...Essay #3: Creative Memory Word Range: 800 -1000 words. Double-spaced, 12-point Font, Times New Roman or similar. Creative Narrative Writing: Today, you become a story teller, a fiction writer, an author. You are going to tell a story from your past, but you are going to make it better. Your goal will be to make your readers believe in the truth of the story through the careful interplay of real and the almost real. Your goal will be verisimilitude. Veri =truth Similitude = likeness All stories that are worth reading, seeing, or hearing have truth-likeness. And that is what you will be going for. But you will not be able to just tell it exactly like it happened; you must fictionalize it. “One of the dangers of writing about something that really happened is an urge to stay too close to the literal truth. Because you don’t quite trust your memory of it, you come up with thin narrative and little texture, or with details or events the reader may find unconvincing… a recital of just the facts rarely adds up to a satisfying fictional truth.” – What If, Bernays and Painter Assignment: Write a narrative story about an important event in your past, but you will have to pad it with “satisfying fictional truth.” You will add to it, crafting its verisimilitude. Here are prompts to help you find your story: 1. Narrate any incident from your life in which you were forced by a role to suppress your true feelings. Describe the effect this suppression...
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...Workshop: Seven Lessons to Inspire Great Writing”. Erika Dreifus, the author of the article, had found out about this book from a friend who had a blog about “new Woolf-related books”. Dreifus goes on to explain some of the features of the book which include the seven short chapters which end with a section that Jones refers to as “writing sparks”. At first I was a little thrown on how this paper was written. It started in the first person narrative about how Dreifus had found out about the book, but then the story proceeds in a third person informative. The entire article is about the facts of the book, how the book is formatted and gives an example from the book. Dreifus describes how Jones invented the person in her book, Virginia Woolf. “… Jones, who has been teaching writing for more than 20 years and holds a Ph.D. in English literature from Columbia University, has invented the persona of Virginia Woolf, writing instructor, and placed this character smack in front of a fictional group of aspiring writers.” Jones has created a fictional character to teach fictional people about how to write good stories or poems. Dreifus then proceeds to describe part of the book where Jones gives an example of Virginia Woolf’s interaction with the fictional workshop participants. Dreifus quotes a section by Jones from the Chapter of “Walking”; which refers to how Woolf explains how a walk in the streets of London can help with creative writing. “I like walking the city streets, she tells...
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...The Christian Story and Our Stories: Narrative Pedagogy in Congregation Life In the feature article " The Christian Story and Our Stories: Narrative Pedagogy in Congregation Life" the author, Benjamin D. Espinoza, explains the educational strategy of narrative pedagogy, its characteristics and creative ways to apply it effectively in religious and secular ambits in our life. First, narrative pedagogy is an approach to teaching that involve our life stories through creative ways and another life stories (in the Christian ambit biblical stories) to form and renovate our life from the past through the present to the future. The purpose of explain the theological truths through stories is to develop a clearer understanding of the ideas, avoiding...
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...Fiction, Between Inner Life and Collective Memory. A Methodological Reflection. François-Xavier Lavenne, Virginie Renard, François Tollet1 Introduction In the writing of their fictional works, novelists often have to reflect on the functioning of memory, for memory lies at the heart both of inner life and of human experience in general. It is indeed in the works of writers such as Marcel Proust or Jorge Luis Borges that the best exemplifications of the subjective experience of memory are to be found. However, from a strictly mnemonic point of view, literature provides more than a means of reflecting on memory: it is also the site of the rebirth and construction of individual and collective memories, which can then serve as a foundation for the writing of fictional works. Creative writing has a meiotic function and is as such a powerful tool capable of rescuing memories from oblivion and bringing them back to life, thus reconciling the past with the present. The present article seeks to bring to bear new perspectives on the relationship between a novelist’s personal memories, collective memory, and the fictional narratives partially inspired by these two types of memory. In the first section we briefly examine the distinction traditionally made between individual memory and collective memory, which we then try to reconcile so as to arrive at an approach to the mnemonic phenomenon that best fits the needs of literary scholars. In the second section we challenge the conventional...
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...“Canada is an unknown territory for the people who live in it, and I’m not talking about the fact that you may not have taken a trip to the Arctic or to Newfoundland, you may not have explored as the travel folders have it – This Great Land of Ours. I’m talking about Canada as a state of mind, as the space you inhabit not just with your body but with your head. It’s that kind of space in which we find ourselves lost. What a lost person needs is a map of the territory, with his own position marked on it so he can see where he is in relation to everything else. Literature is not only a mirror; it is also a map, a geography of the mid. Our literature is one such map, if we can learn to read it as our literature, as the product of who and where we have been. We need such a map desperately; we need to know about here, because here is where we live. For the members of a country or culture, shared knowledge of their place, their here, is not a luxury but a necessity. Without that knowledge we will not survive.” Margaret Atwood, Survival As Atwood’s statement demonstrates, Canadian literature is concerned with place and displacement, and with the development of an effective identifying relationship between self and environs. Canada’s literature whether written in English or French reflects three main parts of Canadian experience. First, Canadian writers often emphasize the effects of climate and geography on the life and work of their people. Second, frontier’s...
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...form. Flowers danced about. Anthropomorphism: the attribution of a human form, human characteristics, or human behavior to nonhuman things, e.g. deities in mythology and animals in children's stories Morpheme: The smallest meaningful element of speech or writing. Alliteration: The repetition of the same sounds or of the same kind of sounds at the beginning of words or in stressed syllables, as in “on scrolls of silver snowy sentences”. Onomatopoeia: The formation or use of words such as buzz or murmur that imitate the sounds associated with the objects or actions they refer to hiss, buzz bang Oxymoron: a rhetorical figure in which incongruous or contradictory terms are combined, as in deafening silence and a mournful optimist Symbol: Something that represents something else by association, resemblance or convention especially a material object used to represent something invisible Imagery: a set of mental pictures or images. The use of vivid or figurative language to represent objects, actions, or ideas. Foundations of Reading Metacognition: Cognition about cognition or knowing about knowing. Includes knowledge about when and how to use particular strategies for learning or for problem solving. Language in Writing Narrative: is a...
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...What is literature? * Creative writing of recognised artistic value. * Written works of fiction and non-fiction in which compositional excellence and advancement in the art of writing are higher priorities than are considerations of profit or commercial appeal. * Literature is literally "an acquaintance with letters" as in the first sense given in the Oxford English Dictionary (from the Latin littera meaning "an individual written character (letter)"). The term has generally come to identify a collection of texts. The word literature as a common noun can refer to any form of writing, such as essays or poetry; Literature as a proper noun refers to a whole body of literary work, world-wide or relating to a specific culture... * lit·er·a·ture n. 1. The body of written works of a language, period, or culture. 2. Imaginative or creative writing, especially of recognized artistic value:"Literature must be an analysis of experience and a synthesis of the findings into a unity" 3. The art or occupation of a literary writer. 4. The body of written work produced by scholars or researchers in a given field: medical literature. 5. Printed material: All the available collected literature on the subject. 6. Music: All the compositions of a certain kind or for a specific instrument or ensemble: the symphonic literature. Good literature has something important to say about life. If we take the time to read and understand the literature...
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...was hoping that I would get a teacher that would help me improve my writing skills and help me improve my SAT score and I received my wish. I ended up getting Mrs. Miles as a my English teacher and I was very excited to get her as a teacher because I wanted to see how fun she makes English and it was a lot of fun.Writing is like cooking you can only have a few ingredients but, you can make something actually mouth-watering out of it. Overall, I have greatly improved my writing skills for the future. The first essay that I would like to talk about is my Romanticism Fictional Narrative that I made in my 10th grade English class. The reason why I chose to talk about this essay is because it shows how creative I can without an outline. What I liked about this essay is how creative and descriptive it is. I made this essay by basically going off what my brain imagined. What I learned from this essay is when I do not use an an outline my ideas are more artistic....
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...Generally, what we said above with respect to the original narratives can be at work in the translated narratives too, with a much more emphasis on the target language and cultural system. The point is that if the original narratives, as we discussed above, can be ontological, interpersonal, communicative, social, fictional and ideological acts, so should be the translated narrative texts. And, if there happen some frequent changes in POV and FID, there may appear some changes in the ontological, ideological, and social functions of the text. In fact, the translated narratives are first and foremost, the reproductions, at the very broad sense of the word, of the originals in whatsoever form and content. They, however, have got something more:...
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...For other uses, see Fiction (disambiguation). An illustration from Lewis Carroll's Alice's Adventures in Wonderland, depicting the fictional protagonist, Alice, playing afantastical game of croquet. Fiction is the form of any narrative or informative work that deals, in part or in whole, with information or events that are not factual, but rather, imaginary—that is, invented by the author. Although fiction describes a major branch of literary work, it may also refer to theatrical, cinematic or musical work. Fiction contrasts with non-fiction, which deals exclusively with factual (or, at least, assumed factual) events, descriptions, observations, etc. (e.g.,biographies, histories). Contents [hide] * 1 Types of fiction * 1.1 Realistic fiction * 1.2 Non-realistic fiction * 1.3 Semi-Fiction * 2 Elements of fiction * 2.1 Plot * 2.2 Exposition * 2.3 Foreshadowing * 2.4 Rising action * 2.5 Climax * 2.6 Falling action * 2.7 Resolution * 2.8 Conflict * 2.8.1 Types of conflict * 2.8.1.1 Person vs. self * 2.8.1.2 Person vs. person * 2.8.1.3 Person vs. society * 2.8.1.4 Person vs. nature * 2.8.1.5 Person vs. supernatural * 2.8.1.6 Person vs. machine/technology * 2.9 Character * 2.10 Methods of developing characters * 2.11 Symbolism * 2.12 Metaphor * 3 Types of plots * 3.1 Chronological order * 3.2 Flashback * 3.3 Setting...
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...EDU 695 Week 6 Assignment Final Paper and ePortfolio NEW To Buy This material Click below link http://www.uoptutors.com/edu-695-ash/edu-695-week-6-assignment-final-paper-and-eportfolio-new Final Paper and ePortfolio You will create an ePortfolio that includes redesigned activities from prior coursework in the Masters of Arts in Education (MAED) Program that demonstrate your competency with the nine Program Learning Outcomes, which are also the Course Learning Outcomes for EDU 695. Additionally, you will write a narrative reflection of your experience with the program and the ePortfolio construction. The overarching goal of this Final Paper and ePortfolio assignment is to showcase learning from the MAED Program in a consolidated, web-based format that can easily be shared with anyone: colleagues, potential or current employers, friends, family members, and others. For the ePortfolio, you use a system called Pathbrite. Within this ePortfolio, you will tell the story of your educational journey and value of your personal MAED experience as it applies to the labor market. Remember, the ePortfolio is your chance to show what you know and are able to do in the practice of teaching and learning with technology. You will submit a link to your ePortfolio and attach your paper portion of the assignment in a Week Six discussion for preliminary feedback by peers and the instructor before the final submission. The earlier you submit in the Week Six discussion the more opportunity you have...
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...Oliver Nyambi considers The Uncertainty of Hope by Valerie Tagwira First published by: SAGE Open Jul 2014, 4(3) <http://bit.ly/1q7n9ui> ABSTRACT There is a subtle yet discernible connection between the post-2000 political power struggle and the gender struggle in Zimbabwe. In both cases, a patriarchal power hierarchy shaped by tradition and history is perpetuated and justified as the mark of the nation’s unique identity. In cultural, political, and economic spheres, the status of most urban Zimbabwean women is still reflected as inferior to that of most men. During this economic and political crisis period, the prevailing gender power-relations evolved into gendered appraisals of the impact of the crisis and this created the potential for rather universal and androcentric conclusions. The consequent eclipse of female-centric voices of the political and gender struggle tends to suppress women’s perspectives, consequently inhibiting a gender-inclusive imagining of the nation. This article argues that discourses about gender struggle in Zimbabwe’s post-2000 crisis have not sufficiently addressed the question of space; that is, the significance of the oppressed women’s physical and social space in shaping their grievances and imaginings of exit routes. Similarly, the article argues that representations of this historic period in literary fiction have accentuated the wider political and economic struggles at the expense of other (especially gender) struggles, thereby rendering...
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...Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory:...
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...Comparing Literary Works ENG 125 Instructor: Laura Wilde 8/27/2012 Poems and short stories are pieces of literature that have been around for millions of years, both producing major talented writers, and also some famous authors a well. Short stories and poems are vastly different but share some common traits and ability’s to gain a reader’s attention and embrace their attention until the point of the story is made and completed. When comparing the two different types of literature style, form, and content all come into play in having similarities and differences in the text. Poems typically are short and direct to the point, tending to have a rhythm of words, whereas short stories usually are direct based text giving you a theme, setting, and a tone allowing the reader to follow what the author is trying to say. Poetry is a short, sweet, and simple to the point piece of literature. Though most find it difficult to understand poetry for the way some words are used, or bounded together with other words, poetry has a strong place is some people’s hearts. Poetry is vastly written out of feelings, and allows an author to put their feelings for an object, or a thing, or place into words constructed with a rhythm. Poetry can be from a very few amount of lines to describe something, into a couple of pages pending what the author is trying to express, and how much detail he/she wants to use in their text. The poet speaks of the divine as absence which...
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...Aibhi Biswas M.A English (Final) 4 November 2013 Two need to play this game: ambiguity in Marquez’s the chronicle of a death foretold The chronicle of a death foretold is an ambiguous novella in terms of genre, narration, resolution, aim and in terms of giving agency and power to the reader/ author. The novella can be seen as a parody, a suspense thriller and a detective novel of journalistic trend. The death is the central event but there’s no mystery regarding it rather completely different questions are raised. The aim of this paper is to show that the narrator is distinct from the author but sometimes they intersect. Thus Ronald Barthes statement that the author is dead is not completely true. The authors’ present but it’s not an omnipotent presence, controlling the universal subject (the reader). But this does make the reader all powerful. Barthes implies in his essay Death of the Author. The reader follows the patterns presented by the author but the final impression, overall opinion of the text and the reader’s reaction are not prefigured or controlled by the author. Thus the author and the reader together form the overall value of the text. Raymond Williams explains the formation of the category of Literature, its ever expanding and changing parameters\paradigms are explained in his essay Marxism and Literature. This paper will show the growing value of Latin American Literature, becoming a part of the literary canon, valued as a skillful piece of art. This...
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