...WR 115 Assignment Essay One—Literacy Narrative 600-1000 Words Basic Prompt As you begin this essay writing process, reflect on your experiences and attitudes about reading and writing. Regardless of our backgrounds, our ideas of literacy often become deeply engrained as good or bad without much thought about to how these views have come to be. As a result, many of us have definitions of literacy–of reading and writing–that could benefit from a thoughtful and honest close self-examination. Choose a Topic: Please draw from the following as you develop your essay focus: • Narrate an early memory about writing or reading that you recall vividly. Then explain why this event is significant to you now. • Describe someone who taught you to read or write and explain this person’s significance in your life. • Identify a book or other text and explain its significance for you in your reading and writing. • Narrate an experience with a writing or reading task that you found (or still find) difficult or challenging. • Describe a memento and explain how it represents an important moment in your reading/writing development. Then Create a Narrative: Use sound writing and story-telling skills to organize and articulate your story. Make sure to stay focused on your one, main idea. Key Elements • Create a well told story. Bring your narrative to life by using concrete and vivid details. • Develop your main idea. (make sure you only have one main idea) • Develop the significance or affect of your...
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...WR 115 Assignment Essay One—Literacy Narrative 600-1000 Words Basic Prompt As you begin this essay writing process, reflect on your experiences and attitudes about reading and writing. Regardless of our backgrounds, our ideas of literacy often become deeply engrained as good or bad without much thought about to how these views have come to be. As a result, many of us have definitions of literacy–of reading and writing–that could benefit from a thoughtful and honest close self-examination. Choose a Topic: Please draw from the following as you develop your essay focus: • Narrate an early memory about writing or reading that you recall vividly. Then explain why this event is significant to you now. • Describe someone who taught you to read or write and explain this person’s significance in your life. • Identify a book or other text and explain its significance for you in your reading and writing. • Narrate an experience with a writing or reading task that you found (or still find) difficult or challenging. • Describe a memento and explain how it represents an important moment in your reading/writing development. Then Create a Narrative: Use sound writing and story-telling skills to organize and articulate your story. Make sure to stay focused on your one, main idea. Key Elements • Create a well told story. Bring your narrative to life by using concrete and vivid details. • Develop your main idea. (make sure you only have one main idea) • Develop the significance or affect of your...
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...engineering complained that the transition from slide rules to calculators had affected their students' ability to deal with issues of scale. When students used slide rules, they had to insert decimal points themselves. The professors insisted that that required students to maintain a mental sense of scale, whereas those who relied on calculators made frequent errors in orders of magnitude. Additionally, the students with calculators had lost their ability to do "back of the envelope" calculations, and with that, an intuitive feel for the material. That same semester, I taught a course in the history of psychology. There, I experienced the impact of computational objects on students' ideas about their emotional lives. My class had read Freud's essay on slips of the tongue, with its famous first example: The chairman of a parliamentary session opens a meeting by declaring it closed. The students discussed how Freud interpreted such errors as revealing a person's mixed emotions. A computer-science major disagreed with Freud's approach. The mind, she argued, is a computer. And in a computational dictionary -- like we...
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...what American Literature is in itself and which pieces of writing we can include within this label. It is believed that when a piece is written in North America, more precisely in the USA, it would automatically be given this epithet. But it should be taken into account that this idea is quite broad and doesn’t reflect the real essence of the term. However, there is also another definition that gathers this essence: American Literature is the one that represents the Americanism, the singularity of the USA philosophy and culture. This way, instead of focusing on who the author is, it is focused on the content of the writing. In that which concerns Fiction, the following documents are the ones considered as narrative: Speeches Letters Short Stories Essays Political Documents Sermons Novels Diaries 1 FIRST LITERARY EXPRESSIONS The first documents in which the idea of Americanism is very present are the Sermons. They respond to the strict Protestantism settled in the New Continent after the arrival of the Pilgrim Fathers and Puritans in the Mayflower (1620) and the Arabella (1630). They established a theocratic community whose main and only point of reference was the Bible. That is why the idea of the ‘city upon a hill’ is still very present in American mentality. As we all know, their community was also governed by the concept of Predestination. This belief was based in the idea that we are...
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...NOTES IN LIT II Literature under Spanish Colonialism (1893) 1565 * When Spain established their first permanent settlement in the Philippines. They place upon the on the Filipino people the Spanish Monarch and Roman Catholic Religion. Pueblos * (taga-bayan) Filipinos who settled where they were within easy reach of the power of the church and State. Hinterlands * (taga- bukid or taga bundok) are the Filipinos who kept their distance from colonial administrators and their native agents, staying close to the sources of their livelihood in the mountains. * The distinction were beyond indicating mere geographic origin and took an overtones of cultural snobbery as the effect of colonization seeped deeper into the consciousness of lowland Filipinos. Filipino * This name was reserved for Spaniards born in the Philippines, and everybody else who had only native ancestors was an “Indian”. Parish Priest * It was practically the only Spaniard who had direct contact with the Filipinos. * Became the embodiment of Spanish power and culture among the colonized populace, though their contact with him and the beliefs and values he carried, religion exerted a pervasive influence on the minds of Christianized Filipinos. Medieval Catholicism * These were presented by Friar began to be challenged by Filipinos who had by virtue of university education and come into the orbit of liberal minds in the 19th century Spain and Europe. * Also the literature of...
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...Biography of Nick Joaquín (1917-2004) Posted on September 15, 2010 by Pepe Nicomedes "Nick" Joaquín This is the best biography of Nick that I’ve encountered so far… The 1996 Ramón Magsaysay Award for Journalism, Literature and Creative Communication Arts BIOGRAPHY of Nick Joaquín Resil B. Mojares He was the greatest Filipino writer of his generation. Over six decades and a half, he produced a body of work unmatched in richness and range by any of his contemporaries. Living a life wholly devoted to the craft of conjuring a world through words, he was the writer’s writer. In the passion with which he embraced his country’s manifold being, he was his people’s writer as well. Nick Joaquín was born in the old district of Pacò in Manila, Philippines, on September 15, 1917, the feast day of Saint Nicomedes, a protomartyr of Rome, after whom he took his baptismal name. He was born to a home deeply Catholic, educated, and prosperous. His father, Leocadio Joaquín, was a person of some prominence. Leocadio was a procurador (attorney) in the Court of First Instance of Laguna, where he met and married his first wife, at the time of the Philippine Revolution. He shortly joined the insurrection, had the rank of colonel, and was wounded in action. When the hostilities ceased and the country came under American rule, he built a successful practice in law. Around 1906, after the death of his first wife, he married Salomé Márquez, Nick’s mother. A friend of General Emilio Aguinaldo, Leocadio...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Very Short Introductions are for anyone wanting a stimulating and accessible way in to a new subject. They are written by experts, and have been published in 15 languages worldwide. Very Short Introductions available from Oxford Paperbacks: ANCIENT PHILOSOPHY Julia Annas THE ANGLO-SAXON AGE John Blair ARCHAEOLOGY Paul Bahn ARISTOTLE Jonathan Barnes Augustine Henry Chadwick THE BIBLE John Riches Buddha Michael Carrithers BUDDHISM Damien Keown CLASSICS Mary Beard and John Henderson Continental Philosophy Simon Critchley Darwin Jonathan Howard DESCARTES Tom Sorell EIGHTEENTH-CENTURY BRITAIN Paul Langford The European Union John Pinder Freud Anthony Storr Galileo Stillman Drake Gandhi Bhikhu Parekh HEIDEGGER Michael Inwood HINDUISM Kim Knott HISTORY John H. Arnold HUME A. J...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Jonathan Culler LITERARY THEORY A Very Short Introduction 1 Great Clarendon Street, Oxford o x2 6 d p Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Jonathan Culler 1997 The moral rights...
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...CHAPTER I THE PROBLEM AND ITS BACKGROUND I. INTRODUCTION Phenomenology is a qualitative research method originally developed by the philosopher Edmund Husserl.[1] The termed phenomenology is both a philosophy and a research method. As a philosophy, phenomenology is a particular way of approaching the world and apprehending lived experience[2]. As a research method, phenomenology is a rigorous process of reexamining what Husserl termed “the things themselves.”[3] The question of phenomenological inquiry is about the meaning of human experience and asks, “What is it like?” Phenomenology is a way of thinking about what life experiences are like for people[4] and is primarily concerned with interpreting the meaning of these experiences. Phenomenological research “explores the humanness of a being in the world”[5]. Bergum refers to the phenomenological research method as an “action-sensitive-understanding” that begins and ends in the practical acting of everyday life and leads to a practical knowledge of thoughtful action. Phenomenological research is an introspective human science, the intent of which is to interpret and to understand as opposed to observing, measuring, explaining, and predicting)[6]. The intention is to go beyond the aspects of life taken for granted and “to uncover the meanings in everyday practice in such a way that they are not destroyed, distorted, decontextualized, trivialized or sentimentalized”.[7] To answer the question, “What is it...
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...blessing, help and guidance given by him from time to time shall carry us a long way in the journey of life on which we are about to embark. Last but not the least; we would appreciate the guidance given by all the other groups which have helped us in the successful completion of this project. Group-7 Group 7 Page 2 OBJECTIVE Through this project we would like to throw light on different personality attribute of Arundhati Roy which shaped her life as a social change maker and we will also focus on the patterns of thoughts, feelings, behaviors and experiences that make her unique and socially relevant to the society. The above quote aptly depicts the thought process of Arundhati Roy, her fearless and dauntless attitude, her spirit to fight, and above all her love for nature and people. Group 7 Page 3 INTRODUCTION “TO LOVE. TO BE LOVED. TO NEVER FORGET YOUR OWN INSIGNIFICANCE. TO NEVER GET USED TO THE UNSPEAKABLE VIOLENCE AND THE VULGAR DISPARITY OF LIFE AROUND YOU. TO SEEK JOY IN THE SADDEST PLACES. TO PURSUE BEAUTY TO ITS LAIR. TO NEVER SIMPLIFY WHAT IS COMPLICATED OR COMPLICATE WHAT IS SIMPLE. TO RESPECT STRENGTH, NEVER POWER. ABOVE ALL, TO WATCH. TO TRY AND UNDERSTAND. TO NEVER LOOK AWAY. AND NEVER, NEVER TO FORGET.” ARUNDHATI ROY This quote of Arundhati Roy has been taken from her book “The...
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...To Teach Effective Writing, Model Effective Writing ORIGINALLY PUBLISHED: JUNE 10, 2014 | UPDATED: JULY 14, 2015 * ------------------------------------------------- 8.1KSHARES * ------------------------------------------------- * ------------------------------------------------- * ------------------------------------------------- * ------------------------------------------------- I strive to teach my high school students the value of criticism, especially when it comes to improving their writing. To do so, I model how criticism continues to help me become a better writer. Earlier this year, for example, I shared a draft of one of my education feature articles, which included detailed feedback from an editor at a prominent media company. I asked my classes for advice on how to address several edits, dealing with sources, transitions, terminology, and structure. A few days later, I directed my budding writers to the much-improved final draft. This easy but worthwhile activity helped more of my students feel comfortable receiving criticism, and not view it as an affront. As a result, they improved their writing by taking the time and care to consider and respond to reader insight. I want my students to feel secure in the knowledge that nobody is beyond criticism (even their teacher), and that the bigger challenge is developing the good sense to acknowledge and successfully respond to feedback. Along those lines, I also offer the suggestions below...
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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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...section Vi essay forms Many people use the term “essay” to mean any paper written for a class. In actuality, there are many different types of essays, each of which has a unique purpose, form, and style. We call these different types of essays “modes of discourse,” and they include expository, persuasive, and comparecontrast essays to name just a few. This section of the Guide has a dual purpose. First, various types of essays are described and suggestions are included about how to approach each particular type of writing. Second, the sample essays are good tools for you to see how these different essays look in their final form. These are not templates (no essay can be a carbon copy of another even in form), but they will give you a good idea of what a final piece of writing for each mode of discourse looks like. It would be advantageous to critically analyze the form and content of each sample against the instruction for how to write each type of essay. chapter 21 expository essays Jennifer propp An expository essay explains something using facts rather than opinions. The purpose of this type of essay is to inform an audience about a subject. It is not intended to persuade or present an argument of any kind. Writing this type of essay is a good way to learn about all the different perspectives on a topic. Many students use the expository essay to explore a variety of topics, and do so in a wide range of formats, including “process” and “definition”...
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...7 ANALYZING THE AUTHOR’S PURPOSE AND TECHNIQUE he writer’s overall purpose determines the techniques he or she uses. The writer’s reason for writing a particular article or book may be manipulative, as in propaganda or advertising, or may be more straightforward, as in informative writing. In either case, understanding the writer’s underlying purpose will help you interpret the context of the writing. It will also help you see why writers make the decisions they do—from the largest decisions about what information to present to the smallest details of what words to use. The chapter concludes with instructions on how to write an analysis of purpose and technique. This kind of rhetorical analysis will provide the perspective required to keep you from being pushed by words in directions you don’t want to go. T 103 104 Part 1 Writing About Reading The Writer's Purpose Insofar as people know what they are doing, they plan their actions to achieve their purposes. Someone who selects the purpose of being rich will design and carry out a set of actions, legal or illegal, to gain the desired wealth. A person who wants to gain great wisdom will design an entirely different life course. Writers, whether they want most to be wealthy or wise, have specific purposes they hope to achieve by any piece of work. If they are skilled writers—that is, in control of what they write—they design each aspect of what they are writing to achieve their purpose. Being aware of the writer's...
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