...Alice Walker and Maya Angelou are two contemporary African-American writers. Although almost a generation apart in age, both women display a remarkable similarity in their lives. Each has written about her experiences growing up in the rural South, Ms. Walker through her essays and Ms. Angelou in her autobiographies. Though they share similar backgrounds, each has a unique style which gives to us, the readers, the gift of their exquisite humanity, with all of its frailties and strengths, joys and sorrows. Tragedy struck both of these women at the age of eight. Ms. Walker lost her sight in one eye. Ms. Angelou was raped. Each described the incident as part of a larger work. Ms. Walker related her experience in the body of an essay published in her book, In Search of Our Mothers' Gardens. Ms. Angelou told her story as a chapter in her autobiography, I Know Why the Caged Bird Sings. Although both wrote about their traumatic experience, the way each depicted the incident was distinct and seemed to be told for very different purposes. Alice Walker reports the facts to the reader with short sentences written in the present tense. She chooses words which elicit a forceful emotional response from her audience. For example, in telling how her brothers were given BB guns and she was not, Ms. Walker writes, "Because I am a girl, I do not get a gun. Instantly, I am relegated to the position of Indian." The word "relegated" causes the reader to be irate and indignant....
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...Black Men and Public Spaces by Brent Staples (1986) My first victim was a woman – white, well dressed, probably in her early twenties. I came upon her late one evening on a deserted street in Hyde Park, a relatively affluent neighborhood in an otherwise mean, impoverished section of Chicago. As I swung onto the avenue behind her, there seemed to be a discreet, uninflammatory distance between us. Not so. She cast back a worried glance. To her, the youngish black man – a broad six feet two inches with a beard and billowing hair, both hands shoved into the pockets of a bulky military jacket – seemed menacingly close. After a few more quick glimpses, she picked up her pace and was soon running in earnest. Within seconds she disappeared into a cross street. That was more than a decade ago. I was twenty-two years old, a graduate student newly arrived at the University of Chicago. It was in the echo of that terrified woman's footfalls that I first began to know the unwieldy inheritance I'd come into-the ability to alter public space in ugly ways. It was clear that she thought herself the quarry of a mugger, a rapist, or worse. Suffering a bout of insomnia, however, I was stalking sleep, not defenseless wayfarers. As a softy who is scarcely able to take a knife to a raw chicken – let alone hold it to a person's throat – I was surprised, embarrassed, and dismayed all at once. Her flight made me feel like an accomplice in tyranny. It also made it clear that I was indistinguishable...
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...for journals. This week, you continue writing your journal entries. This journal entry is designed to help you document ideas about conflicts in literature, which will contribute to the information required for the Week Three Draft and the Week Five Literary Analysis. Recognizing conflict is essential to understanding the various commentaries literature can provide. In Journal One, you identified conflict as it might appear in our everyday world and from other sources. Now, consider the following definition of conflict and how it relates to literature from the textbook or the story/poetry links provided under the requirements for the Literary Analysis: Conflict is opposing actions, ideas, and decisions that hold a plot together...the struggle that shapes the plot in a story. Chapters 1-7 of our text contain a number of stories and poems, each of which rely on at least one conflict. Choose two of this week’s assigned literary works and write about the conflicts presented in each of them. In 250 to 500 words Individual versus Society --- “Still she had come down the road toward the big white church alone. Just herself, an old forgetful woman, nearly blind with age” (para 3.1,2) --- appears to be the main conflict in Alice Walker’s narrative ironically, yet metaphorically named "The Welcome Table”. The theme coming across is that of racism, correct me if I am wrong, with the imagery/ symbolism of “the big white church” versus the lone black Elder. This is the story...
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...Linguistics & English Language (University of Edinburgh) 2013-2014 How to Write an Essay in Linguistics The following guidelines range from very general to very specific. They are also more specifically geared toward writing essays in sociolinguistics or empirical methods rather than other areas of linguistics, though many of the same general principles apply. It is to your benefit to try follow these guidelines from the start of your first draft; the closer you follow them, the easier it will be for your instructor to make useful comments on your drafts, focusing on content, rather than style; on linguistics, rather than writing ability. It will also save you a lot of time because there will probably be less restructuring needed between your first draft and your final draft. GENERAL STRUCTURE: 1. Tell us what you’re gonna tell us. 2. Tell us! 3. Tell us what you told us. At a very basic level, this is all you need to know. The main point here is that your paper is not a mystery novel; there should be no ‘big reveal’ at the end. Rather, you want to set up the reader’s expectations so that they know up front what you’re trying to argue and, while reading your paper, will see if they’re convinced by how you make your arguments. The first step roughly corresponds (to the first paragraph of) your introduction and the third step roughly corresponds to (the first paragraph of) your conclusion (remember that this is an art, not a science, and these are guidelines...
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...Syllabus ARH 4470/5482 Contemporary Art Spring 2013 Tuesday and Thursday 2:00-3:15pm Chemistry and Physics, Room 197 Instructor: Dr. Alpesh Kantilal Patel Assistant Professor, Department of Art + Art History Director, Master of Fine Arts Program in Visual Arts Contact information for instructor: Department of Art + Art History MM Campus, VH 235 Preferred mode of contact: alpesh.patel@fiu.edu Office hours: By appointment on Tuesdays and Thursdays (preferably after class). Course description: This course examines major artists, artworks, and movements after World War II; as well as broader visual culture—everything from music videos and print advertisements to propaganda and photojournalism—especially as the difference between ‘art’ and non-art increasingly becomes blurred and the objectivity of aesthetics is called into question. Movements studied include Abstract Expressionism, Pop, and Minimalism in the 1950s and 1960s; Post-Minimalism/Process Art, and Land art in the late 1960s and 1970s; Pastiche/Appropriation and rise of interest in “identity” in the 1980s; and the emergence of Post-Identity, Relational Art and Internet/New Media art in the 1990s/post-2000 period. We will focus primarily on artistic production in the US, but we will also be looking at art from Europe, South and East Asia, Africa, and the Middle East. Emphasis will be placed on examining artworks and broader visual culture through the lens of a variety of different contextual frameworks:...
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...Fayette County Schools Research Paper Survival Guide June 2009 (revised November 2011) Compiled by: Jillian Bowen, Joanne Dirring, Monica Dorner, Greta Jackson, Shery Kearney, Ann Richardson, and Cheryll Thompson-Smith Based on the work of: Linda Brem, Kathy Franks, Cathy Nix, Ann Richardson, and Cynde Snider Table of Contents Plagiarism………………………………………………………………. Plagiarism Statement - Middle School……………………………..... Plagiarism Statement - High School……………………………….... English Research Requirements…………………………………….. Middle School Requirements…………………………………... 9th Grade Requirements………………………………………… 10th Grade Requirements………………………………………. 11th Grade Requirements………………………………………. 12th Grade Requirements………………………………………. Frequently Asked Questions…………………………………………. Annotated Bibliographies……………………………………….. Citation Formats…………………..……………………………... Common Mistakes………………………………………………. Documentation and Plagiarism…………..…………………….. Internet and Databases…………………………………………. MLA Manuscript Form…...……………………………………… Note Cards…..…………………………………………………… Outlines…………………………………………………………… Paraphrases and Quotations..…………………………………. Parenthetical Documentation……………………………...…... Quoting Poetry……………………………..……………………. Research Papers..………………………………………………. Research Process……………….……………………………… Research Projects……….……………………………………… Source Cards..…………………………………………………… Works Cited Page……………………………………………….. Research Glossary……………………………………………………. Online Resources……………………………………………………… Works Cited…………………………………………………………….....
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...Research Method (Sarah) Introduction The research method is outlined by an alternative study of the plan. This study will look at three main aspects: the technical specifications of the subject matter, the personal account, and the literary interpretation. The architectural plan is traditionally represented without the human figure, or as Robin Evans has pointed out, drawn as “amoebic” figures. Architectural drawings are often studied with a technical slant, although architecture has long been considered as “social artifact”1 . Thus literature, accompanied by photographic illustrations, is emergent as a device to test architectural apparatus, particularly in the domestic realm where aspects of dwelling and occupancy are not as closely recorded in formal documents as its physical history (e.g. building completion, demolition). This enables us to investigate the relationship between the building plan and its occupants, to understand the architecture as a dwelling. Technical specifications The Pearl Bank Apartments, built in 1972, was built to offer a transcendent mode of living that differentiated the uppermiddle class. More than its unprecedented stature that boasted an elite model of highdensity living, an interior component was specifically marketed as a key selling point — the living room. In the original Pearl Bank Apartments sales brochure, the text and images boast a large and brightlylit living room attached to a doublevolume ...
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...articles from Unit 5, jotting down your first impressions of each article to use in the reflections. * Sleeping with Guns by Bruce Holbert * My Daughter Smokes by Alice Walker * A Drunken Ride, A Tragic Aftermath by Theresa Conroy and Christine M. Johnson * Young and Isolated by Jennifer M. Silva Sleeping With Guns By BRUCE HOLBERT THE summer before my sophomore year in high school, I moved into my father’s house. My father had remarried and the only unoccupied bedroom in his house was the gun room. Against one wall was a gun case he had built in high school, and beside it were two empty refrigerators stocked with rifles and hundreds of rounds of ammunition. My bed’s headboard resided against the other wall and, above it, a resigned-looking, marble-eyed, five-point mule deer’s head with a fedora on its antler rack. The room had no windows, so the smell of gun oil filled my senses at least eight hours each day. It clung to my clothes like smoke, and like a smoker’s cigarettes, it became my smell. No one in my high school noticed. We all smelled like something: motorheads of motor oil, farm kids of wheat chaff and cow dung, athletes like footballs and grass, dopers like the other kind of grass. It did not appear to anyone — including me — that residing within my family’s weapons cache might affect my life. Together, my three brothers own at least a dozen weapons and have yet to harm anyone with them. Despite their guns (or, arguably, because of them), they are...
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...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, and 2. More than anything, you want to communicate those ideas to your reader. These reminders may seem obvious to you, but without a solid commitment to your own opinions as well as to your reader, your prose will be lifeless and boring. If you don’t care about your subject, you can’t very well expect anyone else to. Have confidence that your ideas...
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... The dependence of industrial leadership on individuality and creative faculty has not been greatly effected by the predominance of routine in staple manufacture. (Marshall Library Archive, Red Box 1) 1. Introduction In 1911, in America, F.W. Taylor published his famous book, Principles of Scientific Management, in which new principles of industrial organization are suggested and the advantages of an extreme division of labour and mechanization are stressed. Taylor’s theory of scientific management played a very important role in shaping the early twentieth century factory system, both in America and in Address for correspondence University of Padua, Italy; e-mail: katia.caldari@unipd.it * An earlier draft of this paper was presented at the History of Economics Society’s Annual Meeting, 4 – 7 July 2003, Duke University, Durham. I would like to thank all the participants to my section for their helpful comments, in particular James Henderson, Mary Morgan, Michel Que ´ and Malcolm Rutherford. For further ´re revision of my paper, I wish to acknowledge the valuable suggestions and comments of Giacomo Becattini and Tiziano Raffaelli. Particular thanks to this journal’s anonymous referees for their valuable advice. Any remaining errors of interpretations are, of course, my own responsibility. The European Journal of the History of Economic Thought ISSN 0967-2567 print/ISSN...
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...night Garden and Swallows and Amazons How do ‘the lure of the real’ (Bogan,A.2006) and the ‘power of the fantastic’ (EA300,Block 4) work together in any two of the set texts in Block 4? ‘The lure of the real’ (Bogan,A.2006) and the ‘power of the fantastic’ (EA300,Block 4) are used to create dramatic effect and depth to narratives, in interesting and diverse ways. The two concepts are not mutually exclusive. When the real and the fantastic combine, truly delightful and often informative, stories are created. Novels differ in their proportional use of realism and fantasy. Realism is commonly used to convey a sense of believability, to give gravitas to characters and to enable a child reader to understand through the presentation of the familiar and recognisable. Fantasy can be viewed as a “departure from consensus reality.” (Hume cited in EA300. Block4.p169). This could exist in the form of imaginary play, dreams, unworldly creations or literal impossibility. This essay will concentrate on Swallows and Amazons and Tom’s Midnight Garden. Each text has different approaches to the use of reality and fantasy. However, they convey similar themes and messages through various presentations of ‘the real’ and ‘the fantastic.’ Ransome and Pearce anchor their stories in reality by creating a “powerful sense of place and” a “celebration of freedom underpinned by family security.” (EA300, Block4) Ransome achieves this by distinct geographical representation of the Lake District...
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...Complex Systems in Education CSE ESSAYS COURSE Complex Course on Writing English and American Essays for Advanced Students English Language Programs Division Bureau of Educational and Cultural Affairs Writing 2 United States Information Agency, Washington, D. C. 1999 2 3 How to Use this Complex Course Частные уроки Английского Языка 387-1231 MIND Speaks to MIND – Selected American Essays 4 Preface Some years ago, a visitor to our office, a professor of English at a large foreign university, asked if the English Language Programs Division had published a book of American essays for foreign students – especially students at the advanced level. Having to respond in the negative, I was, nonetheless, “intrigued” by the idea of a collection of essays that would form a source of stimulating ideas or thoughts that could be thoroughly examined in the EFL classroom, discussed and debated in free conversation, and perhaps, ultimately, lead to a significant growth in the exchange of information between cultures – via the printed page. From this rationale, then, there issues an explanation for the title, Mind Speaks to Mind, which itself is an “exchange of information” between the editor and Edward Hoagland in his essay, “On Essays”! And, readers are encouraged to study this essay first as a type of guideline concerning the nature/purpose of the essay. It is found on page 26. For ease of reference, the essays are presented in alphabetical order according...
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... | CCRS | CONTENT STANDARDS | EVIDENCE OF STUDENT ATTAINMENT | RESOURCES | 91929384130 | EIGHTH GRADE: TO BE COMPLETED THROUGHOUT THE COURSEREADING LITERATURE: RANGE OF READING AND LEVEL OF TEXT COMPLEXITY By the end of the year, read and comprehend literature, including stories, dramas, and poems, at the high end of Grades 6-8 text complexity band independently and proficiently. [RL.8.10]READING STANDARDS FOR INFORMATIONAL TEXT: RANGE OF READING AND LEVEL OF TEXT COMPLEXITY By the end of the year, read and comprehend literary nonfiction at the high end of the Grades 6-8 text complexity band independently and proficiently. [RI.8.10]WRITING STANDARDS: RANGE OF WRITING Write routinely over extended time frames, including time for research, reflection, and revision, and shorter time frames such as a single sitting or a day or two for a range of discipline-specific tasks, purposes, and audiences. [W.8.10]KNOWLEDGE OF LANGUAGE Use knowledge of language and its conventions when writing, speaking, reading, or listening. [L.8.3]VOCABULARY ACQUISTION AND USE Acquire and use accurately grade-appropriate general academic and domain-specific words and phrases; gather vocabulary knowledge when considering a word or phrase important to comprehension or expression. [L.8.6]SPEAKING AND LISTENING STANDARDS Engage effectively in a range of collaborative discussions (one-on-one...
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...examples and exercises, and the text involves students in the learning process through reading, problem solving, practicing, listening, and experiencing the writing process. Each chapter also has integrated examples that unify the discussion and form a common, easy-tounderstand basis for discussion and exploration. This will put students at ease and allow for greater absorption of the material. Tips for effective writing are included in every chapter, as well. Thought-provoking scenarios provide challenges and opportunities for collaboration and interaction. These exercises are especially helpful for working with groups of students. Clear exercises teach sentence and paragraph writing skills that lead to common English composition and research essays....
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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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