This English 102 assignment prompted us to identify a poet's influences and determine if the poet had an impact. The presumption was an impact upon literature. Amazingly enough, I never looked at Cummings in any depth prior to this paper. In fact, I don't even recall ever reading any of his poems prior to researching this paper.
I had some trouble with this paper early on. The prompt mentioned that we should not give a "report" on the poet. To me that meant we should not give much attention to the poet's biography. Well, the paper I was writing gave way too much detail to Cummings' time in France, Russia, his childhood, and his affair with Elaine Orr. Setting the paper aside for a week then looking at the prompt again, I discovered my "feeling" was 100% accurate. The end result of the rewrite is what you see here.
Third lecture for my students in English 104A, UC Santa Barbara, spring 2012. Course website: http://patrickbrianmooney.nfshost.com/~patrick/ta/s12/index.html
Third lecture for my students in English 104A, UC Santa Barbara, spring 2012. Course website: http://patrickbrianmooney.nfshost.com/~patrick/ta/s12/index.html
Lecture 09: The Things You Can't Say (in Public)Patrick Mooney
Slideshow for the ninth lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
This article is an analysis of William Blake’s poem “The Fly” from the angles of Responsibility and Thought. The article agrees with much of the secondary literature that “The Fly” introduces an attempted identification between an inattentive philosophizing narrator and fly in the first three stanzas and then challenges it in the final two. However, the article makes the novel case that the narrator’s initial attempt at contemplative union with the fly is not completely rebuffed by the quizzical non sequitur contained in the final two stanzas. Blake’s oblique allusion to God is connected to the narrator’s recognition that he and the fly share a real and significant union, even if the two parties interpolate each other in completely alien forms.
I've made corrections Dr. Magee asked me to make. Couple of comma splices, run-ons, minor stuff. Mostly stylistic issues. Make no mistake - there were very few errors in this paper.
The big deal?
This paper will be used in the future as a model paper.
It was not meant to be a thoroughly supported essay. Instead, Dr. Magee wanted us to have a base essay upon which we could build. Basically all I should have to do to turn this into a thoroughly supported essay is to now add some outside source support.
I've already got that support lined up. I will have to change some things to make it fit. Sources for the subject of this essay are RAMPANT. If you really want to impress a professor in a Lit, History, or Poli-Sci class, I highly recommend you do what I did here - go against the grain.
There's some powerful counter-evidence to my thesis in this essay. As you will see in the paper that follows up to this one, I take that counter-evidence head on. In fact, that's the only reason the paper is not yet finished - I may be coming on too strongly against the opposing view.
I'll be talking to Dr. Magee tomorrow night to get his opinion. I have a feeling he's going to tell me to throw it all out there. I hope so because I take issue with some fairly established experts.
It'll be interesting to see how this plays out.
But right now? This paper not only scored an A, it will be used as a sample of an ideal paper in the future.
This is the second time since late January a professor has sought to use my work as an example to other students.
To have a professor want your work as an example only once is rare. Twice?? Better yet, the two professors are from two different divisions!
That's not only strong writing and research - that's flexibility!
The requirement for this English 102 paper was that it be a comparison/contrast using three different literary elements. I had the instructor take a look at it before I inserted the citations & added the bibliography. He told me as far as he was concerned it was an A paper.
What we are not considering opposing views final v3Louis Wischnewsky
I uploaded a final draft of this last night after I finished it. However, I woke up early enough this morning to look over the paper once more and I'm glad I did - I found some minor errors that I fixed. So here is the final copy that I will be turning in. This is the last written paper for my English 100 class this semester. I think it turned out pretty good. Just prior to peer review of rough drafts two days ago, classmates felt this was a tough assignment but the rough drafts I looked at were pretty good. We'll see. I'm sure it'll get a perfect score.
This was the first essay I turned in for the semester in my English 100 class. There are numerous errors regarding citations - but there is ZERO plagiarism! I thought about cleaning it up and maybe some day I will, but I left it like this to show my progression throughout the semester.
This is the fourth essay for my English 100 class. It is due today & this is the final draft that I'm going to turn in. Not my greatest writing, but it should meet all the criteria.
I have no idea why I uploaded this. I'm sure there was some reason for it back when I loaded it. If I'm not mistaken, this was the bibliography for the informative speech that included the slide presentation "The Visual Aid."
Anyone in a Speech course, here's a copy of an A+ speech. It is in outline form, yes. The instructor, Matt Taylor (as you can see), did not allow "written" speeches. We had to memorize the outline of our speeches - an only the outline. We were not allowed index cards or any aids whatsoever that would help us "recite" our speeches. If you're attending Fullerton College, I recommend this guy as an instructor. He's tough but it's worth it. BTW - he's a self-described "flaming liberal" and, as you see by this speech, I'm not ... yet, I still think he is a great professor. Anyway, I used a lot of rhetoric in this speech. I use a lot of rhetoric in everything. I can't help it. I can't stay focused if speeches or papers are dry.
This document should accompany the slide show "vivien thomas ppt". The group project entailed giving a biography of someone that used the Relational Leadership theory, knowingly or unknowingly, in accomplishing their goals. This theory of leadership & teamwork did not exist during Thomas' time, but it is very possible his relationship with Alfred Blalock may have been among the many studied to develop the theory.
There is a document that accompanies this slide show. This was part of a Read 142 group project. The presentation was a parody, not any actual comments or opinions on Laura Wells.
There is a document on this site that accompanies this presentation. It was a group presentation for a Counseling 135 course (on leadership). I've made it an effort to keep my page discrete but it looks as if there have been over 100 views of this power point. To anyone that is curious, I was born a "blue baby." The reason Denton Cooley's picture is in the presentation is because he was the surgeon that originally did corrective surgery on me when I was VERY young.
This is the same as "The Visual Aid." One of the speeches assigned in Speech 100 class required the use of "at least one" visual aid. Thankfully I had discussed the component of the speech with the instructor prior to the speech and was told it was worth 5 points and, in fact, if a speech was good enough, he would not count off if the speech lacked a visual aid. I ended up with an A+ on the speech because I used this single slide at the conclusion of the speech. There's more in the description of "The Visual Aid."
Continuing from "Informative speech microsoft version," other students had placed too much emphasis on visual aids for the speech and suffered as a result. In any case, the giant shopping cart was a reference to story about a rich guy fixing shopping carts in a cart kiosk in a grocery store parking lot. I referenced the story during transitions in the speech. To make the speech memorable, I used this single slide (hence, "THE" visual aid). The point the instructor was making was that visual aids should enhance your speech to make it memorable whereas many speakers rely upon visual aids as reminders during speeches ... creates less than memorable speeches (Sadly, an example of someone relying too much on aids is President Obama).
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Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
BÀI TẬP BỔ TRỢ TIẾNG ANH GLOBAL SUCCESS LỚP 3 - CẢ NĂM (CÓ FILE NGHE VÀ ĐÁP Á...
Ee Cummings: Clamored Order
1. 1
Louis Wischnewsky
Prof. G. Smith
English 102
December 7, 2011
E e. Cummings: Clamored Order
The masses have long had a love-hate relationship with playwrights and poets, emphasis
on poets. The paradox is that the few words of a poet can be terribly complicated to understand.
Fewer words, to most, should be fairly simple in meaning. The case of E. E. Cummings is an
ideal example of this dichotomy. For example, his poem “1(a leaffalls)oneliness” is more of a
collection of letters than it is of words:
1(a
le
af
fa
ll
s)
one
l
iness (Literature: Reading, Reacting, Writing, 883-884)
“A leaf falls loneliness.” How complicated can that be to understand? Yet, it is open to many
interpretations.
2. 2
Complicated or not, Cummings certainly had a significant impact upon literature,
particularly poetry. He brought an entirely new concept to visual poetry. In doing so, he
accomplished what some noteworthy predecessors were unable to do: force the reader to engage
the poem as if he were the speaker himself. Mimicking Cummings, it is hard to garner the same
esteem because it is easy to miss Cummings' point: it is not what you read, but how you say it.
Sadly, though, his powerful way of affecting the visual arrangement of words is mostly what
Cummings is famous for, even though that is just a small part of his overall plethora of literature.
These aspects of the poet bring out two different things to consider when trying to know what
influenced Cummings. Already mentioned is the inspiration for why he created a new form of
visual poetry. What, though, influenced his actual subjects? Four different periods or events in
his life answer that question.
Looking pre-Cummings, yes, “concrete” or visual (also called emblem poetry) – poems
whose words are arranged in shapes – had been around for a long time (Kirszner and Mandel,
801,1007-1008). For example, long before Cummings, George Herbert created a visual poem
with “Easter Wings” (1008). “Randomly arranged words,” however, are a distinctive Cummings
trademark (see poem in opening paragraph). Herbert's poem was revolutionary in that it created a
visual image. It did not, however, cause the reader to think with varied emotion or even varied
pace. Poems like Cummings' “a leaf [...]”, though, does something totally different: it forces the
reader to pause, to second guess what is being read. Is the first character an “L” or a “one?” Who
knows? And that is the point of the poem: to demonstrate to the reader that everyone knows they
are an individual, but what is an individual? Starting and stopping, reflecting on whether the
reader has interpreted what is written, what is history, the poem is a reflection of life: successes
sometimes, failures others. “Easter Egg” questions faith and admits sin while hoping for God's
mercy, but it requires the reader to put himself or herself into the emotion; it requires the reader
3. 3
relate to the speaker. Cummings' poem requires the reader be the speaker, accomplishing the goal
whether the reader wants it to happen or not.
Punctuation is probably an even larger signature of Cummings. Yet, again, Cummings
was not the first to attempt using punctuation to affect what is being read in the poem. Emily
Dickinson appears to have worked hard at the same goal. Look at how she used hyphens in
“'Heaven' – is what I cannot reach!” to force certain emotions within the reader:
“Heaven” - is what I cannot reach!
The Apple on the Tree –
Provided it do hopeless – hang –
The – “Heaven” is – to Me! (1142-1143)
The idea Dickinson is trying to convey is that the speaker is distraught, talking to someone, who
does not matter, but to herself at the same time. “Heaven” is in quotes as if Heaven's existence is
questionable. Regardless, the speaker stresses that she cannot reach it and that is known because
of the exclamation point. Cummings sees what Dickinson wanted to accomplish and asks, “What
if I tried the same thing but instead of using punctuation, I simply do not use punctuation at all?”
The net result is powerful and gives him far more lattitude than that of an irritable, frustrated
speaker. Here are two lines from “in Just –”: “whistles far and wee / and eddieandbill
come” (Literature …, 957). Cummings forces a long pause where Dickinson would have forced a
quick aside. Yet, Cummings is fully capable of forcing the quick aside, as well, by putting the
names together as one word. The range of emotion Cummings' technique allows is infinite.
What's more, though he does not so to a large degree with “in Just –”, he most certainly could
add punctuation anytime he wanted. Look at this line from “let us suspect,cherie,this not very
big”: “if we look at it we will want to touch it.” (Complete Poems …, 957). Bam! “If we look at
each other naked, something is going to happen. Period. End of debate.” He gets the same start
4. 4
and sudden stop to the thought Dickinson was forcing in her poem, but Cummings can have the
speaker linger in thought (“whistles far and wee”) and, yet, says much without saying
anything at all (“if we look at it we will want to touch it.”). Dickinson's technique could not.
The end result is that, in reality, Cummings did not randomly place words on the paper.
Nor did he leave out punctuation or capitalization simply to be unique and stand out. In reality,
he actually did use punctuation, but sparingly, as noted above. His arrangement had a purpose.
Think of Cummings like Pablo Picasso: it might seem and look cheap and easy, but the art has a
very specific reason – and takes a long time to develop. In fact, Cummings considered Picasso,
“one of the greatest of the living painters” (A Miscellany Revised, 99). Why? Well look at what
Picasso was capable of and why he created cubist art. Picasso was fully capable of Botticelli-
grade work (Picasso). However, he wanted to transpose the emotion of the subject into the
viewer. Cummings wanted to do the same with readers of poetry and, thus, was an admirer of the
cubist. What's more, Cummings was quite capable of traditional schematics. Indeed, the majority
of his work falls well within traditional conventions. He was not only a master of written
language, though, he was also a master of auditory exchange and it is the auditory vernacular of
words that usually commands the greatest emotions within human beings. Perhaps even
Shakespeare knew this some hundreds of years earlier, but it was Cummings that revolutionized
language and introduced a way of letting that exchange happen within written words.
What, though, influenced this literary giant? There are as many answers to that question
as there are interpretations of any of his poems. Even so, there are some events in his life that
clearly affected his worldview. Cummings had made up his mind to be a poet at an early age. The
total anthology of his published works, E. E. Cummings: Complete Poems: 1904-1962, shows a
poem written in 1904 when Cummings would have been only ten years old (1054). Thus, his
childhood had already guided him to be a poet in the first place. His imprisonment in France
5. 5
after the first world war was an influence, as well, motivating him to write “[in] a rather clumsy
and inadequate way” - but not so much in his poetry; The Enormous Room, is the reflection upon
that internment (Friedman, 23-24). As Eleanor Sickels explained, like many liberal bohemians of
the day, Cummings was initially interested in the ideal of egalitarian communism (229-232).
However, the Russian, or anti-Russian, influence was well after his most famous subject,
eroticism, had become his forte and made him a, in true Cummings fashion, reluctantly eager
capitalist (229-236). So while Cummings' adventures across the pond were influential, they were
hardly foundations of his motivations.
Rather, according to Milton A. Cohen, Cummings had a profound affinity toward Freud
and his theories. Freudian influence on the poet is largely unknown, particularly Cummings'
poetry from the late 1910s and early 1920s (592). In fact, a claim that Freudian influence upon
Cummings during that period is profound would be dead on. To begin with, Cummings was
unique among bohemian Modernists in that he not only accepted Freudian theory, Cummings
actually incorporated, or attempted to, into his life (591).
The evidence is blatant: not only do Cummings' works from that period have a greater
frequency, and more intense elicit references than other periods of his life, there was the Elaine
Orr affair that only amplified his misconception of what Freud was saying. Cummings figured,
with his own interpretation of Freud, that Orr's pregnancy was her problem, not his. His reaction,
denial that he sired the child, reflects more of a lack of initial self-confidence in the theory. Here
was Scofield Thayer, the poet's college mentor, introducing and promoting Freudian philosophy
on Cummings' young mind but when “Jack Death” came knocking, suddenly Thayer is not a
Freudian practitioner (592, 594-595). Neither was Orr, whom Cummings surely thought was a
Freud disciple, as well.
The end result is a transition from obvious suggestion, prior to the affair, in “wanta
6. 6
spendsix” …
wanta
spendsix
dollars Kid
2 for the room
and
four for the girl (Cummings, 942)
to testing the waters, referencing each other's sex as “it” in “let us suspect,cherie,this not very
big” …
if we look at it we will want to touch it.
And we mustn't because(something tells me)
ever so very carefully if we
begin to handle it
out jumps Jack Death (957)
It is obvious Cummings has moved from toying with eroticism to desperately wanting to ignore
potential consequences, per his interpretation of Freudian ideology; Jack Death being
consumation of a child – having to be responsible Cummings' ultimate disaster: death. The affair
was not, in Cummings' mind, erotic in itself. What made the affair his step into the raw sexual
pursuit he believed Freud was directing him toward was the fact Orr was married. The evidence
comes in several poems written during the Orr affair.
Upon the end of the Orr affair period of poems, Cummings goes all out with poems like
“my humorous ghost precisely will” and “Lady,i will touch you with my mind” (Complete …,
967, 983). Cummings, through the voice of the speaker, can not get enough sex. He loves
7. 7
women for the pleasure they bring him, but he loathes them because they remind him there are
consequences for his acts, whether they are random sex or, in the case of his trip to Russia,
purposeful equality. The Soviets promised an egalitarian society. Problem was, a person had to
give up all their freedoms in exchange. Cummings adored women for their vaginas, but loathed
them for their pregnancies or their weight gain or any other defect he could imagine within or
upon them.
Cummings would probably be joyed to know that nearly fifty years after his demise, he is
still widely recognized even beyond the world of art and literature. Unfortunately, to cite
Cummings when individuals fill their pages with errors, calling the mess poetry, truly dishonors
this literary giant's legacy. Cummings worked almost his entire life perfecting his writing skills.
He did not avoid traditional conventions randomly and there is not a single shred of evidence to
conclude that he did. Rather, he did so in order to know when, where, and why to break the rules
of the king's English, creating, thus, a clamored order to his style. It is practically impossible to
lay claim that any one thing, event, or person influenced any writer or artist and this especially
holds true of Cummings. Still, his childhood, days in a French prison, his trip to the Soviet
Union, and his simultaneous exposure to Freud and affair with Elaine Orr were big events in
Cummings' life, even for someone of his stature. It was his desire to be a great poet that allowed
him to experiment until he created poems like “in Just -,” but it was the end of that list that gave
him his preferred subject matter.
8. 8
Works Cited
Cohen, Milton A. “Cummings and Freud.” American Literature. Vol. 55. Issue 4, (1983): 591-
610. JSTOR Web. 13 Nov 2011.
Cummings, E. E. “1(a leaf falls)loneliness.” Literature: Reading, Reacting, Writing. 7th ed. Eds.
Kirszner, Laurie G. and Mandell, Stephen R. Boston: Wadsworth, 2011. 833-884. Print.
---. A Miscellany Revised. New York: October House, 1965. 99-100. Print.
---. “DEDICATED TO DEAR NANA CLARKE.” E. E. Cummings: Complete Poems: 1904-
1962. Ed. George J. Firmage. New York: Liveright Publishing Company, 1991. 1054.
Print.
---. “in Just –” Literature: Reading, Reacting, Writing. 7th ed. Eds. Kirszner, Laurie G. and
Mandell, Stephen R. Boston: Wadsworth, 2011. 957. Print.
---. “Lady,i will touch you with my mind.” E. E. Cummings: Complete Poems: 1904-1962. Ed.
George J. Firmage. New York: Liveright Publishing Company, 1991. 983. Print.
---. “let us suspect,cherie,this not very big.” E. E. Cummings: Complete Poems: 1904-1962. Ed.
George J. Firmage. New York: Liveright Publishing Company, 1991. 957. Print.
---. “my humorous ghost precisely will.” E. E. Cummings: Complete Poems: 1904-1962.
Ed. George J. Firmage. New York: Liveright Publishing Company, 1991. 967. Print.
---. “wanta spendsix .” E. E. Cummings: Complete Poems: 1904-1962. Ed. George J.
Firmage. New York: Liveright Publishing Company, 1991. 942. Print.
Dickens, Emily. “'Heaven' – is what I cannot reach!” Literature: Reading, Reacting, Writing. 7th
ed. Eds. Kirszner, Laurie G. and Mandell, Stephen R. Boston: Wadsworth, 2011. 1142-
1143. Print.
Friedman, Norman. e. e. cummings: The Growth of a Writer. Carbondale: Southern Illinois
University Press, 1964. 23-24. Print.
9. 9
Herbert, George. “Easter Wings.” Literature: Reading, Reacting, Writing. 7th ed. Eds. Kirszner,
Laurie G. and Mandell, Stephen R. Boston: Wadsworth, 2011. 1008. Print.
Kirszner, Laurie G. and Mandell, Stephen R. Literature: Reading, Reacting, Writing. 7th ed.
Boston: Wadsworth, 2011. 801, 1007-1008. Print.
Sickels, Eleanor M. “The Unworld of E. E. Cummings.” American Literature. Vol. 26. Issue 2,
1954: 223-238. Online.
Picasso, Pablo. First Communion. 1896. Museo Picasso, Barcelona, Spain. ABCGallery.com.
Web. 06 Dec 2011.