text:
Arkansas' Grant Morgan awarded Burlsworth Trophy
Grant Morgan becomes the first Razorback player to be awarded the Burlsworth.
Updated: 8:42 AM CST Dec 7, 2021
Jourdan Black
Sports Anchor/Reporter
yeah, everybody's still excited here. As a matter of fact, once that flour gets out of the way, you can see that grand morgen is still up there, just enjoying every moment next to his wife and wow, what a night it was. Everybody here elated. Everybody here excited because remember this trophy is awarded to the football player that began his career as a walk on and that's the story of grand morrigan. Now take a look at some of the action here tonight. Everybody obviously pulling for grand morgen, he says when he first came from Greenwood to the University of Arkansas, you know, he really didn't even know much about Brandon barrels worth and he began to learn a little bit more about him and find out that his life and his experience is much like Brandon's, he quickly identify with Brandon's tenacity, he says and that don't tell me I can't do it, attitude. And then when asked why he decided to return for 1/6 year of eligibility, he pointed to coach Pittman there in the audience and said because of that man over there, One busy man as you saw here, well Grant is married, he has a master's degree, just like Brandon barrels worth was engaged. Uh, and now he's married, he earned a master's degree as well, A lot of similarities to, and I asked him what he felt like when he heard his name called, this is anything related football to me right now, this is the best night so far, just knowing how much we've gone through this award starts, it's not a, it's not based on position group, it's not based on anything, it's based on how you started your career. And to be able to say I'm up up among with the greatest that ever played football. Even baker Mayfield luke falk, a lot of the greats. Um, this means a lot to me. It means a lot that I've tried so hard for this award and I got it and indeed he did. And everybody's going hog wild as a result. So check it out. Grand morgen wins the world's worst trophy, then heads off on New Year's Day to play in the Outback Bowl in Tampa florida. I don't think it gets any better than that. We'll have more on this over on abc at 40 29 news at 10 right now. Here live paul petite In Bentonville, 40 29 News
The 2021 Burlsworth Trophy was awarded to Arkansas' Grant Morgan Monday night.Morgan was also a finalist for last year's award, which goes to the most outstanding college football player in the country who began his career as a walk-on. He becomes the first Razorback player to be awarded the Burlsworth. Grant Morgan has served as a team captain in both 2020 and 2021.To date, Morgan ranks second on the Hogs in total tackles with 96 and third in tackles for loss with 7.0. The redshirt senior is also a finalist for this year's William V. Campbell Trophy, which recognizes the nation's top scholar-athlete.The other Burlsworth finalists this year were Georgia quarterback Stetson Bennett and Troy linebacker Carlton Martial.Grant Morgan is a Greenwood High School alum. His brother Drew Morgan was also a Razorback wide receiver.Burlsworth TrophyThe Burlsworth Trophy is named after legendary Razorback offensive lineman, Brandon Burlsworth.Without one D1 scholarship offer, Burlsworth walked on to the Razorback team in 1994, worked his way to being a three-year starter and was eventually named an All-American in 1998.The Harrison native was selected as the 63rd overall pick by the Indianapolis Colts in the 1999 NFL draft but was tragically killed in a car accident just 11 days later.The Burlsworth Foundation was created in his memory and supports the physical and spiritual needs of children, in particular those children that have limited opportunities.
The 2021 Burlsworth Trophy was awarded to Arkansas' Grant Morgan Monday night.
Morgan was also a finalist for last year's award, which goes to the most outstanding college football player in the country who began his career as a walk-on. He becomes the first Razorback player to be awarded the Burlsworth.
Grant Morgan has served as a team captain in both 2020 and 2021.
To date, Morgan ranks second on the Hogs in total tackles with 96 and third in tackles for loss with 7.0. The redshirt senior is also a finalist for this year's William V. Campbell Trophy, which recognizes the nation's top scholar-athlete.
The other Burlsworth finalists this year were Georgia quarterback Stetson Bennett and Troy linebacker Carlton Martial.
Grant Morgan is a Greenwood High School alum.
His brother Drew Morgan was also a Razorback wide receiver.
Burlsworth Trophy
The Burlsworth Trophy is named after legendary Razorback offensive lineman, Brandon Burlsworth.
Without one D1 scholarship offer, Burlsworth walked on to the Razorback team in 1994, worked his way to being a three-year starter and was eventually named an All-American in 1998.
The Harrison native was selected as the 63rd overall pick by the Indianapolis Colts in the 1999 NFL draft but was tragically killed in a car accident just 11 days later.
The Burlsworth Foundation was created in his memory and supports the physical and spiritual needs of children, in particular those children that have limited opportunities.


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text:
Project Highlight
Point of Pride: Using Design and Content to Unite an Organization
An interview with Jill Farley and Tracey Halvorsen · 10 Min Read
In This Interview
Jill Farley
Director of Digital Initiatives at Chicago Architecture Foundation
Co-Founder at Fastspot
The Chicago Architecture Foundation has been welcoming the world to Chicago since 1966, and now welcomes visitors in the digital world to the iconic architecture.org domain. When CAF's Digital Master Plan called for an immediate overhaul of the primary website, the Foundation turned to Fastspot for help. What followed was one of the most successful—and most fun—projects to cross our desks in some time. With 11 months of the live site behind us, we sat down with Jill Farley, who was CAF's Manager of Digital Initiatives during the project, to look back on how we got here and what worked well.
Can you talk about how this project came about on the CAF side? We know it takes a real commitment to do something innovative with your web presence.
Jill At the time, we were building on legacy systems that were not helpful. Our website was clunky and wasn't really communicating our brand. When you interact with the Architecture Foundation, it's a really enriching experience, and that just wasn't coming across.
What were your first impressions of CAF and what they were going to need from our team?
Tracey We love juicy problems, and I think that CAF had one! We could easily see that this wasn't just going to be a facelift. CAF is a complex organization and there were aspects that weren't being conveyed by the website at all. Once we got to Chicago and started meeting with the team at CAF, we were struck by all of the interesting people doing diverse and fascinating things. We had to find a way to let it all shine on the new website, while always making sure that users can still buy things like River Boat tickets. It was a really fun set of problems to dive into.
"You can make the most beautiful, content-rich thing in the world, but if it's not doing anything for your organization, it doesn't matter."
We're working with all of our clients to think about the quantifiable, measurable impact that the website has on the health of the organization or institution. When did results come into play for CAF? Were they discussed early on?
Jill This was definitely a learning process for me. Marilyn Jackson, our VP of marketing, taught me so much about measurable results. That was really her mantra: 'You can make the most beautiful, content-rich thing in the world, but if it's not doing anything for your organization, it doesn't matter.'
Tracey It's great for us to see a client acknowledge how important success metrics are early in the process. It lets everyone know that data is important, and that everything we do is going to be held up against the metrics that we've all agreed on.
As wonderful as a new site is, we don't want people just hanging out on it. We want people to take action! Having concrete objectives allows you to examine every decision you make: 'Who is this content for? What is the end outcome that the audience should be taking with this content? What are some of the past metrics around this content? How are we going to see it improve?'
"Having concrete objectives allows you to examine every decision you make: 'Who is this content for? What is the end outcome that the audience should be taking with this content? What are some of the past metrics around this content? How are we going to see it improve?'"
Speaking of audience needs, this is definitely a website that has to do a lot of things for a lot of different people. How was that addressed?
Jill I actually think that the development of the website, along with the Digital Master Plan, helped the whole organization get a handle on that. CAF has always struggled with who it is: are we a tour company? Are we an education institution? Are we focused on public programs and public awareness of architecture and urbanism and city design? The redesign process helped us to focus on our core: the city, learning about design, and how design relates to other things. The website allowed internal groups to come together and focus on what our commonalities were instead of operating in silos. We found we could start with the buildings. Start with the beautiful photography. Start with what people care about and are interested in. And then we can add on from there.
I think the organization was better off strategically after the website, because it helped rally everybody towards one common cause.
Tracey One of CAF's big objectives was educate people on the importance of design—why design matters. That's a much bigger topic than architecture or River Boat cruises. A concept like this starts to unify everyone. Because no matter what anyone was doing at CAF, there was always an underlying educational mission. We used the buildings as a way to talk about design, as a way to show the relevance of design.
We felt really strongly, at least on the desktop experience of the site, that having a big introduction to the navigation would let everyone see how rich the sections were within the main areas of the site right off the bat. Nothing is hidden. No one has to look very far. You're immediately aware of the complexity and the dynamic offerings that CAF has.
Jill I think the other thing that we were able to rally around was content, specifically educational and editorial content. It's something that every single department understood could help their cause. Some people were skeptical about what we should be writing about, and we had to figure out tone and length and topics. But our commitment to creating content was the biggest revolution in our organization around digital. It was an absolute culture shift for us to have a website that was a way to share information and content rather than just help you buy a ticket.
The whole content revolution that happened after we launched the site was unexpected, and a really big deal for us.
Tracey If you just look at the site, it's constantly changing. There's always fresh, interesting information that's presented in a really engaging way. I've been so thrilled to see how vibrant the site has remained post-launch.
"The redesign process helped us to focus on our core: the city, learning about design, and how design relates to other things. The website allowed internal groups to come together and focus on what our commonalities were instead of operating in silos."
Thinking about content naturally leads to thinking about content management. How important do you think the CMS [BigTree] was to this project?
Jill Moving to BigTree was like night and day from our old system. Instead of being a hindrance, BigTree actually made it fun! We could just focus on a great set of tools to showcase different things within the content. The system allows CAF to post something once and have it show up across the site — such an old concept, but it was new to us. This meant that a less technical team was able to maintain the site, so we were able to have more people in the marketing department contributing.
Tracey That's just really great to hear. It reinforces why we put so much effort into the CMS. It's so nice when we are able to put it to work for a team like the CAF team and know that it's helping them.
"Moving to BigTree was like night and day from our old system. Instead of being a hindrance, BigTree actually made it fun! We could just focus on a great set of tools to showcase different things within the content."
Media Block
In many ways, the focus on content can't be separated from design. We knew from the beginning that this needed to be an extraordinary design. Tracey, how did Fastspot approach this challenge?
Tracey What's great about working with a client like CAF is that they have beautiful materials that make up the essence of the organization. We knew we'd have great assets to look at and be inspired by. And you don't want to put a lot of design on top of that. There's no need to overwhelm the natural resources that you're working with.
It's hard to explain, but the design has to get out of the way to really do a great job. We want the design to reinforce the great ideas and vision of the organization in a way that feels innovative but isn't the only thing you're paying attention to. We discussed this a lot in the office, and I feel like a really wonderful balance was struck in the end.
"We want the design to reinforce the great ideas and vision of the organization in a way that feels innovative but isn't the only thing you're paying attention to."
Jill I think that it was quite a challenge to bring us into the 21st century, but not to go so far to alienate some of our key audiences, who are not millennials. As Tracey said, the site had to feel fresh and exciting, but couldn't abandon some of the conventions that a lot of our older audiences would need to have in order to feel comfortable. So that was a big design challenge, and I think that that challenge was definitely met.
Feedback from one of our most passionate audiences, the docents, was overwhelmingly positive. They didn't feel like the site was too slick for them; they didn't feel like it was confusing. It all just made sense! What they focused on was the fact that all this imagery had been surfaced. That was one of the biggest complements on the design—our most critical audience was really happy with it.
How has the site been performing beyond the desktop?
Jill I don't think anybody has any sense of how big of an impact having a responsive site has had so far on the organization. That was such a big deficit for us for so long. The mobile site, in some cases, is even cooler than the desktop version. That was huge for us.
Tracey Everything we do is responsive, and we're trying to take advantage of what that smaller screen lets us do, which is different from what the bigger screen lets us do. I would agree, I really like the CAF experience on mobile.
I think when it comes to a finished site, this is one that we're all pretty proud of. What surprised you about the process?
Jill I was surprised at the degree to which the website became a rally point for everyone. The institution—the employees, the board, leadership, the docents, volunteers, everybody—had high expectations. I cannot tell you how glowing the response was to what we did. It was such a good rally point for everybody to come together and be proud of something, because it was our most public-facing project. I know that's not a surprising part of the process, but I was just surprised at how smoothly it was received.
Tracey Initially, when you do have that many people who are invested and, to some degree, frustrated because of the constraints they've been under with the current site, there's an opportunity for too many cooks in the kitchen. That can dilute the effectiveness of the solution. It doesn't ruin things, but it distracts everyone. It makes people spend energy where they shouldn't have to spend it, and it takes away from the end result you can get with a very focused team.
Happily, that didn't happen with CAF, even though there are so many different kinds of people that are very passionate and very involved with the organization. We were able to involve them and hear from them and collaborate with them, and yet it stayed right on track and the end result is fantastic. It's one of our most favorite projects today and I'm sure it will be for a long time.
Jill is now UX/Content Strategist at Elevated Third in Denver, Colorado. Fastspot wishes her all the best in her new adventure.
A Gallery of Designs for the New architecture.org
Twitter Facebook Share on Twitter or Facebook Published March 2nd 2016

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text:
(1682), titulada Amores de un vividor según la traducción de Fernando Rodríguez-Izquierdo de 1983 o bien Hombre lascivo y sin linaje en la traducción de Antonio Cabezas García de 1982, es la primera obra en prosa de , poeta y novelista japonés, una de las más brillantes figuras de la literatura japonesa del período Edo en la historia de Japón.

Antecedentes literarios
En las décadas de 1640 y 1650 se hicieron populares en Japón las críticas cortesanas (Yūjo Hiōbanki), una especie de guías de los barrios de placer (Shimabara en Kioto, Yoshiwara en Edo y Shinmachi en Osaka) de las principales ciudades que se habían convertido en un punto de encuentro cultural. Estas guías también proveían de una lectura de entretenimiento, con cierto énfasis en el hedonismo y el realismo que otras formas de escritura vernácula no proporcionaban. Comenzando con Azuma monogatari (Cuento del Este), crítica del distrito Yoshiwara de Edo publicada en 1641, otros títulos como Naniwa monogatari (Cuentos de Osaka, 1656) o Miyako monogatari (Cuentos de Kioto, 1656) sugieren que las guías tomaban la forma de cuentos de ficción (monogatari).

Eventualmente, el resultado fue el nacimiento de una nueva literatura urbana. Saikaku, previamente conocido como maestro haikai, tomó prestado el tema de las guías cortesanas y recurrió a la larga tradición de literatura amorosa japonesa, que abarcaba desde el   (principios del ), generalmente traducido como Novela de Genji, Romance de Genji o Historia de Genji, de Murasaki Shikibu, y el  () a los kana-zōshi del , empleando para ello una forma experimental y dramática de haibun, o prosa haikai, caracterizado por el uso de lenguaje coloquial y un cierto interés por el costumbrismo cotidiano sin precedente en la literatura en prosa de su época.

De esa forma, Kōshoku Ichidai Otoko se constituyó en una continuación y al mismo tiempo el inicio de un nuevo género que llegó a llamarse , relatos breves y obras narrativas de mayor extensión destinadas al consumo popular, que reflejaban la nueva riqueza y el ocio de los chōnin, la clase ciudadana, en los barrios alegres. Se trataba de obras a menudo audaces y frecuentemente prohibidas, que alcanzaron un desarrollo notable en los primeros tiempos del período Edo.

Estructura y argumento
Yonosuke, un chōnin de segunda generación cuyo padre, Yumesuke, es un experto en los caminos del amor y cuya madre es una famosa y reputada tayū (una recitadora) en el barrio licencioso de Kioto. Yonosuke, inicia su periplo a la temprana edad de siete años. Debido a su imprudente estilo de vida, que le hace incapaz de convertirse en un comerciante, es desposeído a la edad de diecinueve años y comienza, empobrecido, una vida de vagabundeo y encuentros con mujeres de toda clase y profesión por todo Japón. A la edad de treinta y cuatro años su padre fallece, e inesperadamente Yonosuke se encuentra con una enorme herencia. Con una gran fortuna y su previa experiencia en asuntos amorosos, Yonosuke se dedica en adelante a visitar famosas tayū en los barrios de placer, como Yoshino en el barrio de Misujimachi (Kioto), Yūgiri en el de Shinmachi (Osaka), Takahashi en el de Shimabara (Kioto) o Takao en el de Yoshiwara (Edo). El libro finaliza en 1682 (el mismo año en que el libro se publicó), cuando Yonosuke se embarca camino de la Isla de las Mujeres.

La obra se desarrolla en cinco volúmenes y cuarenta y cinco secciones, una por cada año de la vida del protagonista (una reminiscencia de los cincuenta y cuatro capítulos del Genji Monogatari), y puede dividirse en dos partes; la primera describe las aventuras juveniles de Yonosuke y su vida de vagabundeo, mientras que la segunda sigue su vida de derroche en varios barrios licenciosos, y se centra en las actuantes famosas de un modo complejo, realista y a menudo humorístico, al tiempo que se distancia de los estereotipos que se encuentran en las críticas a las cortesanas que le eran contemporáneas.

La primera edición de 1682 incluía ilustraciones del propio Saikaku, realizadas en un estilo de esbozo haikai ligero. La edición de 1684, impresa en Edo, incluyó una colección diferente de ilustraciones, realizadas en un estilo más pesado y literal, con líneas más gruesas, realizadas por Hishikawa Moronobu (Provincia de Awa, 1618 – Edo, 25 de julio de 1694), pintor, impresor y xilografista conocido por el desarrollo del estilo ukiyo-e.

Ediciones en español

Adaptaciones
En 1961 Yasuzo Masumura dirigió una adaptación al cine titulada Kōshoku Ichidai Otoko, con guion de Yoshio Shirasaka y protagonizada por Raizô Ichikawa como Yonosuke.
En 1991 se realizó una adaptación del libro en un anime titulado también Kōshoku Ichidai Otoko (The Sensualist en inglés) dirigido por Yukio Abe y escrito por Eiichi Yamamoto.

Referencias

Bibliografía

Enlaces externos
 Ediciones de Kōshoku Ichidai Otoko en Open Library.
 Amores de un vividor en el sitio web de la editorial Alfaguara.

Literatura de Japón

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