...Preston Tracy Tenson Comp 105 February 10, 2014 The Chase At a first look Annie Dillard’s, “The Chase” is an ordinary tale of children being children. It tells an incident from Dillard’s childhood when she was chased by a man after hitting his car with a snowball. Dillard’s purpose is to convey that even though it is fast paced, the exciting moments in life can be remembered ages after. Dillard begins her story of the day she was chased by studying the details that led to the day of the chase. Dillard describes the strategies that she has learned by playing football. These strategies toughened her up both physically and mentally. Dillard says all or nothing, to signify the skills required to play football. She continues to use diction such as wholeheartedly, body and soul, fearlessly, fate, to stress the seriousness of her actions. Dillard’s use of vivid details allows her to illustrate the sport in her mind. She says you would get kicked in the face while the kid got away, which makes the readers think of such pain. Dillard continues to give the reader imagery and details. She describes the setting with the six inches of snow. The author continues to describe her friends- the Fahey brothers, Chickie McBride, Billy Paul, and Mackie Kean are described as dark and furious, grew up skinny, knowing and skilled. These descriptions allow the reader to identify and imagine the characters. Also, Dillard describes the setting using descriptions. “The tracks left by the tires were...
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...Leah M. Norton Professor Chuck Norris English 132 28 September 2012 MLA Style: An Illustrated Guide Because MLA style can involve many elements, I have constructed this short paper to model and explain some of the basics of MLA style. You can see from the top of this page how your title block and header are supposed to look – remember, in the title block you should include your name, your professor, the course number (English 132), and the date – so the rest of this essay will focus on how to use in-text citations in your paper. There are several ways to cite quotations in an MLA-style paper. The first is simply to include your in-text citation, which is the author’s name and page number, in parentheses, at the end of the quote, as in this example: “Some boys taught me to play football. This was fine sport” (Dillard 23). Notice that the quote is first introduced, then given, and then explained. Notice also that the period at the end of the sentence doesn’t appear until after the citation. Another way to use an in-text citation is to put the citation before the quote. For instance, if I want to talk about something that Dillard says in her story, I’d say the author’s name and then use a quote such as, “Boys welcomed me at baseball, too, for I had, through enthusiastic practice, what was weirdly known as a boy’s arm” (23). Notice again how I first introduce the quote, give the quote, and then explain the quote. You should avoid beginning or ending a paragraph with...
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...rhetorical devices that make this story increasingly powerful yet straightforward. Despite the fact that this story is fairly short, Virginia Woolf, the author, is still capable to write such a detailed story with a forceful type of metaphor. A device that Woolf uses in her story that I caught right away was parallelism, which occurred when I read, “That was all he could do, in spite of the size of the downs, the width of the sky, the far-off smoke of houses, and the romantic voice, now and then, of a steamer out at sea.” (Woolf 2). When I continued to read the story, Woolf used an impressive sentence regarding a hyperbole which is introduced in this following sentence, “One could...
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...Levine’s information on the waxing and waning favor of the essay was news to me. I didn’t realize it had ever been a genre that writing programs avoided in favor of poetry, fiction, and screenplays. I’ve learned about great writing from focusing on nonfiction forms more than any other genre here at Lindenwood (and I’ve had many more hours that are fiction focused). The essay is fascinatingly complex. I’m so glad it’s in favor here at Lindenwood! This bit made me chuckle a bit: “Maybe you’ve noticed, there are no good cheery essayists.” I can’t argue that one. Even the essays that are lighter in tone (The Chase by Annie Dillard) are still far from cheery. Can anyone think of an exception? I am coming up short. Good story = conflict, right?...
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...DEPARTMENT OF LANGUAGES AND HUMANITIES CREATIVE WRITING EN1109 ACTIVITY # 1 NAME: MARIA NEÑA N. REYES | Date: | COURSE AND YEAR: LLB – 4TH | Class Schedule: | THE NATURE OF WRITING PROCESS Writing is considered as a complex process that allows writers to explore thoughts and ideas. Concretization of sentences is an important part of the writing just like laying the foundation for a house construction. When thoughts and ideas are written down, they can always be read and re-written, revised, edited, examined, rearranged and changed. The writer must first “think” in the language that he or she is writing. The beginning writing may appear a waterloo. Much of Annie Dillard works have been about the writing process, but she says that “Writing is a hard, conscious, terribly frustrating world!” Considerations according to some differences between Technical and Creative Writing: | Technical Writing | Creative Writing | Content | factual, straight forward | imaginative, metaphoric or symbolic | Audience | specific | general | Purpose | inform, instruct, persuade | entertain, provoke, captivate | Style | formal, standard, academic | informal, artistic, figurative | Tone | Objective | subjective | Vocabulary | specialized | general, evocative | Organization | sequential, systematic | arbitrary, artistic | On Creative Process: Gemino H. Abad gave the following important aspects of creativity: 1. The creative process is not a continuing development or a method but...
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...The Concept of Nature in the Poetry of William Wordsworth and Robert Frost : A Comparative Study Chapter One Introduction 1. Background Poets have long been inspired to tune their lyrics to the variations in landscape, the changes in season, and the natural phenomena around them. The Greek poet Theocritus began writing idylls in the third century B.C.E. to glorify and honor the simplicity of rural life--creating such well known characters as Lycidas, who has inspired dozens of poems as the archetypal shepherd, including the famous poem "Lycidas" by John Milton. An idyll was originally a short, peaceful pastoral lyric, but has come to include poems of epic adventure set in an idealized past, including Lord Alfred Tennyson's take on Arthurian legend, The Idylls of the King. The Biblical Song of Songs is also considered an idyll, as it tells its story of love and passion by continuously evoking imagery from the natural world. The more familiar form of surviving pastoral poetry that has retained its integrity is the eclogue, a poem attuned to the natural world and seasons, placed in a pleasant, serene, and rural place, and in which shepherds often converse. The first eclogue was written by Virgil in 37 B.C.E. The eclogue also flourished in the Italian Renaissance, its most notable authors being Dante and Petrarch. It became something of a requirement for young poets, a form they had to master before embarking upon great original work. Sir Philip Sidney’s Arcadia and Edmund Spenser’s...
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...Copyright © 2013 by McGraw-Hill Education. All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. ISBN: 978-0-07-180360-1 MHID: 0-07-180360-2 The material in this eBook also appears in the print version of this title: ISBN: 978-0-07-180359-5, MHID: 0-07180359-9. E-book conversion by Codemantra Version 1.0 All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill Education eBooks are available at special quantity discounts to use as premiums and sales promotions or for use in corporate training programs. To contact a representative please visit the Contact Us page at www.mhprofessional.com. Trademarks: McGraw-Hill Education, the McGraw-Hill Education logo, 5 Steps to a 5 and related trade dress are trademarks or registered trademarks of McGraw-Hill Education and/or its affiliates in the United States and other countries and may not be used without written permission. All other trademarks are the property...
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...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?…………………………………… Eugene E. Selk...
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...[pic][pic] [pic]Copyright © 2005 West Chester University. All rights reserved. College Literature 32.2 (2005) 103-126 [pic] | |[pic][pic][pic] | | | |[pic] | | | |[pic] | | | |[pic] | | | |[pic] | | | |[pic] | | | | | | | | | | | | | | | | | | | |Access provided by Northwestern University Library ...
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...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...
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...6 Build Your Vocabulary ■ ■ ■ ■ The SAT High-Frequency Word List The SAT Hot Prospects Word List The 3,500 Basic Word List Basic Word Parts be facing on the test. First, look over the words on our SAT High-Frequency Word List, which you’ll find on the following pages. Each of these words has appeared (as answer choices or as question words) from eight to forty times on SATs published in the past two decades. Next, look over the words on our Hot Prospects List, which appears immediately after the High-Frequency List. Though these words don’t appear as often as the high-frequency words do, when they do appear, the odds are that they’re key words in questions. As such, they deserve your special attention. Now you’re ready to master the words on the High-Frequency and Hot Prospects Word Lists. First, check off those words you think you know. Then, look up all the words and their definitions in our 3,500 Basic Word List. Pay particular attention to the words you thought you knew. See whether any of them are defined in an unexpected way. If they are, make a special note of them. As you know from the preceding chapters, SAT often stumps students with questions based on unfamiliar meanings of familiar-looking words. Use the flash cards in the back of this book and create others for the words you want to master. Work up memory tricks to help yourself remember them. Try using them on your parents and friends. Not only will going over these high-frequency words reassure you that you...
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...I PRAISE FOR The 4-Hour Workweek "It's about time this book was written. It is a long-overdue manifesto for the mobile lifestyle, and Tim Ferriss is the ideal ambassador. This will be huge." —JACK CANFIELD, cocreator of Chicken Soup for the Soul®, 100+ million copies sold "Stunning and amazing. From mini-retirements to outsourcing your life, it's all here. Whether you're a wage slave or a Fortune 500 CEO, this book will change your life!" —PHIL TOWN, New York Times bestselling author of Rule #/ "The 4-Hour Workweek is a new way of solving a very old problem: just how can we work to live and prevent our lives from being all about work? A world of infinite options awaits those who would read this book and be inspired by it!" —MICHAEL E. GERBER, founder and chairman of E-Myth Worldwide and the world's #1 small business guru "This is a whole new ball game. Highly recommended."—DR. STEWART D. FRIEDMAN, adviser to Jack Welch and former Vice President Al Gore on work/ family issues and director of the Work/Life Integration Program at the Wharton School, University of Pennsylvania "Timothy has packed more lives into his 29 years than Steve Jobs has in his 51." —TOM FOREMSKI, journalist and publisher of SiliconValleyWatcher.com "If you want to live life on your own terms, this is your blueprint." —MIKE MAPLES, cofounder of Motive Communications (IPO to $260M market cap) and founding executive of Tivoli (sold to IBM for $750M) "Thanks to Tim Ferriss, I have more time in my life...
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...I PRAISE FOR The 4-Hour Workweek "It's about time this book was written. It is a long-overdue manifesto for the mobile lifestyle, and Tim Ferriss is the ideal ambassador. This will be huge." —JACK CANFIELD, cocreator of Chicken Soup for the Soul®, 100+ million copies sold "Stunning and amazing. From mini-retirements to outsourcing your life, it's all here. Whether you're a wage slave or a Fortune 500 CEO, this book will change your life!" —PHIL TOWN, New York Times bestselling author of Rule #/ "The 4-Hour Workweek is a new way of solving a very old problem: just how can we work to live and prevent our lives from being all about work? A world of infinite options awaits those who would read this book and be inspired by it!" —MICHAEL E. GERBER, founder and chairman of E-Myth Worldwide and the world's #1 small business guru "This is a whole new ball game. Highly recommended."—DR. STEWART D. FRIEDMAN, adviser to Jack Welch and former Vice President Al Gore on work/ family issues and director of the Work/Life Integration Program at the Wharton School, University of Pennsylvania "Timothy has packed more lives into his 29 years than Steve Jobs has in his 51." —TOM FOREMSKI, journalist and publisher of SiliconValleyWatcher.com "If you want to live life on your own terms, this is your blueprint." —MIKE MAPLES, cofounder of Motive Communications (IPO to $260M market cap) and founding executive of Tivoli (sold to IBM for $750M) "Thanks to Tim Ferriss, I have more time in my life...
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...___________________________ LIVING HISTORY Hillary Rodham Clinton Simon & Schuster New York • London • Toronto • Sydney • Singapore To my parents, my husband, my daughter and all the good souls around the world whose inspiration, prayers, support and love blessed my heart and sustained me in the years of living history. AUTHOR’S NOTE In 1959, I wrote my autobiography for an assignment in sixth grade. In twenty-nine pages, most half-filled with earnest scrawl, I described my parents, brothers, pets, house, hobbies, school, sports and plans for the future. Forty-two years later, I began writing another memoir, this one about the eight years I spent in the White House living history with Bill Clinton. I quickly realized that I couldn’t explain my life as First Lady without going back to the beginning―how I became the woman I was that first day I walked into the White House on January 20, 1993, to take on a new role and experiences that would test and transform me in unexpected ways. By the time I crossed the threshold of the White House, I had been shaped by my family upbringing, education, religious faith and all that I had learned before―as the daughter of a staunch conservative father and a more liberal mother, a student activist, an advocate for children, a lawyer, Bill’s wife and Chelsea’s mom. For each chapter, there were more ideas I wanted to discuss than space allowed; more people to include than could be named; more places visited than could be described...
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...The Optimal Reference Book: Project Management Success Factors Extraordinary insight™ into today’s education information topics Table of Contents Why 70% of Government IT Projects Fail, Quality Project Management for Education Agencies .............................................................................................. 5 About the Author.................................................................................................... 8 Foreword................................................................................................................. 9 Selecting the Right Vendor to Manage Your Project .............................................. 11 Project Governance........................................................................................... 13 Project Risk ....................................................................................................... 14 Issue Management............................................................................................ 14 Education Agency Uniqueness .......................................................................... 14 Unfunded Mandates and Local Control............................................................. 15 ESP’s Quality Project Management (QPM) for Education Agencies ......................... 16 QPM Overview.................................................................................................. 16 QPM Principles...............................................
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