...Descriptive vs. Narrative Essays Camille Hall English 121 Instructor James Welch March 17, 2013 Descriptive vs. Narrative Essays Descriptive essays are much more detailed and expressive than narrative essays and are more apt to hold the reader’s attention by ejecting more emotion. The narrative essay uses detail to advance the story, while the descriptive uses to detail to describe an unfamiliar subject. The ability to describe something convincingly is always important to both the writer and their audience. Both descriptive and narrative essays use detail but for different purposes. In this essay I will compare and contrast two essays; “I Want A Wife” and “Caged Bird” in order to give insight into each type of essay. The aim of a narrative essay is to describe a course of events from a subjective point, is usually told in chronological order, and is usually written in first person. Narrative essays are used to tell a story in a way so that the reader learns a lesson or gains insight, much of this is done through lots of detail about the subject that is being written about. The best narrative essays are those inducing images in the reader’s minds about what's happening by using concrete, specific verbs and nouns rather than a lot of adverbs and adjectives. To write a narrative essay you will need to tell a story (usually about something that has happened to you) or it could be fiction. The purpose is for your reader to learn a lesson or gain insight of...
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...FA ND OM UNB OUND —-1 —0 —+1 561-47344_ch00_1P.indd i 7/27/11 6:21 PM -1— 0— +1— 561-47344_ch00_1P.indd ii 7/27/11 6:21 PM FAN DO M U N BOUND Otaku Culture in a Connected World Edited by MIZUKO ITO DAISUKE OKABE IZUMI TSUJI —-1 —0 —+1 New Haven & London 561-47344_ch00_1P.indd iii 7/27/11 6:21 PM Published with assistance from Copyright © 2012 by Yale University. All rights reserved. Subject to the exception immediately following, this book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. The author has made an online version of this work available under a Creative Commons Attribution-Noncommercial 3.0 License. It can be accessed through the author’s Web site at http:www.itofisher.com/mito. Yale University Press books may be purchased in quantity for educational, business, or promotional use. For information, please e-mail sales.press @ yale.edu (U.S. office) or sales @ yaleup.co.uk (U.K. office). Designed by James J. Johnson Set in Janson Roman and Helvetica type by Westchester Book Group, Danbury, CT Printed in the United States of America [[CIP info to come]] A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF BOOKER T. WASHINGTON’S UP FROM SLAVERY By VIRGINIA L. SHEPHARD, Ph.D., Florida State University S E R I E S E D I T O R S : W. GEIGER ELLIS, ED.D., ARTHEA J. S. REED, PH.D., UNIVERSITY OF GEORGIA, EMERITUS and UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of Booker T. Washington’s Up from Slavery 2 INTRODUCTION Booker T. Washington’s commanding presence and oratory deeply moved his contemporaries. His writings continue to influence readers today. Although Washington claimed his autobiography was “a simple, straightforward story, with no attempt at embellishment,” readers for nearly a century have found it richly rewarding. Today, Up From Slavery appeals to a wide audience from early adolescence through adulthood. More important, however, is the inspiration his story of hard work and positive goals gives to all readers. His life is an example providing hope to all. The complexity and contradictions of his life make his autobiography intellectually intriguing for advanced readers. To some he was known as the Sage of Tuskegee or the Black Moses. One of his prominent biographers, Louis R. Harlan, called him the “Wizard of the Tuskegee Machine.” Others acknowledged him to be a complicated person and public figure. Students of American social and political history have come to see that Washington lived a double life. Publicly he appeased the white establishment...
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...Cinema of France From Wikipedia, the free encyclopedia See also: French comedy films Cinema of France | Gaumont palace in Paris, c.1914 | Number ofscreens | 5,653 (2014)[1] | Main distributors | Twentieth Century Fox(14.6%) Warner Bros. (9.8%) UGC (6.9%)[1] | Produced feature films (2014)[1][2] | Total | 258 | Animated | 9 (3.49%) | Documentary | 37 (14.34%) | Number of admissions (2014)[1][2] | Total | 208.9768 million | National films | 91.26 million (44.4%) | Gross box office (2014)[1][2] | Total | €1.33 billion | National films | €563.01 million (43.1%) | Cinema of France refers to the film industry based in France. The French cinema comprises the art of film and creative movies made within the nation of France or by French filmmakers abroad. France is the birthplace of cinema and was responsible for many of its significant contributions to the art form and the film-making process itself.[3] Several important cinematic movements, including the Nouvelle Vague, began in the country. It is noted for having a particularly strong film industry, due in part to protections afforded by the French government.[3] Apart from its strong and innovative film tradition, France has also been a gathering spot for artists from across Europe and the world. For this reason, French cinema is sometimes intertwined with the cinema of foreign nations. Directors from nations such as Poland (Roman Polanski, Krzysztof Kieślowski, and Andrzej Żuławski), Argentina(Gaspar...
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...Instructor’s Manual to Accompany The Longman Writer Rhetoric, Reader, Handbook Fifth Edition and The Longman Writer Rhetoric and Reader Fifth Edition Brief Edition Judith Nadell Linda McMeniman Rowan University John Langan Atlantic Cape Community College Prepared by: Eliza A. Comodromos Rutgers, The State University of New Jersey New York San Francisco Boston London Toronto Sydney Tokyo Singapore Madrid Mexico City Munich Paris Cape Town Hong Kong Montreal NOTE REGARDING WEBSITES AND PASSWORDS: If you need a password to access instructor supplements on a Longman book-specific website, please use the following information: Username: Password: awlbook adopt Senior Acquisitions Editor: Joseph Opiela Senior Supplements Editor: Donna Campion Electronic Page Makeup: Big Color Systems, Inc. Instructor’s Manual to accompany The Longman Writer: Rhetoric, Reader, Handbook, 5e and The Longman Writer: Rhetoric and Reader, Brief Edition, 5e, by Nadell/McMeniman/Langan and Comodromos Copyright ©2003 Pearson Education, Inc. All rights reserved. Printed in the United States of America. Instructors may reproduce portions of this book for classroom use only. All other reproductions are strictly prohibited without prior permission of the publisher, except in the case of brief quotations embodied in critical articles and reviews. Please visit our website at: http://www.ablongman.com ISBN: 0-321-13157-6 1 2 3 4 5 6 7 8 9 10 - D O H - 05 04 03 02 CONTENTS ...
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...The Hunger Games: Action-film feminism is catching fire Lisa Schwarzbaum Burning up Jennifer Lawrence’s Katniss Everdeen is both strong and vulnerable – a new kind of action heroine who has powered The Hunger Games: Catching fire to a $158m US debut. (Lionsgate) Jennifer Lawrence’s Katniss Everdeen is a new type of female action film icon, and moviegoers should be very excited about that, writes Lisa Schwarzbaum. As Catching Fire ignites on movie screens around the world, this is what we know about the 21st Century heroine called Katniss Everdeen: she is strong but also soft. She is brave but she has doubts. She is a phenomenal fictional creation, yet is real enough that moviegoers can draw inspiration from her values, her resourcefulness, and her very human inner conflicts. And she is played by Jennifer Lawrence, who appears not only to be handling her current duties as Hollywood’s finest model of well-adjusted millennial female stardom but doing so with charm. Everdeen and Lawrence: golden girls both. Personified in Lawrence’s lithe movements and cool, focused gaze, Katniss is a brave, resourceful and independent-minded fighter; but she is also a troubled and vulnerably guilt-ridden human being. Nina Jacobson, the producer of the Hunger Games film franchise, puts it this way: “She is a singular heroine in that the burden of survival weighs on her. She has a ton of survivor’s guilt. And she keeps surviving.” Girl on fire It is strange that behaving like a well-adjusted...
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...Abstract Raves have historically referred to grass-roots organized, anti-establishment and unlicensed all night dance parties, featuring electronically-produced dance music (EDM), such as techno, house, trance and drum and bass. Since their late 1980s origins in the U.K., raves have gained widespread popularity and transformed dramatically. Consequently, their many cultural traits and behaviors have garnered much sociological interest, which mostly falls into two competing perspectives: cultural studies and public health. In this paper, we review what raves look like today compared to their high point in the 1990s. We then discuss how the cultural studies and public health perspectives define raves and have studied them over time, focusing on the “pet” sociological concepts each has sought to advance. Our analysis of these literatures reveals important differences in rave research by country and over time. We end by discussing the politics associated with the shift in rave research. Introduction Society has been greatly influenced by many alternative scenes, subcultures, or lifestyles oriented around music, youth and young adults (Epstein 1998). Some of the more notable ones include the English punk scene in the 1970s- 1980s, the U.S. jazz (1930s-1940s) and hippie scenes (1970s), and the 1990s rave scenes in the U.K. and U.S. From them have come musical innovation, social identity, fashion and other aesthetic nuances, and mainstream and alternative cultural production...
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...HOW TO Prepare Your Curriculum Vitae Revised Edition Acy L. Jackson and C. Kathleen Geckeis Copyright © 2003 by The McGraw-Hill Companies, Inc. All rights reserved. Manufactured in the United States of America. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. 0-07-142626-4 The material in this eBook also appears in the print version of this title: 0-07-139044-8 All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill eBooks are available at special quantity discounts to use as premiums and sales promotions, or for use in corporate training programs. For more information, please contact George Hoare, Special Sales, at george_hoare@mcgraw-hill.com or (212) 904-4069. TERMS OF USE This is a copyrighted work and The McGraw-Hill Companies, Inc. (“McGraw-Hill”) and its licensors reserve all rights in and to the work. Use of this work is subject to these terms. Except as permitted under the Copyright Act of 1976 and the right to store and retrieve...
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...THE CONSEQUENCES OF MASS COMMUNICATION Cultural and Critical Perspectives on Mass Media and Society Kirk Hallahan ii For Jean and Jenna Copyright info to be set by McGraw-Hill. iii Foreward This book is a brief survey of contemporary ideas about the cultural impact of mass media on society. The use of consequences in the title reflects the fact that most cultural researchers prefer this term (instead of media effects) to describe media's influence on human experience. During the past 30 years, culture has emerged as a major theoretical framework in which to investigate media. Chapter I examines how media influence culture generally, as suggested by various contemporary media scholars and others. Chapter II then focuses on critical-cultural theories about the nature of media power and its potentially negative influence. This book can adopted as a supplementary text in introductory mass media courses along with a survey text such as Joseph R. Dominick's The Dynamics of Mass Communication (available from McGraw-Hill). It also can serve as a foundational text for other assigned readings in advanced courses dealing with mass media and society, communication theory, or cultural studies. Students are encouraged to focus thoughtfully on the main ideas, not attempt to merely memorize details. Important concepts and names appear in boldface and are defined in italics. The abridged Subject Index lists the page with the primary discussion of each topic. Sidebars throughout...
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...IRWIN PHILOSOPHY/POP CULTURE S E R I E S R Can drugs take us down the rabbit-hole? R Is Alice a feminist icon? curiouser To learn more about the Blackwell Philosophy and Pop Culture series, visit www.andphilosophy.com and WILLIAM IRWIN is a professor of philosophy at King’s College in Wilkes-Barre, Pennsylvania. He originated the philosophy and popular culture genre of books as coeditor of the bestselling The Simpsons and Philosophy and has overseen recent titles, including Batman and Philosophy, House and Philosophy, and Watchmen and Philosophy. curiouser RICHARD BRIAN DAVIS is an associate professor of philosophy at Tyndale University College and the coeditor of 24 and Philosophy. R I C H A R D B R I A N D AV I S AND PHILOSOPHY Alice’s Adventures in Wonderland has fascinated children and adults alike for generations. Why does Lewis Carroll introduce us to such oddities as a blue caterpillar who smokes a hookah, a cat whose grin remains after its head has faded away, and a White Queen who lives backward and remembers forward? Is it all just nonsense? Was Carroll under the influence? This book probes the deeper underlying meaning in the Alice books and reveals a world rich with philosophical life lessons. Tapping into some of the greatest philosophical minds that ever lived— Aristotle, Hume, Hobbes, and Nietzsche—Alice in Wonderland and Philosophy explores life’s ultimate questions through the eyes of perhaps the most endearing ...
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...VOLUME EDITOR S. WALLER is an Associate Professor of Philosophy at Montana State University Bozeman. Her areas of research are philosophy of neurology, philosophy of cognitive ethology (especially dolphins, wolves, and coyotes), and philosophy of mind, specifically the parts of the mind we disavow. SERIES EDITOR FRITZ ALLHOFF is an Assistant Professor in the Philosophy Department at Western Michigan University, as well as a Senior Research Fellow at the Australian National University’s Centre for Applied Philosophy and Public Ethics. In addition to editing the Philosophy for Everyone series, Allhoff is the volume editor or co-editor for several titles, including Wine & Philosophy (Wiley-Blackwell, 2007), Whiskey & Philosophy (with Marcus P. Adams, Wiley, 2009), and Food & Philosophy (with Dave Monroe,Wiley-Blackwell, 2007). P H I L O S O P H Y F O R E V E RYO N E Series editor: Fritz Allhoff Not so much a subject matter, philosophy is a way of thinking.Thinking not just about the Big Questions, but about little ones too.This series invites everyone to ponder things they care about, big or small, significant, serious … or just curious. Running & Philosophy: A Marathon for the Mind Edited by Michael W. Austin Wine & Philosophy: A Symposium on Thinking and Drinking Edited by Fritz Allhoff Food & Philosophy: Eat,Think and Be Merry Edited by Fritz Allhoff and Dave Monroe Beer & Philosophy: The Unexamined Beer Isn’t Worth Drinking Edited by Steven D. Hales Whiskey & Philosophy:...
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...C h a p t e r 1 Prewriting GETTING STARTED (OR SOUP-CAN LABELS CAN BE FASCINATING) For many writers, getting started is the hardest part. You may have noticed that when it is time to begin a writing assignment, you suddenly develop an enormous desire to straighten your books, water your plants, or sharpen your pencils for the fifth time. If this situation sounds familiar, you may find it reassuring to know that many professionals undergo these same strange compulsions before they begin writing. Jean Kerr, author of Please Don’t Eat the Daisies, admits that she often finds herself in the kitchen reading soup-can labels—or anything—in order to prolong the moments before taking pen in hand. John C. Calhoun, vice president under Andrew Jackson, insisted he had to plow his fields before he could write, and Joseph Conrad, author of Lord Jim and other novels, is said to have cried on occasion from the sheer dread of sitting down to compose his stories. To spare you as much hand-wringing as possible, this chapter presents some practical suggestions on how to begin writing your short essay. Although all writers must find the methods that work best for them, you may find some of the following ideas helpful. But no matter how you actually begin putting words on paper, it is absolutely essential to maintain two basic ideas concerning your writing task. Before you write a single sentence, you should always remind yourself that 1. You have some valuable ideas to tell your reader,...
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...ALLIED AMERICAN UNIVERSITY Personalized. Flexible. Dedicated. Online Programs – Individual Support – Open Enrollment – Ease of Transfer Credits UNIVERSITY CATALOG 2013 Seventh Edition 22952 Alcalde Drive, Laguna Hills, CA 92653 Phone: (888) 384-0849 ∼ Fax: (949) 707-2978 7:00 A.M. – 5:00 P.M. (Monday – Friday) Email: info@allied.edu Website: www.allied.edu KEY STAFF AND FACULTY Charlotte Hislop, Ph.D. Candidate, President/CEO Bonny Nickle, Ed.D., Provost Eric Sharkey, M.Ed., Director of Education Bill Luton, Ph.D., Director of Assessment and Dean of Business Carlo Tannoury, Ph.D. Candidate, Dean of Computer Information Systems Patricia Drown, Ph.D., Dean of Criminal Justice and General Studies C.J. Bishop, M.B.A., Institutional Research Frank Vazquez, Operations Director Parrish Nicholls, J.D., Director of Compliance Lindsay Oglesby, Admissions Director Abby Dolan, B.A., Registrar Sasha Heard, M.B.A., Student Services Manager Barbara Jobin, B.S.B.A., Career Center Manager Hugo Aguilar, B.A., Chief Financial Officer Richard Madrigal, B.A., Financial Aid Officer As a prospective student at Allied American University, you are encouraged to review this catalog prior to signing an enrollment agreement. You are also encouraged to review the student performance fact sheet which must be provided to you prior to signing an enrollment agreement. This catalog is not a contract between the student, AAU, or any party or parties. Reasonable effort was made at the time this document...
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...Transforming Lives Communities The Nation …One Student at a Time Disclaimer Academic programmes, requirements, courses, tuition, and fee schedules listed in this catalogue are subject to change at any time at the discretion of the Management and Board of Trustees of the College of Science, Technology and Applied Arts of Trinidad and Tobago (COSTAATT). The COSTAATT Catalogue is the authoritative source for information on the College’s policies, programmes and services. Programme information in this catalogue is effective from September 2010. Students who commenced studies at the College prior to this date, are to be guided by programme requirements as stipulated by the relevant department. Updates on the schedule of classes and changes in academic policies, degree requirements, fees, new course offerings, and other information will be issued by the Office of the Registrar. Students are advised to consult with their departmental academic advisors at least once per semester, regarding their course of study. The policies, rules and regulations of the College are informed by the laws of the Republic of Trinidad and Tobago. iii Table of Contents PG 9 PG 9 PG 10 PG 11 PG 11 PG 12 PG 12 PG 13 PG 14 PG 14 PG 14 PG 14 PG 15 PG 17 PG 18 PG 20 PG 20 PG 20 PG 21 PG 22 PG 22 PG 22 PG 23 PG 23 PG 23 PG 23 PG 24 PG 24 PG 24 PG 24 PG 25 PG 25 PG 25 PG 26 PG 26 PG 26 PG 26 PG 26 PG 26 PG 27 PG 27 PG 27 PG 27 PG 27 PG 27 PG 28 PG 28 PG 28 PG 28 PG 28 PG 33 PG 37 Vision Mission President’s...
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...French Revolution AOS 1 Revs Revision Notes – Part I AOS 1 – French Revolution Index: 1. PRE REVOLUTION FRANCE a. France in the 18th Century b. Power and Limitations of the King c. Privilege and its Spread d. Frances Taxes (How and What) e. The Estates 2. IDEAS, INPUTS AND CAUSES a. Very Short List of Causes of the Revolution b. Shift to Sensibility c. American Revolution Input d. The Liberal Economic Theory (Physiocracy) e. The Philosophes 3. FINANCIAL CRISIS AND MANAGEMENT a. Frances Financial Crisis b. Frances Finance Ministers (Comptroller-General) c. Compte Rendu d. Parlements and Their Role e. Assembly of Notables and Their Role 4. EVENTS PRECEEDING AND DURING EXILE AND RECALL OF PARLEMENTS a. Ségur Ordinance b. Diamond Necklace Affair c. Eden Treaty d. Calling of the Assembly of Notables e. The Dutch Crisis (Spring 1787) f. Last Chance with the Notables g. Notables Dissolved h. Attempts to Pass Reforms at the Parlements i. Exile and Recall of the Parlements j. Society of Thirty 5. EVENTS PRECEEDING CALL OF ESTATES GENERAL a. The Reduction of Parlement’s Rights b. The Day of Tiles (Grenoble) c. The Famine of 1788 d. The Calling of the Estates-General 6. ESTATES-GENERAL ...
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