...sentence that in my view can be said like: “And there on his hand was the smile”. And the message of the story lies in the words of a man from the story that people with a heart, imagination and a soul for pretty things can save the beauty and the civilization. The metaphoric exposition and the plot bring the reader’s mind to work on the problem raised, as everyone can find there the issue that he is personally concerned with: some may think that the story is about the future of the world, some would declare the mob psychology effects, others will think about the problem of choice in people’s life or the ideas of happiness, - these are all can be considered as the story’s major themes. Any of the ideas may be supported by the conflict when named and as for me there is a complex conflict that from the external point depicts the person (a boy – Tom) versus the mob. The second variant of the external conflict I’d work out as more general one: people within the civilization and out of it. The internal conflict goes around the boy being of two minds: to follow the others or to listen to his feelings and aspiration. So, the author tells the story in the third person and just takes a step back to make us interpret the things on our own. He plausibly creates the picture of the atmosphere but leaves the room for the reader’s imagination to create the details of the decorations at the same time. All the settings can be rendered through the dialogues, as most of the story is coming in dialogue...
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...States of America. Corporate culture of the university requires the most money distributed towards research and specialization, while making employability of the graduates the main goal of education. With two thirds of all majors being in business and finance, humanities don’t seem to play a big role in higher education overall. This work makes an attempt in defense of liberal arts education to our students, and the importance of teaching the subjects like English, Literature and Philosophy independent of a student’s major concentration. Even in our age of specialized and corporatized education, these courses are of great importance. These subjects can help young people find their way in this confusing web of life weaved out of pressure, expectations, failures, problems, fears. What other fields of study can teach them about history of cultures and languages, people who made history; who made contribution to the world in art, literature and science; what young people can learn from them. But most importantly, how to raise questions about life in...
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...Experience: Design Approach to Human-centered Jodi L. Forlizzi Submitted to the Department of Design, College of Fine Arts, Carnegie Mellon University, in partial fulfillment of the requirements for the degree of Master of Design in Interaction Design Abstract My thesis attempts to understand experience as it is relevant to interaction design. Based on the work of John Dewey, Mihalyi Csikszentmihalyi, and Richard Carlson, I identify two types of experience in user–product interactions: satisfying experiences and rich experiences. A satisfying experience is a process–driven act that is performed in a successful manner. A rich experience has a sense of immersive continuity and interaction, which may be made up of a series of satisfying experiences. Based on this definition, I identify a set of design principles with which to create products that evoke rich experiences. These principles are intended to encourage designers to think about how to create user–product interactions that suggest values and communicate meanings that enrich the quality of life. Narrative plays a key role in these design principles. Our series of life experiences form a narrative; the values that designers impart in an object form a narrative which is elaborated...
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...Introduction to Literature for more information about the purpose and expectations 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/...
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...Thematic Paper on Christology in the Gospels Submitted to Mr. Kwok H.B. of Alliance Bible Seminary in Partial Fulfillment of the Requirements for the Course of TH512-E:Systematic Theology II Sept.-Nov, 2005 Margaret, Tse Yin Yi M024110 November 29, 2005 I. The meaning of Christology 3 II. What Can Be Discerned about Jesus from His Words Concerning Issues Other than the Kingdom and Himself 3 III. What Can Be Discerned about Jesus from His Deeds and Words Proclaiming the Kingdom of God 3 IV. What Can Be Discerned about Jesus from His Words Concerning Himself… 3 V. Hosea and “the Son of the Living God” in Mattew 16:16b 3 VI. Jesus as Messiah in the Gospel of Luke 3 VII. Narrative Christology and the SON OF MAN: What the Marken Jesus says instead 3 VIII. Conclusion 3 IX. Reference 4 I. The meaning of Christology The Greek for “Messiah” is Christos, whence “Christ”. So, “christology” would discuss how Jesus came to be called the Messiah or Christ and what was meant by that designation. In a broader sense, “christology” discusses any evaluation of Jesus in respect to who he was and the role he played in the divine plan. Scholars distinguish different kinds of Christology. “Low christology” covers the evaluation of him in terms that do not necessarily include divinity, e.g. Messiah, Rabbi, Prophet, High Priest, Savior, Master. “High christology” covers the evaluation of Jesus in terms that include...
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...STUDIES IN PROFESSIONAL LIFE AND WORK Mike Hayler University of Brighton, UK Autoethnography, Self-Narrative and Teacher Education examines the professional life and work of teacher educators. In adopting an autoethnographic and life-history approach, Mike Hayler develops a theoretically informed discussion of how the professional identity of teacher educators is both formed and represented by narratives of experience. The book draws upon analytic autoethnography and life-history methods to explore the ways in which teacher educators construct and develop their conceptions and practice by engaging with memory through narrative, in order to negotiate some of the ambivalences and uncertainties of their work. The author’s own story of learning, embedded within the text, was shared with other teacher-educators, who following interviews wrote self-narratives around themes which emerged from discussion. The focus for analysis develops from how professional identity and pedagogy are influenced by changing perceptions and self-narratives of life and work experiences, and how this may influence professional culture, content and practice in this area. Autoethnography, Self-Narrative and Teacher Education Autoethnography, Self-Narrative and Teacher Education STUDIES IN PROFESSIONAL LIFE AND WORK The book includes an evaluation of how using this approach has allowed the author to investigate both the subject and method of the research with implications for ...
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..."The Victorian elements in Wuthering Heights by Emily Brontё" The Victorian Era, in which Brontё composed Wuthering Heights, receives its name from the reign of Queen Victoria of England. The era was a great age of the English novel, which was the ideal form to descibe contemporary life and to entertain the middle class. Emily, born in 1818, lived in a household in the countryside in Yorkshire, locates her fiction in the worlds she knows personally. In addition, she makes the novel even more personal by reflecting her own life and experiences in both characters and action of Wuthering Heights. In fact, many characters in the novel grow up motherless, reflecting Emily’s own childhood, as her mother died when Emily was three years old. Similarly, the vast majority of the novel takes place in two households, which probably is a reflection of author’s own comfort at home as whenever she was away from home she grew homesick. Emily Brontё’s single novel is a unique masterpiece propelled by a vision of elemental passions but controlled by an uncompromising artistic sense. However, despite the relative invisibility of Victorian influence in the plot and content, the attitudes of the Victorian Era make some impact on the story, and the novel is considered not only a form of entertainment but also a means of analyzing and offering solutions to social and political problems. Brontё may not highlight the social aspects in the novel, nevertheless the indications of Victorian society’s...
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...described [and] which occurs after severe mechanical concussions, railway disasters and other accidents involving a risk to life; it has been given the name of traumatic neurosis’ (12). Freud’s remark brings to the fore the traumas of the industrial age as both individually and publicly experienced and negotiated. This condition of trauma as private and public, individual yet also societal is held in tension throughout Cunningham’s novel. Reflecting on the otherness of trauma and its vexed relationship to representation, this article will consider some aspects of the writing of trauma in Michael Cunningham’s 2005 novel Specimen Days; a text that offers a particularly powerful literary imaging of culture’s disavowals that return to haunt. In my discussion of Cunningham’s engagement with trauma, and in particular social and ‘insidious’ forms of trauma, the main concerns will be firstly how the text...
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...upheaval, and is best known for his epic poem Paradise Lost (1667), written in blank verse. Milton's poetry and prose reflect deep personal convictions, a passion for freedom and self-determination, and the urgent issues and political turbulence of his day. Writing in English, Latin, Greek, and Italian, he achieved international renown within his lifetime, and his celebrated Areopagitica (1644)—written in condemnation of pre-publication censorship—is among history's most influential and impassioned defenses of free speech and freedom of the press. William Hayley's 1796 biography called him the "greatest English author," and he remains generally regarded "as one of the preeminent writers in the English language," though critical reception has oscillated in the centuries since his death (often on account of his republicanism). Samuel Johnson praised Paradise Lost as "a poem which...with respect to design may claim the first place, and with respect to performance, the second, among the productions of the human mind," though he described Milton's politics as those of an "acrimonious and surly republican". Because of his republicanism, Milton has been the subject of centuries of British partisanship. The phases of Milton's life parallel the major historical and political divisions in Stuart Britain. Under the increasingly personal rule of Charles I and its breakdown in constitutional confusion and war, Milton studied, travelled, wrote poetry mostly for private circulation...
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...there is a certain level of difference that can be tolerated, and anything beyond that comfort zone is deemed to be wrong. Today, it has become evident that more people have gathered the courage to defy society’s comfort zones and rise above them. Now, we see an increasing number of homosexuals that are becoming more open about their sexuality, but the question there is, are they coming out of the closet explicitly? Or is it simply an implied action? In the Philippines, we have local scenes that vividly showcase homosexual pride. We see this through the pubs that welcome gay acts to perform every now and then, the parlors whose staff consists primarily of gay stylists, even through the media we see how homosexuality is showcased through the rise of gay showbiz personalities such as Boy Abunda and Vice Ganda. All these examples do in fact show that homosexuals are given great respect in these fields, and that they have been accepted by the majority of the masses, but these people, they have come out to us in a different way – there was no profound declaration of their sexuality, they simply showed it to us through...
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...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 SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?……………………………………...
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...with his sight restored as he follows Jesus on the way up to Jerusalem. In a unique way, this story concretizes the power of the faith of persons who are oppressed by physical or mental handicaps, patriarchal social structures, racial discrimination, and economic systems over which they have no control. It is an invitation to allow our own personal and communal humiliation to be seen in the context of Bartimaeus's faith in Jesus as the Christ. The Story And they came to Jericho. And as he was leaving Jericho with his disciples and a great multitude, Bartimaeus, a blind beggar, the son of Timaeus, was sitting by the roadside. And when he heard that it was Jesus of Nazareth, he began to cry out and say, "Jesus, Son of David, have mercy on me!" And many rebuked him, telling him to shut up. But he cried out all the more, "Son of David, have mercy on me!" And Jesus stopped and said, "Call him." And they called the blind man, saying to him, "Take heart; rise, he is calling you." And throwing off his mantle he sprang up and came to Jesus. And Jesus said to him, "What do you want me to do for you?" And the blind man said to him, "Master, let me receive my sight." And Jesus said to him, "Go your way; your faith has made you well." And immediately he received his sight and followed him on the way. Learning the Story Verbal Threads "Jericho." The first episode is tied together by Jericho: "He came to Jericho"/"as he was leaving Jericho" (vs. 46). "Cried out…'Son of David, have mercy on me.'...
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...Ministry and Contextualization II | | Dr. D. Kortright DavisProfessorEvaluation of My Church Experience | Jacqueline D. Rooths 2/23/2012 Jacqueline D. Rooths 2/23/2012 I have attended five churches in my life. Born and baptized in the old Israel Baptist Church. During the height of the Civil Rights movement, my family transferred membership to the Church of the Redeemer Presbyterian church in Washington DC; we relocated to Long Island in my senior year of high school and we joined Memorial Presbyterian church. As an adult, I joined Hemingway African Methodist Episcopal (A.M.E.) church and for the past 24 years, I have been a member of Union Bethel A.M.E church. I stood on the fringes of the first four churches, observing from a far, but by virtue of age and experience I have been intimately involved in the bowels of Union Bethel A.M.E. church. Each church denomination has their body of governance. The Baptist denominations follow congregational church governance in which each individual congregation is governed autonomously, free from the direct control of any other body. The Presbyterian Church has a democratic form of city and church government called "presbyterian," meaning "governed by elders." The Presbyterian Church is a connectional church, functioning on several levels, the first level being the local church. Local churches...
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...Chapter Four Creating my embodied knowing In being a leader Chapter Four connects my learning from experience, the creation of my embodied knowing as a leader, my integration of ideas from the literature on leadership and my support for individuals to develop their capacities as I discover and manage resources to support visions of an improved educational system. I conclude by emphasizing the importance of my knowledge-creation in my professional practice as a Superintendent of Schools and by asking and answering the question: Why is there no simple or even complex answer to “what is educational leadership?” In the rhythm of the work, my efforts are often full of risk, sometimes disastrous, at which point I fall back, renew my energy and with my recognized tenacity, try another route. I will reveal as well how I carry that spirit, that life-affirming energy (Bataille, 1962; Whitehead, 1999) embodied in my whole being with a passion and internal power to effect good. Feminist Barbara Du Bois (1983) writes of "passionate scholarship" as being "science-making, which is rooted in, animated by and expressive of our values" (p. 113) (Belenky, et. al., 1986, p. 141). One of the reasons I can accomplish as much as I do is that the work and the relationships appear to be many and complex but because they are inter-related and connected they provide a synergy that produces results in numbers of seemingly different and unrelated focus areas. I find that as I am supporting...
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...arguments usually question or celebrate the transgressive potentials of the book (Giroux; Mendieta), or address issues of masculinity brought into the fore by their literary and cinematic representations emergent in the same decade (Tuss; Friday). However, few, if any, have addressed the literary aspirations of the text and its author. Although none of the approaches to the thematic concerns of Fight Club are unjustified, in the argument that follows I will suggest that conclusions drawn and critical judgments passed have been hasty, and not only failed to take into account the formal aspects of story-telling, but that the narrative features of Palahniuk’s text have largely went unexplored, and constitute a blind spot of the reception. Critics condemning or acclaiming the novel, and, indeed, many a cultic reader of Palahniuk ignored Fight Club as a literary narrative, and have inadvertently been repeating the catchphrases of the text, either reinforcing or trying to undermine what they have understood as their meaning. I see the significance of Palahniuk’s fiction and the literary event of Fight Club’s publication in somewhat different terms. Palahniuk’s emphasis and continued insistence on minimalism suggest that his fiction is properly understood as belonging to a literary tradition whose evaluation remains troubled and, for a large part, unsettled. Nevertheless,...
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