...restrict any of his feelings or thoughts that go through his mind. So in the first part of his monologue, the language in this monologue includes phrases that are associated with subjects that are essential tot he human body as he expresses:: “It is the east and Juliet is the sun, arise far sun and kill the envious moon” this signifying that he needs Juliet to come out for him to ‘live’ and destroy the feelings he has for Rosaline ‘kill the envious moon’. This showing that Romeo’s voice of love is immature as he quickly wants to diminish his previous love of Rosaline and replace with Juliet as “kill” causes a fast action of death. However when comparing the first stanza of Byron’s “When We Two Parted” the mood of this is regretful as he reflects on past events:”Pale grew thy cheek cold colder thy kiss” as this effect is reinforced by the use of enjambment that is a common theme in the poem. This signifying that Bryon’s voice of loss is mature as he is accepting that what he thought was love was growing to be non existent which Romeo does not acknowledge as in this play he thinks that his and Juliet’s love will always be there as in this scene they quickly progress to talk about marriage. The subject of marriage would also show his voice seems to be stereotypical as he uses phrases such as Romeo continuously gives complex answers to Juliet’s request to get married: “Lady, by yonder blessed moon I vow that tips thy love all these fruit tree tops-“which may suggest that he knows that...
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...Theatre 152 November 12, 2015 Section 6 The Importance of Lighting One Flew Over the Cuckoos’ Nest , written by Dale Wasserman, was one of the more exciting plays I saw this semester. Part of the reason this play made such an impact on me was the way the lighting set the mood. I intend to argue that the lighting in the play properly set the mood for each scene. In this paper I will discuss how the lighting affected the mood when the Chief would look into the distance, how it affected the show during the electroshock therapy of McMurphy, and lastly how the transition from night to day really helped the play move along smoothly. During Chief’s monologues the lighting set the tone for him and was able to take the audience back to his native Indian reservoir. The blue hue that went along with his monologues really made one feel one with the Chief as if we were experiencing the same feeling and sites he was. With Chief looking up into the blue hue lighting it made it appear is if he was back at those ground and taking in the fresh air, whenever the stage went dark and that light flashed on him he seemed happy. The lighting helped make it seem as if you were back there with him on the Indian grounds, it allowed the audience to take that journey and ignore the setting around him, as if it took him out of the asylum and back to his home. As discussed in the chapter 10 in the text book, Theatre: The Lively Art, the light is crucial to giving focus and composition....
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...A BLACK WOMAN’S JOURNEY: FOR COLORED GIRLS Created in 1975, For Colored Girls Who Have Considered Suicide/ When the Rainbow is Enuf, focuses on the struggles of black women not only from that era, but issues still pertaining to black women 35 years later. Shange’s powerful choreopoem is comprised of seven women trying to "sing a black girl's song…. Sing a song of life, she's been dead so long"(Shange 18), creating a voice for every woman. None of these women possess a name, only a color, to show that they represent all women of color. Shange includes themes of love, abandonment, sexuality, abortion, and domestic violence to emphasize what women in her community were and still are subjugated to. Through dance, poetry, and music these women slowly but surely find their true identity. Ntozake uses her work as a tool to empower all “colored girls” by creating these seven strong women that form a bond when they are able to find their identity as black women, and essentially in their journey make it to the end of their rainbows without committing suicide. When looking into Shange’s life there’s no question that situations, which she had observed day-to-day or experienced herself, were imposed on her writings. Born as Paulette Williams she was raised in a middle class family, which was not a childhood common for blacks. Her family moved to St. Louis and she attended a non-segregated school where she had to endure blatant racism at the mere age of eight years old. She rebelled...
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...Readers Response to the Change in Ontological Levels in Metafiction In works of metafiction, literary works address the devices of fiction to uncover the fictional illusion. Sometimes these works have a voice interacting within the world or review a contemplation of thought. Some works utilize different scenarios to emphasize metafiction such as; a reader reading a literary work, an author writing a literary work, or a narrator intentionally exposing him or herself as the author of the story. These works could also address the specific conventions of story, such as title, character conventions, paragraphing or plots. The various ways of creating a metafictional work is meant to capture the reader by making them aware that the story being told is made up, preventing a connection to their reality. One must question how do readers respond to the metafictional work? Can this response change when a different media is being used? These questions must be evaluated first in order for the metafictional to be comprehended in the second reaction. After the reader has had time to pose certain questions it will help them understand the work of leiterature. Using reader’s reactions to Beckett’s “A Text for Nothing, Number 4,” “The Magic Poker” by Robert Coover and Virginia Woolf’s Orlando , we can evaluate the responses to these works and acceptance of the evident fictional world. In the first round of reading Samuel Beckett’s “A Text for Nothing, Number 4,” the reader might start off with...
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...Fahrenheit 451 Quotes Identity Quotes: 1) "You're one of the few who put up with me. That's why I think it's so strange you're a fireman, it just doesn't seem right for you, somehow." Montag’s identity crisis begins during his conversations with Clarisse. We immediately sense conflict between his desire to be a dutiful member of society and his inner belief that something is wrong. 2)"I mean," he said, "in the old days, before homes were completely fireproofed–" Suddenly it seemed a much younger voice was speaking for him. He opened his mouth and it was Clarisse McClellan saying, "Didn't firemen prevent fires rather than stoke them up and get them going?" Montag escapes the guilt of betraying his duty by ascribing his actions to other things: in this case, to another person 3) The numbness will go away, he thought. It'll take time, but I'll do it, or Faber will do it for me. Someone somewhere will give me back the old face and the old hands the way they were. Even the smile, he thought, the old burnt-in smile, that's gone. I'm lost without it. Montag isn’t just talking about the numbness in his legs; he’s afraid of his new rebellious, fugitive self. 4) "All of those chemical balances and percentages on all of us here in the house are recorded in the master file downstairs. It would be easy for someone to set up a partial combination on the Hound's ‘memory,’ a touch of amino acids, perhaps. That would account for what the animal did just now. Reacted...
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...In this family it is Edmund, Gloucester’s illegitimate son who commits actions that disturb Nature, and as a result it ruins peace between himself and his entire family. Edmund’s self-revealing soliloquy at that beginning of the first act in the second scene reflects his views and opinions about the accepted laws of Nature. Edmund rejects moral law and endorses the law of the jungle. This is pointed out by the fact that Edmund starts his monologue by invoking the goddess of Nature: ‘Thou, Nature, art my goddess’ (1.2.1) but towards the end of his speech his words are ‘Now, gods, stand up for bastards!’ (1.2.23). When King Lear was written, bastards were not considered to accepted under the natural laws of society, thus, one can conclude that the goddess of Nature whom he invokes does not represent the his idea of traditional Nature, ‘dull, stale, tired bed’ (1.2.14) but rather animal vitality alone, ‘lusty stealth of Nature’ (1.2.12). Edmund views the accepted laws of society as the ‘plague of custom’ and the ‘curiosity of nations’ (1.2.3-4) which means he sees the natural law as no more than artificial constraints imposed upon society. Edmund sees Nature working against him because...
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...Tennyson (Ulysses and Crossing the Bar) Presented by: Fatima Tawfiq ********************************************************** Tennyson Biography Alfred, Lord Tennyson, is one of the most famous poets in English literature. Many of his poems are standard of 19th-century literature and are critical and popular favorites. The body of critical work on him is immense, and although some of his work is seen as too sentimental today, his intellectual contributions to poetry and metaphysics are undeniable. Alfred Tennyson was born on August 5, 1809 in Somersby, Lincolnshire, where his father George was a clergyman. Young Alfred began writing poetry at a very early age, and published his first work "Poems by Two Brothers" at the tender age of sixteen. In that same year of 1827 Tennyson entered Cambridge University, where he befriended Thackery and produced his second collection, "Poems, Chiefly Lyrical". He also met Emily Selwood, to whom he became engaged in 1839. The Selwood family objected to the engagement, partly because of Tennyson's lack of money, and partly because his brother Charles was unhappily married to Emily's sister Louisa. Tennyson poured his energy into writing, and his "Poems" of 1842 made him extremely popular. He let his doctors convince him to give up writing for a time because of his poor health, but the respite was temporary. In 1847 "The Princess" was another success, and two years later Tennyson married Emily in a secret ceremony. When William Wordsworth...
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...AS English Language [pic] [pic] [pic] Fiction style models and tasks – 2012/2013 Style Model Workbook Style models are examples of a type of writing used to give you an idea of the features used when adapting a particular style and form. As you will be required to include a fiction and non-fiction annotated style model as part of your coursework folder we have compiled a selection of materials to give you a head start. The two booklets (one fiction, one non-fiction) will contain the type of extracts you should be looking for and the questions that accompany them will help you to annotate the materials appropriately. You will be given some of the extracts to study in class and some to complete as homework tasks. There may be some materials that you haven’t been directed to by your teachers, these will make very good additional preparation and you should look at these in your own time. All the resources, and some additional style models, can be found in the AS Language section of Moodle. AS LANGUAGE COURSEWORK You must keep all work during the production of the coursework in your folder. You will need all drafts and style models for part of your final grade. Criteria • Two pieces of your own writing • Each piece must have a different audience and purpose • You should write with a specific genre in mind • Pieces should be designed with a real publication in mind • Two...
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...ExpAQAPoetryClusters4Relationships_pp125-156_FINAL_Layout 1 28/05/2010 13:32 Page 125 Cluster 4 Relationships Different types of relationship are the focus of this cluster. Some poems, such as ‘Quickdraw’ and ‘Hour’, deal with the positive and/or negative emotions inherent in romantic relationships. Some deal with family relationships and the complex feelings that can be experienced by parents and children, or brothers and sisters, as in ‘Nettles’ and ‘Harmonium’ or ‘Brothers’ and ‘Sister Maude’ respectively. Some of the recurrent themes include conflict between couples, and the emotional vulnerability and pain that love can cause, whether it is between a father and his son or a couple at the start of a romantic love affair. When studying this cluster, it might be useful for students to focus on some of the following considerations: • What form of relationship is the focus of this poem? Is it a romantic or familial relationship? Is the poet drawing attention to any universal experiences as they portray this relationship in particular? • From whose perspective is the poem written? Is it first, second or third person address, and how does this affect meaning? Who does the poem address? Or is it about, rather than directed to, someone? Does the form of communication affect the meaning? Is the poet speaking directly, or does the poet use a persona to communicate their ideas? • Consider the mood / tone of the poem. Is it light-hearted or serious in tone? Is it making a serious...
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...Poetry, prose, sonnets, drama, plays, short stories and novels are concepts that first came to my mind when I think in the question “What is literature?” The definition of literature has change over time. The only thing that is certain about the meaning of literature is that the definition will change. The concepts about what is literature about also change over time. In order to get a clear understanding of exactly what literature is, first we need to know its definition. According to the Merriam-Webster, literature is defined by “the body of written works produced in a particular language, country, or age; the body of writings on a particular subject: printed matter.” Literature has to do with letters, but some people often think that literature is only one thing, not knowing that it is composed by several elements that we use every day. These important elements include poems, prose, sonnets, drama, plays, short stories and novels. Poetry is created from the soul. It comes from your emotions and it needs every piece of creativity inside you. It has been called the art of “saying the unsayable” because trough this you can express your feelings with no limit, and nobody can tell you that is wrong. If you make a poem and you think it is not good enough, well it is no good. You as the author or the reader, can only judge if it is good or but for you but maybe for some one else it is the opposite as it is for you. A good place to start when looking back at how poetry...
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...BEGINNING KOREAN: A GRAMMAR GUIDE DAVID J. SILVA THE UNIVERSITY OF TEXAS AT ARLINGTON DEPARTMENT OF LINGUISTICS AND TESOL DRAFT: AUGUST 2004 DO NOT CITE. Beginning Korean: A Grammar Guide Getting Started in Korean Note: This material is optional; ask your instructor / tutor if s/he would like to review these basic phrases during the first week of class. Listen carefully as your instructor teaches you the following greetings and classroom instructions. Don’t worry about grammar. Rather, listen to how each of these phrases sounds, and associate the sounds with what they mean and then learn how you should respond in each case. Basic Greetings 안녕 하세요? annyeong haseyo? Hello. / Greetings. (lit: Are you at peace?) - Yes. Hello / Greetings. Goodbye! Go well. (said to one leaving) Goodbye! Stay well. (said to one staying) - 네. 안녕하세요? ne. annyeonghaseyo? 안녕히 가세요. annyeonghi gaseyo. 안녕히 계세요. annyeonghi gyeseyo. Classroom Instructions 들으세요. deureuseyo. Listen(, please). Listen carefully(, please). Repeat (after me). Answer(, please). Speak up(, please). Speak louder(, please). 잘 들으세요. jal deureuseyo. 따라 하세요. ttara haseyo. 대답하세요. taedaphaseyo. 크게 말하세요. keuge malhaseyo. 더 크게 말하세요. deo keuge malhaseyo. ii Autumn 2004 D.J. Silva 일어나세요. ireonaseyo. Stand up(, please). Sit down(, please). Read(, please). Write (it down, please). Write it on the chalkboard(, please). Look at me(, please). Look at the chalkboard(,...
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...“Ang Ningning at Ang Liwanag” isinulat ni: Dimas-Ilaw (Emilio Jacinto) Ang ningning ay nakasisiLaw sa paningin. Ang Liwanag ay kinakaiLangan ng mata, upang mapagwari ang buong katunayan ng mga bagay-bagay. Ang bubog kung tinatamaan ng nag-aapoy na sikat ng araw ay nagniningning; ngunit sumusugat sa kamay ng nagaganyak na dumampot. Ang ningning ay madaya. Ating hanapin ang Liwanag, tayo'y huwag mabighani sa ningning. Sa katunayan ng masamang kaugaLian: Nagdaraan ang isang karwaheng maningning na hinihiLa ng kabayong matuLin. Tayo'y nagpupugay at ang isasaLoob ay mahaL na tao ang nakalulan. Datapwa'y marahiL naman ay isang magnanakaw; marahiL sa iLaLim ng kanyang ipinatatanghaL na kamahaLan at mga hiyas na tinatagLay ay natatago ang isang pusong sukaban. Nagdaraan ang isang maraLita na nagkakanghirap sa pinapasan. Tayo'y mapapangiti at isasaLoob: Saan kaya ninakaw? Datapwa'y maLiwanag nating nakikita sa pawis ng kanyang noo at sa hapo ng kanyang katawan sa siya'y nabubuhay sa sipag at kapagaLang tunay. Ay! Sa ating pang-uga-ugaLi ay Lubhang nangapit ang pagsamba sa ningning at pagtakwiL sa Liwanag. Ito na nga ang dahiLang isa pa na kung kaya ang tao at ang mga bayan ay namumuhay sa hinagpis at daLita. Ito na nga ang dahiLan na kung kaya ang mga Loob na inaakay ng kapaLaLuan at ng kasakiman ay nagpupumiLit na Lumitaw na maningning, LaLung-LaLo na nga ang mga hari at mga Pinuno na pinagkatiwaLaan ng sa ikagiginhawa ng kaniLang mga kampon, at waLang ibang...
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...approaching from the south. It is dusk, and the lights of the city are beginning to twinkle against the backdrop of the vibrant city. Quick cuts to street level scenes of well-known locales between title cards naming the cast. These scenes and title cards are cut with a moving shot of the George Washington Bridge (span, cables, deck, towers, etc.) from different angles and perspectives. . The credits end on one continuous shot as we approach a figure standing on the south side of the bridge, staring out over the Hudson River and the lights of Manhattan to the south. This is DECKER JONAS. He is tall and striking, wearing jeans, a t-shirt, and a hoodie. The camera then circles behind Decker going from left to right, catching Deckers view of the city at sunset. As the camera completes its half circle to the right and comes to a complete stop at DECKER’S ¾ profile we see he is holding a piece of paper, it is folded, he unfolds the paper and begins to read, a voice over begins. It is Decker’s voice. DECKER: Mom. Dad. I feel as though I’m losing myself again. [ 1. PAN to OS Right showing the letter] I know I am. I can feel life spinning away from me, and this time I have nothing to hold on to. Its as though I’m on one of those tacky carnival rides that Dad would take me on at Edgewater Days when I was a kid, although now he’s not there to hold me in. I can feel it, I’m losing control. [ 2. Rotate to the right and pull back to the previous position] I know that, this...
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...BUSHOR-881; No. of Pages 9 Business Horizons (2011) xxx, xxx—xxx www.elsevier.com/locate/bushor We’re all connected: The power of the social media ecosystem Richard Hanna a, Andrew Rohm a, Victoria L. Crittenden b,* a b College of Business Administration, Northeastern University, Boston, MA 02115, U.S.A. Carroll School of Management, Boston College, Chestnut Hill, MA 02467, U.S.A. KEYWORDS Social media; Traditional media; Online ecosystems; Marketing communications; Marketing metrics; Consumer engagement and interaction Abstract Consumers are adopting increasingly active roles in co-creating marketing content with companies and their respective brands. In turn, companies and organizations are looking to online social marketing programs and campaigns in an effort to reach consumers where they ‘live’ online. However, the challenge facing many companies is that although they recognize the need to be active in social media, they do not truly understand how to do it effectively, what performance indicators they should be measuring, and how they should measure them. Further, as companies develop social media strategies, platforms such as YouTube, Facebook, and Twitter are too often treated as stand-alone elements rather than part of an integrated system. This article offers a systematic way of understanding and conceptualizing online social media, as an ecosystem of related elements involving both digital and traditional media. We highlight a best-practice case study...
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...dracontias 1 2007 no. 1 2007 1 dracontias 1 2007 2 dracontias 1 2007 Melez! Occasionally, one encounters persons calling themselves “theoretical magicians” and thus meaning that they subscribe to the magical paradigms without practising magic. But, theoretical magic is a contradiction. Magic is practice, action. Eugenio Trias, professor in philosophy, have pointed out that the word magic can be traced back to the same root as make (Swedish makt meaning ‘power’, German machen meaning ‘do’ or ‘make’). Magic is a creative, creating force through which the magician enables his visions through action. This is echoed in the Draconian magical formula: Visio, Vires, Actio: Vision, Force, Action. Practising magic, however, is an art that demands dedication, patience and discipline. A process of ennobling is demanded to develop the magical abilities, a path of initiation, an alchemy in which vision and action are united into a whole. The Magical Week on Gotland is the most important magical highlight of the year, where we unite magical work with inspiring social activities and there will be a unique opportunity to work magically in depth together with others in Dragon Rouge. The Magical Week 2007 we will focus on Visio Vires Actio – The Draconian Alchemy and we will ennoble our magical abilities during intensive magical operations. HDHM! Dracontias No. 1 2007 In this issue: Editorial A few words by Thomas Karlsson The Path Through the Underworld By Anne L. The Manala...
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