being among the top 100 films of all 
time.9  Thereafter, Sam Peckinpah continued to make films, and later, music videos. He died in 1984 
at the age of 59.10   
 
II 
SAM PECKINPAH’S IMPORTANCE 
IN THE HISTORY OF FILM 
 
 Sam Peckinpah might be considered a transitional filmmaker. His career began with the 
more traditional filmmaking style of the 1950’s and early 1960’s, but with the abolition of the 
Production Code, everything changed. With Peckinpah, it was like freeing a tiger from its cage. 
 The MPAA ratings system went into effect in 1968. The following year, Sam Peckinpah 
brought The Wild Bunch to the screen, and with it, his foray into the world of graphically depicted 
violence. With The Wild Bunch, Peckinpah actually elevated brutal violence into an art form. 
 In an interview with Sam Peckinpah for Playboy magazine published in August of 1972, 
William Murray referred to Peckinpah as the “Picasso of Violence.”11  That seemed to be a title that 
Peckinpah eschewed.  In fact, Peckinpah began his Playboy interview with this statement: 
 
“All right, let’s get it on. I promise to do my little number. But I’m not going to talk 
about violence.” 
 
 But of course Peckinpah did discuss violence in that interview, although with the tone of a 
man who had been misunderstood. Peckinpah stated: 
 
Most people don’t even know what a bullet hole in a human body looks like. I want 
them to see what it looks like. The only way I can do that is by not letting them gloss 
over the looks of it, as if it were the seven-o’clock news from the DMZ. When people 
complain about the way I handle violence, what they’re really saying is, “Please don’t 
show me; I don’t want to know; and get me another beer out of the icebox.”12   
 
 Today, almost half a century later, Peckinpah’s cinematic depictions of killing and carnage 
are still a frequent subject of discussion among film aficionados. In 2016 John Patterson, film 
columnist for The Globe stated: 
 
 
 
 
  
7 Ibid 31-33 
8 Ibid 36-40 
9 https://www.thegreatestfilms.com/List/American-Film-Institute/AFIs-100-Greatest-American-Movies-of-All-Time 
10 It is common knowledge that Sam Peckinpah had personal problems with relationships and with alcohol. But these 
will not be discussed in this paper. Whatever personal demons Sam Peckinpah might have struggled with, the 
quality of his work rose above them. 
11 William Murray, Playboy, Sam Peckinpah: Playboy Interview (August, 1972) 
12 Ibid 
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The Wild Bunch was a hand grenade throw under the tent-flap of America’s 
assumption about violence and our culpability in it. It tore the increasingly bloody 
and reprehensive Vietnam war off the nightly news and hurled it like scarlet paint-pot 
all over the silver screen. The western was never the same again, nor was American 
Cinema, and nor was Sam Peckinpah.13   
 
III 
SAM PECKINPAH AS AUTEUR 
 
 Peckinpah’s films were typically male orientated. A common theme involved the struggles of 
men who were out of place in their environment. An example of this would be unchanged men living 
in changing times. 
 Many of his films were westerns, but unlike the traditional westerns of the past, Peckinpah’s 
films involved characters with complex and conflicted personalities. The “heroes” of Peckinpah’s 
westerns did not necessarily wear white hats. In some instances they could be considered anti-heroes. 
 Peckinpah historian and film editor, Paul Seydor, has compared Peckinpah’s use of the 
western to the practice of William Shakespeare, who also reached into the past to tell his stories. 
With respect to Peckinpah and the western, Seydor writes: 
 
…everything was there waiting for him: a repository of plots, characters, icons, 
conventions, settings and themes. He found, in sum, a whole language of myth, 
symbol and metaphor waiting to be exploited and capable of freeing his imagination 
to give form to its dictates, to express his feelings, thoughts and ideas in character, 
narrative, and drama in some of the most emotionally charged, sensually beautiful 
and mythically resonant images anyone has ever put on film.14   
 
 Peckinpah’s style: he abandoned the “clean” violence of past films in favor of much more 
graphic and realistic depictions. In earlier films, characters shot by guns might drop to the ground 
and die, but rarely would they bleed. In Peckinpah’s films they bled. And oh, how they bled! For 
example, in The Wild Bunch, Peckinpah placed thin slices of raw meat across the blood bags that the 
actors wore. This created the illusion of both blood and tissue being torn loose by bullets.15   
 Peckinpah also successfully turned violence into an art form by using multiple cameras to 
film the same scene at different speeds, thus allowing for standard action shots to be mixed with 
those of slow motion, intensifying the effect of the carnage. Peckinpah viewed his cinematic use of 
violence as a form of catharsis.16   
 A search for redemption was often a theme at the core of Peckinpah’s films, particularly the 
westerns.17  But perhaps most important, Sam Peckinpah claimed that all his films were 
autobiographical.18  
 
 
  
13 John Patterson, ‘Bloody’ Sam Peckinpah: wasted, insane and indestructibly pure. The Guardian, March 30, 2016. 
14 Paul Seydor, Peckinpah. The Western Films. A Reconsideration, (Chicago and Urbana, University of Illinois 
Press, 1999) 177 
15 Marshall Fine, Bloody Sam. The Life and Films of Sam Peckinpah, (Donald I. Fine, Inc., 1991) 142 
16 William Murray, Playboy, Sam Peckinpah: Playboy Interview (August, 1972) 
17 Seydor, Peckinpah. The Western Films. A Reconsideration, Introduction by David Weddle. xiv 
18 David Weddle, If They Move…Kill ‘Em. The Life and Times of Sam Peckinpah (New York, Grove Press 1994), 
396 
3
Cherie: Sam Peckinpah as Film Auteur
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14 
IV 
REPRESENTATIVE FILMS 
 
A. Ride The High Country (1962) 
 
 In Ride The High Country, a western, Peckinpah explored the theme of aging men living in a 
world that was undergoing rapid change during the early days of the 20th Century. The film also dealt 
with violence and redemption. 
 The protagonist of the story was an aging former lawman by the name of Steve Judd. The 
Judd character, also presented as a person with a name and a reputation, was purportedly patterned 
after Sam Peckinpah’s own father.19   
 In the opening scene Judd rides a horse onto the main street of a western town, unaware that 
he is about to interfere with a race between horses and a camel. He is promptly chastised by a 
uniformed police officer, who refers to Judd as an “old man.” Moments later he is called an “old 
timer” as he narrowly misses being run over by an early model automobile. 
 Judd then applies for work to carry a gold shipment down a mountain, and is told that they 
were expecting “a younger man.” He gets the job anyway and is thereafter joined by his former 
partner Gil Westrum, of similar age, and a young cowboy by the name of Heck Longtree. Judd and 
Westrum are then portrayed as experienced and knowledgeable whereas the younger Longtree comes 
off as a naïve know-it-all.  
 The film has moments of violence and there are gunfights. Characters are shot and they 
actually bleed from their wounds, although the level of violence does not approach that which would 
occur in Peckinpah’s later films.  
 There is also redemption among the main characters as Judd recalls the mistakes of his past 
and voices a desire “to enter [his] house justified.” And Westrum, who at one point intended to steal 
the gold shipment, abandons his ill motives to come to the aid of Judd during the film’s final 
gunfight. 
 
B. The Wild Bunch 
 
 It is for this film that Peckinpah is most remembered. Some of the same themes from Ride 
The High Country are used here, but honed to perfection. Most important, the chains of the old 
Production Code have been removed. The resulting film is flawless.  
 As in Ride The High Country, the main characters in The Wild Bunch are unchanged men in 
changing times. These are cowboys – outlaws – trying to survive in the remnants of the old west 
during the second decade of the 20th Century. The protagonist is Pike Bishop, leader of an outlaw 
gang, played by an aging William Holden. It has been said that in playing the role of Pike Bishop, 
Holden sought to imitate Peckinpah himself.20   
 The film, particularly the climax, is incredibly violent, establishing Peckinpah’s trademark. 
The film would use 239 rifles, shotguns, revolvers and automatics and over 90,000 rounds of blank 
ammunition.21  The production actually ran out of fake blood during the first day of shooting.22   
 
 
 
  
19 Ibid 200 
20 Ibid 336-337 
21 Ibid 332 
22 Ibid 332 
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15 
Major shootouts were filmed with six cameras operating at different frame rates to create the film’s 
now-famous “slow motion” bloodbath.23   
 But above all, the film was about redemption. The Wild Bunch gang, notwithstanding the 
sins of their past, take on a army. But by sacrificing their own lives, they save the village of a fallen 
comrade from the wrath of a cruel Mexican general.  
 Peckinpah knew that he achieved greatness with The Wild Bunch. When the film wrapped, he 
went to the corner of a sound stage and cried.24   
 
C. Straw Dogs 
 
Unlike Ride The High Country and The Wild Bunch, Straw Dogs does not involve aging men 
struggling to deal with change. But it does portray a man who finds himself living in a foreign, 
hostile environment. In this case the protagonist is a seemingly timid American college professor 
residing with his much younger wife in a small English town that is unwelcoming to strangers. 
 The professor is David Sumner, played by Dustin Hoffman. Sumner is married to Amy, who 
is from the town. And aside from physical attraction, it is difficult to imagine how these two ever got 
together. David is older than his wife and far more educated. In contrast, Amy is an immature child 
residing in a young woman’s body. 
 The style of the film is Sam Peckinpah’s signature violence. There is a rape scene that is so 
unsettling and difficult to watch that it resulted in rating and censorship issues. But the climax of the 
film is the siege upon the home in which David and Amy reside.  David successfully defends against 
the attack, with violence, but in a most unconventional manner. He uses wires, glass from broken 
windows, boiling oil and a mantrap as his weapons of destruction. 
 The theme of redemption may also play a part in Straw Dogs. Sumner’s resort to violence 
saves not only the lives of himself and his wife, but also that of the town simpleton, who had been 
hiding in Sumner’s home. 
 Straw Dogs was very loosely adapted from the novel, The Siege at Trencher’s Farm.25  But 
was the David Sumner character inspired by an actual human being? Author David Weddle has 
opined that Sumner may have been based upon Sam Peckinpah himself.26   
 
CONCLUSION 
 
 Sam Peckinpah has claimed that every one of his films was autobiographical.27  With that in 
mind, would the late Sam Peckinpah have anything that he would want to share with today’s film 
students? I believe he would tell us to find our own voices, to carve out our own paths and to create 
films that do not imitate him or anybody else. 
 The following were Sam’s words to an aspiring writer who had sent him drafts of screenplays 
for evaluation: 
 
 
 
 
  
23 Ibid 334 
24 Ibid 353 
25 David Weddle, If They Move…Kill ‘Em. The Life and Times of Sam Peckinpah (New York, Grove Press 1994), 
393 
26 Ibid, 398 
27 Ibid, 396 
5
Cherie: Sam Peckinpah as Film Auteur
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16 
I felt that you found your stories, not from your own life and guts but in the silver 
screen of the past. You have a talent, now stop this nonsense and use it where it hurts 
– in your own heart.28   
 
 
  
 
REFERENCES 
 
1. Garner Simmons, Peckinpah. A Portrait in Montage, (New York, Proscenium Publishers, 
Inc. 1998) 
2. Bennetts, L (1984) Sam Peckinpah Movie Director, Dies. New York Times 
3. David Weddle, If They Move…Kill ‘Em, The Life and Times of Sam Peckinpah, (New York, 
Grove Press, 1994) 
4. Paul Seydor, Peckinpah. The Western Films. A Reconsideration, (Chicago and Urbana, 
University of Illinois Press, 1999) 
5. John Patterson, ‘Bloody’ Sam Peckinpah: wasted, insane and indestructibly pure. The 
Guardian, March 30, 2016 
6. https://www.thegreatestfilms.com/List/American-Film-Institute/AFIs-100-Greatest-
American-Movies-of-All-Time 
7. William Murray, Playboy, Sam Peckinpah: Playboy Interview (1972) 
8. Marshall Fine, Bloody Sam. The Life and Films of Sam Peckinpah, (Donald I. Fine, Inc., 
1991) 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  
28 Paul Seydor, Peckinpah. The Western Films. A Reconsideration, (Chicago and Urbana, University of Illinois 
Press, 1999), 367 
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Sam Peckinpah as Film Auteur

Martinez, Evelyn

ESSAI
Volume 16 Article 25
Spring 2018
Static Universe
Evelyn Martinez
College of DuPage
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ESSAI by an authorized editor of DigitalCommons@COD. For more information, please contact orenick@cod.edu.
Recommended Citation
Martinez, Evelyn (2018) "Static Universe," ESSAI: Vol. 16 , Article 25.
Available at: https://dc.cod.edu/essai/vol16/iss1/25
67 
Static Universe 
 
by Evelyn Martinez 
 
(Chemistry 1551) 
 
 
 
f you’re ever having a bad day in which you believe your existence is meaningless, just 
remember that in the grand scheme of things, it is. There’s over 400 billion stars in the Milky 
Way alone, making the amount of stars in the entire universe completely overwhelming. Couple 
this with the fact that the universe appears to be expanding at an increasing rate, and you really are 
nothing. However, human existence was not always so “minimal” given that about a century ago 
the common belief was that the universe was a finite being, excluded from any proliferation. 
 In the early 20th century the common worldview held that the universe is static. It was the 
astronomical understanding of the day that the Milky Way was the extent of the universe for at the 
time the stars in the Milky Way were not moving in any systematic way. Albert Einstein expressed 
this general opinion in 1917 after Willem de Sitter produced equations that could describe a 
universe that was expanding, which meant a universe with a beginning. Such a thought seemed 
foolish and was ultimately rejected by Einstein, claiming that such circumstances irritated him for 
at the time he was working on field equations that could describe the general layout of matter and 
space for universe as a whole. In order to settle the debate, Einstein and de Sitter met in order to 
criticise each other’s models and attempt to create a new one. The result of this meeting was two 
cosmological models, two different solutions to the field equations, and both models needing 
adjustments (The Expanding Universe). 
 In De Sitter's model, the universe could only be stable if it contained no matter. De Sitter 
hoped the model might somehow be adjusted to describe the real universe, but only if the density of 
matter was close enough to zero. Perhaps the most notable thing about his theory involved the effect 
that an empty universe had on light - the farther away an object was in this universe, the more the 
light coming from it would seem to have a slowed down frequency (Shu). 
 Likewise, Einstein's model could not contain matter and still be stable. His equations 
showed that if the universe was indeed static, the gravitational attraction of the matter would make it 
all collapse in upon itself. Such a thought seemed ridiculous, for there was no reason to suppose that 
space was unstable. Thus, Einstein included a cosmological constant to account for the notion of a 
static universe. This cosmological constant acted as a repulsive force that would balance out gravity 
and ensure that the universe would not expand or contract if this constant was not zero. What’s 
interesting about this however, is that Einstein himself admitted that the constant was only a 
hypothetical term and was only required for the purpose of making possible an internal equilibrium 
of matter. Therefore, Einstein discovered he could basically choose its value as long as the value 
itself reflected the right amount of curvature that required the universe to be considered “closed” 
(Section 3: Discovery of the Expanding Universe). This really just calls into question the validity of 
concepts coined by humans and our magnificent ability to twist such concepts as a type of coping 
mechanism to cope with the absurdity of the world around us. I mean just take Daylight Savings 
Time for example, but that is beside the point. 
 The journey to discover that the universe was actually an expanding entity had actually 
started years before Einstein began pioneering his theory of gravity. This can be attributed to the long 
series of observational developments in astronomy such as telescopes, instruments that recorded and 
analyzed light gathered by them, applying measurements to stars to measure distance, and the effort 
to measure spectra of galaxies eventually led to the realization of an ongoing cosmic expansion. With 
I
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68 
the help of photographs, astronomers began to measure the size of our universe, the Milky Way, by 
studying the fuzzy "nebulae" mixed in among the point-like images of stars. This proved to be 
somewhat difficult because they did not know whether these objects were nearby small systems 
where one star was forming or distant objects enormous like the Milky Way itself. 
 One of the most noteworthy observations that resulted from this new age of astronomical 
technology was made at the Lowell Observatory in Arizona. Its founder, Percival Lowell, 
suspected that spectral lines seen in the light from planetary nebulae, formed when a star can no 
longer support itself, might also be found in the spectra of spiral nebulae. His assistant Vesto 
Slipher was then asked by Lowell to get spectra of spiral nebulae. Slipher then realized that for 
nebulae with extended surfaces, the critical instrument was not a telescope but rather the exposure 
time needed to photograph spectra of nebulae. 
 Over the next two years, Slipher measured velocities for other spiral nebulae. The first 
few measurements revealed approaching nebulae on the south side of our galaxy and receding 
nebulae on the opposite side. Thus he argued, that it was our galaxy, not the nebulae, that was 
moving. By 1921 Slipher had velocity measurements for 25 spiral nebulae, but only 3 were 
approaching. This could really only be explained as the result of large velocities in random 
directions being imposed by a much smaller systematic contraction. 
 Fast forward to 1928 in which Edwin Hubble, working at the Mount Wilson Observatory, 
conducted a campaign to determine the  distances of high-luminosity stars and to find out whether 
they were small systems in the Milky Way or distant systems as big as the Milky Way. A crucial 
question that was centered around his campaign was whether the frequency of their light differed 
from the light coming from closer nebulae? If one were to take the visible light spectrum into 
account today, one would note that a slower frequency corresponds to a longer wavelength of light. 
Thus, light that is closer to the red end of the spectrum. So in actuality, what Hubble and his 
assistant, Milton Humason, were seeking was the displacement of lines in the spectrum toward the 
red (what he coined as a "red shift"). The duo then obtained both velocities and distances which 
fundamentally led to a linear relationship of the greater the receding velocity of a nebula, the farther 
the distance. Hubble's study that the light from nebulae showed a “red shift” increasing with 
distance ruled out the possibility of the two models previously mentioned that were brought forth by 
Einstein and De Sitter. The universe was in fact not static, and it meant that the light from distant 
nebulae was red-shifted not from some light effect predicted by De Sitter, but because the nebulae 
were actually moving away (The Expanding Universe). Each of these galaxies was moving away 
from all the other galaxies! Space itself was expanding between them! There was no special point 
somewhere where the expansion itself had started, and really our galaxy and all other galaxies are 
inside that very place! If this idea doesn’t keep you up at night, I am not sure what does. 
 All in all, the expansion of the universe is seen as one of the most important scientific 
discoveries, and there have been many observations since Hubble’s relationship publication that 
have confirmed the model of an expanding universe. So in actuality, if you’re ever having an 
existential crisis on the vastness of the universe, you can blame Edwin Hubble for proposing an 
unquantifiable cosmos. 
 
 
  
 
Works Cited 
 
“The Expanding Universe .” The Expanding Universe (Cosmology: Ideas), Center for History of 
Physics, history.aip.org/exhibits/cosmology/ideas/expanding.htm. 
2
ESSAI, Vol. 16 [2018], Art. 25
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69 
“Section 3: Discovery of the Expanding Universe.” Annenberg Learner, Annenberg Foundation, 
www.learner.org/courses/physics/unit/text.html?unit=11&secNum=3. 
Shu, Frank H. “Cosmology .” Encyclopaedia Britannica, Encyclopaedia Britannica, Inc., 15 Sept. 
2015, www.britannica.com/science/cosmology-astronomy/Relativistic-cosmologies. 
 
 
 
 
 
3
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Static Universe

ESSAI
Volume 16 Article 34
Spring 2018
Tribute to Faculty
Follow this and additional works at: https://dc.cod.edu/essai
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in ESSAI by an authorized editor of DigitalCommons@COD. For more information, please contact orenick@cod.edu.
Recommended Citation
(2018) "Tribute to Faculty," ESSAI: Vol. 16 , Article 34.
Available at: https://dc.cod.edu/essai/vol16/iss1/34
103 
Tribute to Faculty 
 
We warmly pay tribute to all submitting instructors, past and present. 
Their dedicated and inspired teaching has contributed to 
the successful publication of their students’ work 
in ESSAI Volume I through Volume XVI. 
 
Deborah Adelman 
Scott Albert 
Jim Allen 
Kathleen Altman 
E. Bates 
Patty Benson 
Raymond Benson 
Brian Blevins 
Scott Boyd 
Franz Burnier 
Allan Carter 
Tom Carter 
Nancy Conradt 
Trisha DeWitt 
Sue Dreghorn 
Barbara Eaton 
Linda Elaine 
Helen Feng 
Clarice Foland 
Aleksandra Galus 
Bob Georgalas 
Julie Gibbs 
Gloria Golec 
Jeanne Grogan 
Ida Hagman 
Naheed Hasan 
Lisa Higgins 
Connie C. Howard 
Bill Hussong 
Richard Jarman 
Ellen C. K. Johnson 
Daniel Kies 
Beth Kirkpatrick 
Dennis Korneff 
Kristopher Kowal 
Keith Krasemann 
Chikako D. Kumamoto 
Deb Lantermo 
Hina Latif 
David Leary 
Freyda Libman 
Lynn Mackenzie 
Sarah Magin 
James M. Magrini 
Heather Maher 
Anne C. Malone 
Nicole Matos 
Jackie McGrath 
Elizabeth McGuan 
Samuel Mitrani 
Christine Monnier 
Michelle Moore 
Katie Nagel 
Nick Obradovich 
Karen Persky 
Chris Petersen 
Kamelia Popova 
Loretta Pyrdek 
Eva Maria Raepple 
Lynda Randa 
Kent Richter 
Carol Riphenburg 
Shamili Sandiford 
John Santiago 
Steve Schroeder 
Hema Shende 
Dale Simpson 
Jason Snart 
Alice Snelgrove 
Susan Stamler 
Lois Stanciak 
Jodi Stapleton 
Carol Strelczyk 
Kathleen Szeszol 
Thomas Tallman 
Tom Tipton 
Beth Vlad 
Diane Wawrejko 
Ben Whisenhunt 
Liz Whiteacre 
James Wies 
Keith Yearman 
1
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Tribute to Faculty

ESSAI
Volume 16 Article 35
Spring 2018
Cumulative Index of Student Authors
Follow this and additional works at: https://dc.cod.edu/essai
This Back Matter is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for inclusion
in ESSAI by an authorized editor of DigitalCommons@COD. For more information, please contact orenick@cod.edu.
Recommended Citation
(2018) "Cumulative Index of Student Authors," ESSAI: Vol. 16 , Article 35.
Available at: https://dc.cod.edu/essai/vol16/iss1/35
104 
Cumulative Index of Student Authors 
 
 
Volume I – (2002-2003) 
Kristyn Bales 
Virginia Bateman 
Barbara Bergschicker 
Hillary J. Brown 
Tess Cole 
Dean Costello 
Joi Cuartero 
Ryan Fowler 
Susanne K. Frens 
Alexa Greer 
Thomas Hemmingsen 
Karen Hess 
Jennifer Hixon 
Lauren Hovis 
Natalie A. Howes 
 
Sarah Huber 
Dara Huff 
Stephanie McMahan 
Rachel Meek 
Andrew Morris 
Stacy Nalley 
Mary E. Norton 
 
Lindsay Olsen 
Ginny Pace 
Megan Posch 
Jason Schramm 
Dan Swindle 
Abe Whiting 
Chin Yang 
 
 
Volume II – (2003-2004) 
Beth Bednarz 
Roger Darringrand 
Lynn Dehlinger 
Natallia Ervin 
Brittany Gross 
Brandi Halle 
Allison Hamad 
Chris Harvey 
Anna Hendrey 
Jennifer Hixon 
Marsella Jorgolli 
Michael Kundert 
Sarah Magin 
Daniel McCullum 
Mary Meir 
Andy Morris 
Noorjabeen Naseer 
My Nguyen 
Kristopher O’Dell 
Aaron Olson 
Chris Orlock 
Richard Payton 
Nadia Qazi 
 
Cara Raimon 
Frank Redmond 
Jonathan Scherer 
Maya Strahl 
Jasmine Thorne 
Bonnie White 
Michelle Ziehn 
 
 
Volume III – (2004-2005) 
Tanya Basu 
Mary Bodine 
Wendy Carpenter 
Meredith Carey 
Thomas Ferguson 
Michael Graczyk 
Victoria Graham 
Sara Heppner 
Benjamin Hooper 
Brian Kinsman 
Valentine Kopjo 
Kathy Kozak 
Sean Labbé 
Rebecca Lunev 
Julie McKee 
Matt Naglewski 
Stacy Nalley 
Allan Norgaard 
Jason Nosek 
Richard Payton 
Megan Posch 
Nadia Qazi 
David Rojas 
Maggie Smith 
Ruth Valentine 
Anthony Wilder 
Roberta Williams 
Sharon Wussow 
 
Volume IV – (2005-2006) 
Karen L. Arneson 
Lisa Bonomo 
Steve Braun 
Brian Casario 
Patrick Caulfield 
Joseph Cholewa 
Joe Cinquegrani 
Janet Crawford 
Andy Dameron 
Dodi Dolendi 
Laura Dubberke 
Heather A. Duncan 
Christine Dyslin 
Rebecca Eineke 
Shannon Grilli 
Kristina Grudem 
Emily N. Hansen 
Jason Hernandez 
William Hodges 
Benjamin Hooper 
Janelle A. Jenkins 
Hannah Kim 
Ruslan Kochemirovskiy 
Emily Krauspe 
Maren Ann McKee 
Tabitha Metreger 
Jason Morrow 
Keiko Narisako 
Jeremy Shier 
Jason Smith 
Joan Tett 
Jennifer Vail 
Alicia Voss 
Weien Wang 
Justin Wedekind 
 
 
Volume V – (2006-2007) 
Karen L. Arneson 
David Beck 
Natalie Berent 
Leslie A. Bertram 
Angela Cibich 
Peter Cohen 
Joseph A. Deardurff 
Lauren Del Carlo 
Camille Diebold 
Kennerly Diebold 
Melissa Donahue 
Christine Dyslin 
Travis Farrington 
Jessica Gibbs 
Victoria Graham 
Lucy A. Hawke 
Matt Horan 
Natalie Hustead 
Shaina Hutson 
Jenna L. Keefe 
Anna Kinsella 
Alison Lederer 
Keelin Lord 
Tracy Noeske 
Zachary Peschke 
Carey Raupp 
Daniel Smith 
Nicholas Treff 
Ashley Urban 
Alice Wieduwilt 
Rutger Wolfgang Stache 
Fariah Zainuddin 
Ava Zandieh 
 
1
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105 
 
Volume VI – (2007-2008) 
Kristin Arita 
Krystal N. Arrate 
Cristina Baica 
William Berkhout 
Julie Bertacchi 
Kavita Bhavsar 
Michael Butler 
Leah Cameron 
Victoria Canaday 
Howard 
Joanna Ciesielski 
Katherine Ciesla 
Michael Davis 
Christine Dyslin 
Jessica Eller 
Carrie Fenwick 
Joel Griswell 
Shan Haq 
Jennifer Horst 
Mo Ismail 
Lyndon Kacick 
Nick Kogos 
Matthew Kos 
Jenny Letourneau 
Heather Lydon 
Melissa Maida 
Ali Malik 
Margaret McNulty 
Nathan Meno 
Katherine Morales 
Sylvia Morales 
Lydia Newby 
Agnes Mary Reband 
Jennifer Rodriguez 
Matt Sauter 
Robert Schletz 
Christina Scott 
Tom Serb 
Samantha Sferas 
Judy Staiano 
Kara Stevenson 
Adrienne Tam 
Christina Villa 
Cynthia L. Witt 
 
 
Volume VII – (2008-2009) 
Jacob Albaugh 
Ashley Aller 
Kyle Berthel 
Courtney Bobko 
Ellen Briggs 
Dave Broche 
Mary Beth Broda 
Patrick Buranicz  
Brittany Burkes 
Katherine Ciesla 
Ryan Corrigan 
Jonathon Drews 
Bethany Ester 
Aly Gentile 
Tiffany Gray 
Scott Hixson 
Edward Hren 
Grant L. Iler 
Graham Johnson 
Casey Jones 
Susan Kareska 
Sunya Kashan 
Nick Kontos 
Laurel Kunath 
Chris Lemke 
Emily Lombardi 
Melissa 
Mastrogiovanni 
Sean McGowan 
Mateja Mircic 
Phuong Nguyen 
Connie Padera 
Harry Podschwit 
Zach Porlier 
Nick Rascia 
Olivia Schultz 
Brandon Slate 
Richards Walker 
Michael Wendt 
Anum Zafar 
 
Volume VIII – (2009-2010) 
Kelsey Barron 
Geneva Beles 
Christine Berta 
Lauren Blanford 
Chelsey Boutan 
Sarah Burgess 
Stephanie Christian 
 
Eileen Corley 
Sally Jo Detloff 
Justin Eberhart 
Nathan Samuel Ellingsen 
Danny Hankes 
Max Hermann 
Christopher Hunton 
Charise Joy Javonillo 
Tim Kamin 
Breanne Kanak 
Julie Kelsey 
Sarah Lichtenwalter 
Daniel Lowder 
Mandie McGlynn 
Matthew Murray 
Bekah Myroup 
Lily Nicholson 
Sean O'Leary 
Tina Osornio 
Sarah Oxley 
M. Lisa Parenti 
Zach Porlier 
James T. Ricker 
Shannon Rohn 
Susan Schumacher 
Alana Shuma 
Emily Stephen 
Lauren Stull 
Jennifer Wendt 
Amanda Woolum 
 
Volume IX – (2010-2011) 
Nicole Anderson 
Sofia Bermudez 
Matt Brousil 
Najah Burks-Pittman 
Alicia M. Chapman 
Robert de Lara 
Dodi Dolendi 
 
Tyler Eickelmann 
Jennifer Elsman 
Michael Halla 
Chad Hochstatter 
Kevin Kienitz 
Michael Kintz 
Theresa Kolodziej 
 
Sasha Nicole Kruger 
Jessica LaPlante 
Kristin Liewald 
Daniel Lowder 
Matt MacDougall 
Erin Massoni 
Zuzanna Mierzejewska 
Bekah Myroup 
Michael K. O'Malley 
Jessica Otto-Rosario 
Kimberly Overby 
Michele Roberts 
Annette Sanchez 
Brittany Schweik 
Alana Shuma 
David Skorusa 
Kasie-Marie Smith 
Jeff Tosch 
Allison Watts 
Beth Wegner 
Frederick Wennlund 
Annie Werly 
Erik Wright 
Kari Zapletal 
 
Volume X – (2011-2012) 
Anna Albrecht 
Lynn Altman 
Karen Arneson 
Dan Barclay 
Matthew Brousil 
Chris Burkett 
Jordan Colbert 
Christine Dahlson-Rutherford 
Samantha De Carlo 
Alec Dorner 
Christina Duski 
John Eed 
Charles Hall 
Patrick Hanes 
Ian Haseltine 
Ernie Koh 
Nina Kokayeff 
Jeff Kort 
Patrick Noonan 
Kevin Prchal 
Vicki Price 
Laura Romaine 
Sana Shafiuddin 
Sophie Shukin 
John Skarha 
Jessica Steslow 
Marcus Tolson 
Ethan Woodward 
Sarah Yockey 
 
2
ESSAI, Vol. 16 [2018], Art. 35
https://dc.cod.edu/essai/vol16/iss1/35
106 
 
Volume XI – (2012-2013) 
Jim Alop 
Virginia Anderson 
Angelo Andriopoulos 
Heidi Braunschneider 
Brody Challinor 
Lauren Challinor 
Steven Franklin 
Tony Frontuto 
Erna Gevondyan 
Tooba Ghafoor 
Ruth Groza 
Ian Haseltine 
Martin Hayford 
Grace Horn 
Caleb Jenkins 
Roberta Johnson 
Akbar Khan 
Larry Lambert 
Sara Liesman 
James Maguire 
Danielle Meyer 
Kevin Midlash 
Erin Miller 
William Jasen 
Mummert 
Carlos S. Ortega-
Guerrero 
Agnieszka Poznanska 
Hayley Reagin 
Sarah Rochford 
Rebecca M. Samson 
Vesal Stoakley 
Thomas Struett 
 
Volume XII – (2013-2014) 
Julia Andersen 
Nicholas Bashqawi 
Harry Bodell 
Kellie Brennan 
Kevin Brewton 
Elizabeth Cole 
 
Neil Davis 
Kelly Donlan 
Randy Dziak 
Katrina Favis 
Emily Garvanovic 
Frank Giuliani 
 
Hayley Hickson 
Hope Javier 
Jonathan Kaye 
Syeda Khalid 
Marie Labbe 
Amanda Manton 
 
Matt Mazur 
Virginia Meglio 
Bryan Mundt 
David O’Sullivan 
Ashley Padavonia 
Becky Reichel 
 
Michael Robles 
Dina Rudenya 
Jake Sumeraj 
Emily Trca 
Alexandra Wickersham 
Ryan Woitas 
 
 
Volume XIII – (2014-2015) 
Brittany Anderson 
Omar Bashqawi 
Odette Benitez 
Amelia Boggs 
Sage Cicero 
Hayley Dantona 
Kevin Dwyer 
Naresh Ganduri 
Karen Goto 
Valentina Guarino 
Valeria Gutowski 
Danielle Johansen 
Laura Kaczmarczyk 
Nathan Kiehn 
Helen Knight 
Kelly Krebaum 
Teresa Krone 
Colleen Lynch 
Amanda Manton 
Paolo Mazza 
 
Antonio Mendez 
Seraphina Nelson 
Sarah O’Connor 
Michael Orsay 
Sumera Patel 
Rico Pelaez 
 
Parker Rechsteiner 
Philip Reyes 
Lindsey Roussel 
Christine Sampson 
Kotryna Staputyte 
Meghan Wonderling 
 
 
Volume XIV – (2015-2016) 
Aneela Ahmed 
Sean Anderson 
Auguste Baltrimaviciute 
Jasmine Careddu 
Elizabeth Carroll 
Liz Casaletto 
Corey Czopek 
 
Christopher Daudish 
Douglas Davison 
Sarah El Neweihi 
Marisa Fernbach 
Jeremy Glavanovits 
Kaitlin Janis 
Ana Juvan 
 
Emily Krebaum 
Alyssa Laatz 
Jessica Lee 
Dan Loris 
Phil McCarron 
Jessica McCormack 
Katie Nauss 
 
Eric Pingel 
Jon Pollack 
Jennifer Pope 
Jaime Skrobania 
Theresa Snitchler 
Jackie Spathies 
Peter Stanczak 
 
Lindsey Stern 
Kevin Uvodich 
Michael Vitt 
Elyse Warnecke 
Samantha Wilson 
Jane York 
 
 
Volume XV – (2016-2017) 
Olga Avercheva 
Cristian Barrea 
Jen Beirl 
Jack Beutler 
Alexa Bowers 
Tessa Burke 
 
Colleen Cavanaugh 
Megan DalSanto 
Nicole Dominguez 
Ross Failla 
Bill Gill 
Ashley Gonzalez 
 
Vanessa Hadweh-Smith 
Jack Hayward 
Rachel Hillebrand 
Jennifer Kunstman 
Adriana Magda 
Emily Malchow 
 
Michael Miklinski 
Tiffany Montgomery 
Thomas Morris 
Phoebe Parker 
Deyna Parvanova 
Lauren Phegley 
 
Heidi Scheleski 
Anisa Selenica 
Jomhar Solis 
Corrie True 
Charlie Ulch 
Samantha Wilson 
 
 
Volume XVI – (2017-2018) 
Ariane Cando 
Benjamin Cavanaugh 
Emily Cegielski 
Jules Cherie 
Melanie Corpe 
Nico Dituri 
Eric Durkin 
Mary Farley 
Shaylin Fuller 
Axel Gallegos 
Ajesh Kannadan 
Kate Keiser 
Samira Khorfan 
Mikey Lawson 
Mike LeClaire 
Jordan Marks 
Evelyn Martinez 
Andrew Smith 
Audrey Staron 
Ryan Tris 
Tiffany Wang 
Joey Weslo 
Jenny Yun 
Gabriella Zaffer 
Ewa Zapart Placek 
 
3
et al.: Cumulative Index of Student Authors
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Yoruba

Cumulative Index of Student Authors

The Credentialing Security Framework is designed to be used as a stand-alone guide or together with the efforts of other organizations (e.g. Connecting Credentials, the European Commission) to provide greater transparency regarding assessment-based workforce skills credentials

Dyer, Jarret M

Schoenig, Rachel

Geraets, Jennifer

Craven, Patrick

Friedman, Craven

Harris, William G.

Kessler, John

Mahlman, Bob

Mulkey, Jamie

Pedigo, Robert

Rinn, Dan

Sharf, Jim

Swift, Roy

Thiemann, Alan

Tong, Alex

Waters, Linda

Vansickle, Tim

Workforce Skills Credentialing: Security Framework Report

ESSAI
Volume 16 Article 4
Spring 2018
Acknowledgments
Follow this and additional works at: https://dc.cod.edu/essai
This Prefatory Note is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for
inclusion in ESSAI by an authorized editor of DigitalCommons@COD. For more information, please contact orenick@cod.edu.
Recommended Citation
(2018) "Acknowledgments," ESSAI: Vol. 16 , Article 4.
Available at: https://dc.cod.edu/essai/vol16/iss1/4
III 
 
Acknowledgments 
 
 
 
We warmly salute all submitting instructors for their dedicated and inspired teaching 
which has contributed to the successful writing of their students and make it possible for 
ESSAI to continue. 
 
 
We also offer our special thanks to 
Dr. Brian Caputo, Interim President, 
Dr. Mark Curtis-Chavez, Provost, 
Dr. Kirk Overstreet, Assistant Provost, 
Dr. Lisa Stock, Associate Vice President, 
 
 
Mr. Chuck Boone, Dean, Arts, Communication, and Hospitality, 
Ms. Kris Fay, Dean, Business and Technology, 
Ms. Marianne Hunnicutt, Dean, Social/Behavioral Sciences and the Library, 
Dr. Sandra Martins, Dean, Liberal Arts, 
For their constant, gracious support and encouragement. 
 
 
 
 
Our gratitude also goes to Karyin Boulom. 
Her meticulous and careful word processing expertise has been indispensable. 
 
 
 
 
Our special and heartfelt appreciation goes to Professor Blevins’ student, Maria Garcia, 
who designed the book cover.  The others who submitted designs were Matt Barry, 
Caitlin Chekytis, Helen Curtin and Laura Filas. 
 
 
1
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