My thesis defense PowerPoint from April 2009. I wrote a travel memoir and added short stories to compliment my own story--it was a great challenge and an awesome experience.
This document provides information on different genres of literature including poetry, folklore, fantasy, science fiction, realistic fiction, historical fiction, biography/autobiography, and informational literature. It defines each genre and provides 1-2 examples to illustrate what types of stories fall under each category. The document aims to educate the reader on the various types of literature and their distinguishing characteristics.
Creative nonfiction is a hybrid genre that combines elements of fiction and factual journalism. It uses literary techniques to tell true stories in an engaging way. Lee Gutkind defines creative nonfiction as adhering to the basics of nonfiction while allowing poetic and journalistic flexibility. Examples include books by Jon Krakauer and Truman Capote that recount real events through extensive research. The criteria list contrasts the more factual, informative style with the personal, open-ended memoir style of creative nonfiction.
The document analyzes the effect of an omniscient narrator in the crime story "Mother's Help" by Ruth Rendell. It explains that the omniscient narrator allows the author to vividly depict characters and events from multiple points of view. It provides examples of how the narrator shares the thoughts and feelings of different characters. However, the perspective of one character, Ivan, is intentionally omitted to preserve mystery in the plot. While his actions are described, his true thoughts remain unknown, leaving an open-ended conclusion for readers to determine. In conclusion, the essay argues that the omniscient narrator provides rich details that encourage critical thinking in readers about how events and characters are portrayed.
Borges expresses a fear of mirrors in the story "Covered Mirrors". He meets a woman named Julia and shares this fear with her. Over three years, Julia develops the same mirror-related insanity that Borges fears, becoming convinced that mirrors show only Borges and not her own reflection. Borges uses irony, symbolism, and descriptive language to tell the story from his perspective and leave the reader to understand the unfolding events.
Creative non-fiction is a genre that uses storytelling techniques to deliver factual information in an engaging way. It requires the research skills of journalism combined with the narrative skills of fiction writing. By making information vivid and emotional, creative non-fiction aims to give readers a deeper understanding than just presenting verifiable facts. Examples show how it uses vivid language, emotions, and the reader's imagination to stimulate thought and arrive at larger truths beyond mere facts. Creative non-fiction has applications in history, travel writing, profiles, memoirs, journalism, and even business where storytelling can be persuasive.
There are many genres or categories of literature including fiction and non-fiction. Some common fiction genres are realistic fiction, historical fiction, folklore, fairy tales, fantasy, mystery, and science fiction. Realistic fiction tells stories that could really happen, historical fiction takes place in the past, and fairy tales involve magic and good triumphing over evil. Common non-fiction genres include informational books which provide facts, and biographies which tell the true stories of people's lives.
The document defines genres in literature as categories or kinds of stories. It identifies the two main categories as fiction and non-fiction. Fiction includes genres like realistic fiction, fantasy, science fiction, historical fiction, and adventure stories. Non-fiction includes genres like informational books, biographies, autobiographies, and mysteries. Each genre is then defined in 1-2 sentences with examples of common elements or characteristics.
This document defines and provides examples of different literary genres, including fiction and non-fiction. It discusses sub-genres such as biographies, autobiographies, historical fiction, realistic fiction, science fiction, mystery, fantasy, fairy tales, fables, myths, and modern fantasy. Examples are provided for each genre and sub-genre to illustrate the types of stories that fall into each category. Readers are prompted to consider which genres describe their favorite stories.
This document provides information on different genres of literature including poetry, folklore, fantasy, science fiction, realistic fiction, historical fiction, biography/autobiography, and informational literature. It defines each genre and provides 1-2 examples to illustrate what types of stories fall under each category. The document aims to educate the reader on the various types of literature and their distinguishing characteristics.
Creative nonfiction is a hybrid genre that combines elements of fiction and factual journalism. It uses literary techniques to tell true stories in an engaging way. Lee Gutkind defines creative nonfiction as adhering to the basics of nonfiction while allowing poetic and journalistic flexibility. Examples include books by Jon Krakauer and Truman Capote that recount real events through extensive research. The criteria list contrasts the more factual, informative style with the personal, open-ended memoir style of creative nonfiction.
The document analyzes the effect of an omniscient narrator in the crime story "Mother's Help" by Ruth Rendell. It explains that the omniscient narrator allows the author to vividly depict characters and events from multiple points of view. It provides examples of how the narrator shares the thoughts and feelings of different characters. However, the perspective of one character, Ivan, is intentionally omitted to preserve mystery in the plot. While his actions are described, his true thoughts remain unknown, leaving an open-ended conclusion for readers to determine. In conclusion, the essay argues that the omniscient narrator provides rich details that encourage critical thinking in readers about how events and characters are portrayed.
Borges expresses a fear of mirrors in the story "Covered Mirrors". He meets a woman named Julia and shares this fear with her. Over three years, Julia develops the same mirror-related insanity that Borges fears, becoming convinced that mirrors show only Borges and not her own reflection. Borges uses irony, symbolism, and descriptive language to tell the story from his perspective and leave the reader to understand the unfolding events.
Creative non-fiction is a genre that uses storytelling techniques to deliver factual information in an engaging way. It requires the research skills of journalism combined with the narrative skills of fiction writing. By making information vivid and emotional, creative non-fiction aims to give readers a deeper understanding than just presenting verifiable facts. Examples show how it uses vivid language, emotions, and the reader's imagination to stimulate thought and arrive at larger truths beyond mere facts. Creative non-fiction has applications in history, travel writing, profiles, memoirs, journalism, and even business where storytelling can be persuasive.
There are many genres or categories of literature including fiction and non-fiction. Some common fiction genres are realistic fiction, historical fiction, folklore, fairy tales, fantasy, mystery, and science fiction. Realistic fiction tells stories that could really happen, historical fiction takes place in the past, and fairy tales involve magic and good triumphing over evil. Common non-fiction genres include informational books which provide facts, and biographies which tell the true stories of people's lives.
The document defines genres in literature as categories or kinds of stories. It identifies the two main categories as fiction and non-fiction. Fiction includes genres like realistic fiction, fantasy, science fiction, historical fiction, and adventure stories. Non-fiction includes genres like informational books, biographies, autobiographies, and mysteries. Each genre is then defined in 1-2 sentences with examples of common elements or characteristics.
This document defines and provides examples of different literary genres, including fiction and non-fiction. It discusses sub-genres such as biographies, autobiographies, historical fiction, realistic fiction, science fiction, mystery, fantasy, fairy tales, fables, myths, and modern fantasy. Examples are provided for each genre and sub-genre to illustrate the types of stories that fall into each category. Readers are prompted to consider which genres describe their favorite stories.
This document defines and provides examples of different literary genres including fiction and non-fiction. Non-fiction contains factual information about topics like sports, history, and science. Biographies are non-fiction accounts of people's lives. Fiction includes realistic stories, science fiction, historical fiction, mysteries, and fantasy. Within fiction there are also subgenres like realistic fiction, which could really happen, and fantasy with magical elements. The document asks readers to name non-fiction books they've read and fictional stories they enjoy.
The document defines and describes various literary genres including drama, fable, fairy tale, fantasy, fiction, folklore, horror, satire, legend, mystery, mythology, poetry, biography, nonfiction, and speech. It provides characteristics for each genre such as drama involving dialogue and action, fables using animals to teach moral lessons, and fairy tales featuring fantasy elements like magic.
There are two main categories of books: fiction and non-fiction. Fiction includes genres like fantasy, historical fiction, mystery, and science fiction which tell imaginary stories, while non-fiction contains true facts. Some common fiction genres are fantasy, which may include magical elements; historical fiction, which focuses on past time periods; mystery, which involves a crime and clues; and science fiction, set in the future or alternative worlds.
This document provides descriptions of different literary genres of fiction including mystery, science fiction, legends and myths, fantasy, folklore, and historical fiction. Each genre is described in one to three sentences. For example, mysteries are described as stories that keep the reader guessing, science fiction often involves space or the future, and folklore includes stories passed down between generations. The document also includes brief examples to illustrate each genre.
Children are interested in characters that are involved in action and decision making. Characters in children's literature can be people, animals, or inanimate objects and are incomplete without different types of protagonists. Characterization is also provided through picture book illustrations. Traditional folktales rely on stock characters and have optimistic endings to comment on life lessons. Stories from many cultures often focus on the lazy but tricky character. Realistic animal stories expect animal characters to behave like real animals, though writers may imagine their thoughts and feelings. Science fiction has developed more fully realized characters as the genre focuses on future histories and how characters change. Classics continue to be read across generations because of their real characters that join one reader to the next.
There are several major literary genres: fiction, non-fiction, and poetry. Fiction includes subgenres like realistic fiction, fable, folk tale, tall tale, myth/legend, and fairy tales. Each genre has distinguishing characteristics, such as realistic fiction depicting real-world problems through realistic settings and characters, while fables use simpler characters to teach moral lessons. Poetry uses techniques like rhyme and stanzas to create vivid imagery for readers.
This document discusses different literary genres used to categorize books. It divides genres into three major categories: fiction, nonfiction, and other. Under fiction genres it lists fantasy, historical fiction, horror, humor, mystery/suspense, realistic fiction, science fiction, short story, and traditional literature. Nonfiction genres include essay, informational, and literary nonfiction. Other genres are drama and poetry. Examples are provided for each genre to help explain the definitions.
The document discusses different categories of literary genres within fiction and nonfiction. It identifies the main genres of fiction as realistic fiction, mystery, adventure, historical fiction, fantasy, and science fiction. The main genres of nonfiction are traditional literature, informational texts, and biographies/autobiographies. For each genre, it provides a brief description of common elements and themes. The purpose is to help students understand how an author's purpose fits within different genres of fiction and nonfiction.
This document provides an overview of writing genres and subgenres. It discusses the 5 main genres of poetry, nonfiction, fiction, folklore, and drama. For each genre, it lists related subgenres and provides brief descriptions and examples. The document aims to teach students the categories and subgenres that different types of writing fall into.
Fiction can be categorized into different genres based on their characteristics and themes. The principal types of fiction are the short story and novel. Short stories emphasize plot, character, setting, and theme, focusing on a single main incident. Novels are longer and can develop more complex elements. Other genres of fiction include fables, parables, tales, romantic fiction, realistic fiction, naturalistic fiction, historical fiction, science fiction, and picaresque fiction. Each genre utilizes certain literary elements and techniques to explore truths about human nature and life.
This document provides an introduction to different genres of literature and their key characteristics. It discusses mysteries, realistic fiction, historical fiction, fantasy/science fiction, fairy tales and folklore, adventure, and tall tales. For each genre, 2-4 characteristic bullet points are provided. The objective is for learners to select, read, and enjoy a variety of texts across these genres. Recommended book titles are listed but not described.
The document discusses literary journalism, which combines elements of traditional journalism and literature. Literary journalism goes beyond just reporting the facts of what happened by using literary techniques like developing characters, plot, setting, conflict and themes. It takes more time than traditional journalism to conduct interviews, observe, research and write a story. But it provides both factual reporting and revealing deeper truths about human experiences. The example story is about a librarian named Mas Eko whose small community library helped transform people's lives, including helping one woman get pregnant through magazines she borrowed.
Fiction nonfiction pwr pt for foldable (2016)Missy Colhour
The document contrasts the key differences between fiction and nonfiction texts. It states that nonfiction must only contain facts about real people, places, events, and ideas, while fiction contains at least one made-up element. Some common nonfiction genres include autobiographies, biographies, diaries, and speeches, while fiction genres are realistic fiction, science fiction, mysteries, and fantasy. The purpose of nonfiction is to explain, persuade and inform, while fiction aims to entertain.
This document defines and provides examples of different literary genres, including fiction and non-fiction. It discusses sub-genres such as biographies, autobiographies, historical fiction, realistic fiction, science fiction, mystery, fantasy, fairy tales, fables, myths, and modern fantasy. Examples are provided for each genre and sub-genre to illustrate the types of stories that fall into each category. Readers are prompted to consider which genres describe their favorite stories.
The document discusses elements of realistic fiction such as believable characters, settings, plots, and conflicts. It provides examples of realistic fiction elements from the books A Bridge to Terabithia and The Mixed-up Files of Mrs. Basil E. Frankweiler. Criteria for selecting realistic fiction titles include believable characters, settings, and events that readers can imagine as possible in the real world.
This document provides an overview of different types and genres of books. It begins by distinguishing between fiction and non-fiction books, with non-fiction containing factual information and fiction containing made-up stories. Examples of non-fiction genres given include biographies, journals, and travel books. Common fiction genres discussed include drama, classics, graphic novels, crime/detective, fantasy, historical fiction, horror, humor, and westerns. The document also lists and describes several non-fiction genres such as biographies, essays, reference books, and self-help books.
The document discusses different genres of literature including realistic fiction, historical fiction, folklore, fantasy, mystery, science fiction, poetry, informational writing, and biography. It provides examples of works that fall under each genre. For realistic fiction, examples given are Because of Winn Dixie, Crash, and Owl Moon. Historical fiction examples include A Boy at War and Across Five Aprils. Folklore examples provided are Aesop's Fables, Beauty and the Beast, and The Tortoise and the Hare.
INTRODUCTION THE THINGSTHAT MATTERSherry TurkleI gr.docxnormanibarber20063
INTRODUCTION: THE THINGS
THAT MATTER
Sherry Turkle
I grew up hoping that objects would connect me to the
world. As a child, I spent many weekends at my grand-
parents' apartment in Brooklyn. Space there was lim-
ited, and all of the family keepsakes-including my aunt's
and my mother's books, trinkets, souvenirs, and photo-
graphs-were stored in a kitchen closet, ~t high, just
below the ceiling. I could reach this cache only by stand-
ing on the kitchen table that I moved in front of the
closet. This I had been given permission to do, and this
is what I did, from age six to age thirteen or fourteen,
over and over, weekend after weekend. I would climb
onto the table in the kitchen and take down every book,
every box. The rules were that I was allowed to look at
anything in the closet, but I was always to put it back.
The closet seemed to me of infinite dimensions, infinite
depth.
Each object I found in the closet-every keychain,
postcard, unpaired earring, high school textbook with
its marginalia, some of it my mother's, some of it my
aunt's-signaled a new understanding of who they were
and what they might be interested in; every photograph
of my mother on a date or at a dance became a clue to
my possible identity. My biological father had been an
absent figure since I was two. My mother had left him.
We never spoke about him. It was taboo to raise the sub-
ject. J did not feel permitted to even think about the
subject.
My aunt shared the small apartment with my
grandmother and grandfather, and sometimes one of
them would come into the kitchen to watch me at my in-
vestigations. At the time I didn't know what I was look-
ing for. I think they did. I was looking, without awareness,
for the one who was missing. I was looking for a trace of
my fAlher. But they had been there before me and got-
ten rid of any bits and pieces he might have left-an
address book, a business card, a random note. Once I
found a photograph of a man standing on a boardwalk
with his face cut out of the picture. I never asked whose
face it was; I knew. And! knew enough never to mention
the photograph, for fear that it too would disappear. It
was precious to me. The image had been attacked, but
it contained so many missing puzzle pieces. What his
hands looked like. That he wore lace-up shoes. That his
pants were (weed.
If being attentive to the details of people's lives
might be considered a vocation, mine was born in the
smell and feel of the memory closet and its objects.
That is where I found the musty books, photographs,
corsages, and gloves that made me feel connected. That
is where I determined that I would solve mysteries and
that f would use objects as my clues.
Years from then, in the late 1960s, I studied in
Paris, immersed in the intellectual world of French struc-
turalism. While f was away, my grandparents moved out
of their apartment, where the contents of the memory
closet had been so safely contained. Much of the closet's
contents were dispersed, sen.
Creative nonfiction is a genre that tells true stories based on facts and real people and events from the author's life. While it has a narrative structure like fiction with plot points, it is grounded in reality rather than imagination. Creative nonfiction employs techniques used in fiction like setting, characterization, and themes, but the stories, people, and events are real rather than fictional. Common techniques creative nonfiction authors use include personal reflection, descriptive details, and summarizing scenes.
Fugitive Spaces: Matthew Guterl on radical practices of history and citizenshipYHRUploads
This interview with Matthew Guterl, Professor of Africana Studies and American Studies, Chair of American Studies at Brown University, comprises part of The 1701 Project.
Moments of Memoir: Writing the Stories of Life by Dr. Lisa Van Zwoll, Florida...Lisa Van Zwoll
What is a memoir, and what makes a memoir different from an autobiography and a personal essay? How to get started on your own memoir. Reality TV, Lifetime movies and Instagram as Memoir 2.0. The intriguing six-word memoir, and how to write your own.
This document defines and provides examples of different literary genres including fiction and non-fiction. Non-fiction contains factual information about topics like sports, history, and science. Biographies are non-fiction accounts of people's lives. Fiction includes realistic stories, science fiction, historical fiction, mysteries, and fantasy. Within fiction there are also subgenres like realistic fiction, which could really happen, and fantasy with magical elements. The document asks readers to name non-fiction books they've read and fictional stories they enjoy.
The document defines and describes various literary genres including drama, fable, fairy tale, fantasy, fiction, folklore, horror, satire, legend, mystery, mythology, poetry, biography, nonfiction, and speech. It provides characteristics for each genre such as drama involving dialogue and action, fables using animals to teach moral lessons, and fairy tales featuring fantasy elements like magic.
There are two main categories of books: fiction and non-fiction. Fiction includes genres like fantasy, historical fiction, mystery, and science fiction which tell imaginary stories, while non-fiction contains true facts. Some common fiction genres are fantasy, which may include magical elements; historical fiction, which focuses on past time periods; mystery, which involves a crime and clues; and science fiction, set in the future or alternative worlds.
This document provides descriptions of different literary genres of fiction including mystery, science fiction, legends and myths, fantasy, folklore, and historical fiction. Each genre is described in one to three sentences. For example, mysteries are described as stories that keep the reader guessing, science fiction often involves space or the future, and folklore includes stories passed down between generations. The document also includes brief examples to illustrate each genre.
Children are interested in characters that are involved in action and decision making. Characters in children's literature can be people, animals, or inanimate objects and are incomplete without different types of protagonists. Characterization is also provided through picture book illustrations. Traditional folktales rely on stock characters and have optimistic endings to comment on life lessons. Stories from many cultures often focus on the lazy but tricky character. Realistic animal stories expect animal characters to behave like real animals, though writers may imagine their thoughts and feelings. Science fiction has developed more fully realized characters as the genre focuses on future histories and how characters change. Classics continue to be read across generations because of their real characters that join one reader to the next.
There are several major literary genres: fiction, non-fiction, and poetry. Fiction includes subgenres like realistic fiction, fable, folk tale, tall tale, myth/legend, and fairy tales. Each genre has distinguishing characteristics, such as realistic fiction depicting real-world problems through realistic settings and characters, while fables use simpler characters to teach moral lessons. Poetry uses techniques like rhyme and stanzas to create vivid imagery for readers.
This document discusses different literary genres used to categorize books. It divides genres into three major categories: fiction, nonfiction, and other. Under fiction genres it lists fantasy, historical fiction, horror, humor, mystery/suspense, realistic fiction, science fiction, short story, and traditional literature. Nonfiction genres include essay, informational, and literary nonfiction. Other genres are drama and poetry. Examples are provided for each genre to help explain the definitions.
The document discusses different categories of literary genres within fiction and nonfiction. It identifies the main genres of fiction as realistic fiction, mystery, adventure, historical fiction, fantasy, and science fiction. The main genres of nonfiction are traditional literature, informational texts, and biographies/autobiographies. For each genre, it provides a brief description of common elements and themes. The purpose is to help students understand how an author's purpose fits within different genres of fiction and nonfiction.
This document provides an overview of writing genres and subgenres. It discusses the 5 main genres of poetry, nonfiction, fiction, folklore, and drama. For each genre, it lists related subgenres and provides brief descriptions and examples. The document aims to teach students the categories and subgenres that different types of writing fall into.
Fiction can be categorized into different genres based on their characteristics and themes. The principal types of fiction are the short story and novel. Short stories emphasize plot, character, setting, and theme, focusing on a single main incident. Novels are longer and can develop more complex elements. Other genres of fiction include fables, parables, tales, romantic fiction, realistic fiction, naturalistic fiction, historical fiction, science fiction, and picaresque fiction. Each genre utilizes certain literary elements and techniques to explore truths about human nature and life.
This document provides an introduction to different genres of literature and their key characteristics. It discusses mysteries, realistic fiction, historical fiction, fantasy/science fiction, fairy tales and folklore, adventure, and tall tales. For each genre, 2-4 characteristic bullet points are provided. The objective is for learners to select, read, and enjoy a variety of texts across these genres. Recommended book titles are listed but not described.
The document discusses literary journalism, which combines elements of traditional journalism and literature. Literary journalism goes beyond just reporting the facts of what happened by using literary techniques like developing characters, plot, setting, conflict and themes. It takes more time than traditional journalism to conduct interviews, observe, research and write a story. But it provides both factual reporting and revealing deeper truths about human experiences. The example story is about a librarian named Mas Eko whose small community library helped transform people's lives, including helping one woman get pregnant through magazines she borrowed.
Fiction nonfiction pwr pt for foldable (2016)Missy Colhour
The document contrasts the key differences between fiction and nonfiction texts. It states that nonfiction must only contain facts about real people, places, events, and ideas, while fiction contains at least one made-up element. Some common nonfiction genres include autobiographies, biographies, diaries, and speeches, while fiction genres are realistic fiction, science fiction, mysteries, and fantasy. The purpose of nonfiction is to explain, persuade and inform, while fiction aims to entertain.
This document defines and provides examples of different literary genres, including fiction and non-fiction. It discusses sub-genres such as biographies, autobiographies, historical fiction, realistic fiction, science fiction, mystery, fantasy, fairy tales, fables, myths, and modern fantasy. Examples are provided for each genre and sub-genre to illustrate the types of stories that fall into each category. Readers are prompted to consider which genres describe their favorite stories.
The document discusses elements of realistic fiction such as believable characters, settings, plots, and conflicts. It provides examples of realistic fiction elements from the books A Bridge to Terabithia and The Mixed-up Files of Mrs. Basil E. Frankweiler. Criteria for selecting realistic fiction titles include believable characters, settings, and events that readers can imagine as possible in the real world.
This document provides an overview of different types and genres of books. It begins by distinguishing between fiction and non-fiction books, with non-fiction containing factual information and fiction containing made-up stories. Examples of non-fiction genres given include biographies, journals, and travel books. Common fiction genres discussed include drama, classics, graphic novels, crime/detective, fantasy, historical fiction, horror, humor, and westerns. The document also lists and describes several non-fiction genres such as biographies, essays, reference books, and self-help books.
The document discusses different genres of literature including realistic fiction, historical fiction, folklore, fantasy, mystery, science fiction, poetry, informational writing, and biography. It provides examples of works that fall under each genre. For realistic fiction, examples given are Because of Winn Dixie, Crash, and Owl Moon. Historical fiction examples include A Boy at War and Across Five Aprils. Folklore examples provided are Aesop's Fables, Beauty and the Beast, and The Tortoise and the Hare.
INTRODUCTION THE THINGSTHAT MATTERSherry TurkleI gr.docxnormanibarber20063
INTRODUCTION: THE THINGS
THAT MATTER
Sherry Turkle
I grew up hoping that objects would connect me to the
world. As a child, I spent many weekends at my grand-
parents' apartment in Brooklyn. Space there was lim-
ited, and all of the family keepsakes-including my aunt's
and my mother's books, trinkets, souvenirs, and photo-
graphs-were stored in a kitchen closet, ~t high, just
below the ceiling. I could reach this cache only by stand-
ing on the kitchen table that I moved in front of the
closet. This I had been given permission to do, and this
is what I did, from age six to age thirteen or fourteen,
over and over, weekend after weekend. I would climb
onto the table in the kitchen and take down every book,
every box. The rules were that I was allowed to look at
anything in the closet, but I was always to put it back.
The closet seemed to me of infinite dimensions, infinite
depth.
Each object I found in the closet-every keychain,
postcard, unpaired earring, high school textbook with
its marginalia, some of it my mother's, some of it my
aunt's-signaled a new understanding of who they were
and what they might be interested in; every photograph
of my mother on a date or at a dance became a clue to
my possible identity. My biological father had been an
absent figure since I was two. My mother had left him.
We never spoke about him. It was taboo to raise the sub-
ject. J did not feel permitted to even think about the
subject.
My aunt shared the small apartment with my
grandmother and grandfather, and sometimes one of
them would come into the kitchen to watch me at my in-
vestigations. At the time I didn't know what I was look-
ing for. I think they did. I was looking, without awareness,
for the one who was missing. I was looking for a trace of
my fAlher. But they had been there before me and got-
ten rid of any bits and pieces he might have left-an
address book, a business card, a random note. Once I
found a photograph of a man standing on a boardwalk
with his face cut out of the picture. I never asked whose
face it was; I knew. And! knew enough never to mention
the photograph, for fear that it too would disappear. It
was precious to me. The image had been attacked, but
it contained so many missing puzzle pieces. What his
hands looked like. That he wore lace-up shoes. That his
pants were (weed.
If being attentive to the details of people's lives
might be considered a vocation, mine was born in the
smell and feel of the memory closet and its objects.
That is where I found the musty books, photographs,
corsages, and gloves that made me feel connected. That
is where I determined that I would solve mysteries and
that f would use objects as my clues.
Years from then, in the late 1960s, I studied in
Paris, immersed in the intellectual world of French struc-
turalism. While f was away, my grandparents moved out
of their apartment, where the contents of the memory
closet had been so safely contained. Much of the closet's
contents were dispersed, sen.
Creative nonfiction is a genre that tells true stories based on facts and real people and events from the author's life. While it has a narrative structure like fiction with plot points, it is grounded in reality rather than imagination. Creative nonfiction employs techniques used in fiction like setting, characterization, and themes, but the stories, people, and events are real rather than fictional. Common techniques creative nonfiction authors use include personal reflection, descriptive details, and summarizing scenes.
Fugitive Spaces: Matthew Guterl on radical practices of history and citizenshipYHRUploads
This interview with Matthew Guterl, Professor of Africana Studies and American Studies, Chair of American Studies at Brown University, comprises part of The 1701 Project.
Moments of Memoir: Writing the Stories of Life by Dr. Lisa Van Zwoll, Florida...Lisa Van Zwoll
What is a memoir, and what makes a memoir different from an autobiography and a personal essay? How to get started on your own memoir. Reality TV, Lifetime movies and Instagram as Memoir 2.0. The intriguing six-word memoir, and how to write your own.
This document summarizes key points from an English literature class. It discusses Jean Rhys' novel Wide Sargasso Sea and how it engages in intertextuality by rewriting Jane Eyre from Bertha Mason's perspective. The professor emphasizes that readers can interpret texts differently and rewrite traditions to explore new possibilities and perspectives not authorized by the original authors. Readers are encouraged to make works more "writerly" by actively participating in constructing meaning rather than passive reception of authorial intent.
Research Paper Example Results - Writing A ResultsAllyson Thompson
1. The document describes the steps to get writing help from HelpWriting.net, including creating an account, submitting a request form, and choosing a writer to complete the assignment.
2. After receiving the paper, clients can request revisions if needed and are ensured of original, high-quality work or a full refund.
3. HelpWriting.net uses a bidding system where clients can review writer qualifications and feedback to select the best writer for their assignment.
The document summarizes a lesson about the novel Noli Me Tangere and its impact on inspiring revolution in the Philippines. It discusses how Jose Rizal, through writing Noli Me Tangere, was able to help imagine a Philippine national identity for the first time. It also describes how the novel inspired not just Andres Bonifacio but many Filipinos to take action against Spanish rule. Finally, it emphasizes the importance of literature in influencing society and shaping history.
This document provides guidance for students on developing a commonplace book over the summer as part of a Drawing Methodologies course. Students are instructed to create their own traditional book format commonplace book to bring together thoughts, ideas, drawings, and objects of interest in an analytical, diary-style format. The goal is for students to develop their unique aesthetic perspective and voice as an illustrator. Students are provided questions to ask themselves to aid discovery and analysis of what they observe. Upon returning, instructors expect to see students' commonplace books demonstrating a professional, meticulous categorization of their work, research, and observations.
The document describes a critical collage workshop for teachers focused on social issues. In the workshop, teachers identified a social issue from a book, researched it further by reading supporting and contradictory information, then created a collage representing the issue. One teacher initially chose a book but realized through further research that it appropriated Indigenous culture. Her collage represented this issue of cultural appropriation, using hands to symbolize how it hides Indigenous culture. The conclusions were that the workshop supported critical thinking skills by having teachers view issues differently, question assumptions, and take ownership of their representations through creative works.
The document provides information about the last day of an English literature course. It includes details about submitting a final paper, the final exam date and time, participation points, and questions for students. The passage also includes excerpts from Jean Rhys' novel Wide Sargasso Sea and discussion questions about the novel's intertextuality with Jane Eyre and how it expands the fictional universe.
Julian Barnes's 'The Only Story' as a Memory Narrative.pptxNirav Amreliya
The document provides an analysis of Julian Barnes's 2018 novel "The Only Story" as a memory narrative. It discusses how the main character Paul narrates the story from his perspective many years later, relying on his imperfect memory to reconstruct past events. His goal is to better understand his past experiences and emotions, though memory can revise and fictionalize details over time. The analysis also explores concepts of memory in psychology and narratology, and how postmodern writings use memory narratives to encourage questioning of established truths.
This document provides guidance for students to create a commonplace book over the summer break. It instructs students to use the book to bring together thoughts, ideas, drawings, and objects of interest in an analytical, diary-style format. The commonplace book will help students discover and develop their unique artistic voice and stance. It should be professionally compiled and catalogued. Students are prompted to question what they are looking at and why, and how to record this information. The goal is for the book to become a resource for future narrative and drawing projects and help students' work begin to "speak ventrilloquillistically."
TheNewWorldOrder A. Ralph Epperson - ENGLISH VERSION.pdfHudsonPicoreli
This document summarizes a book written by A. Ralph Epperson called "The New World Order" which examines symbols found on the reverse side of the United States one dollar bill. The author spent 27 years researching the history and meaning behind the symbols on the Great Seal of the United States. He discovered that those who designed the seal committed the U.S. to a "secret destiny" called the New World Order, whose unpleasant nature is concealed through the symbolic imagery. The book aims to explain what the symbols mean and how they relate to the nation's future, so that corrective action can be taken.
Preliminary slides for narrative activity in conference workshop, "Lacunae of enchantments: unfolding spaces ‘in which it is once more possible to think’…and act". Presented at 'Re-enchanting the Academy', Canterbury, 25-27 September 2015 (https://www.canterbury.ac.uk/education/conferences-events/re-enchanting-the-academy/re-enchanting-the-academy.aspx)
Tale, who was never quite in the real world and who aspired to panache, brought a storybook, filled with devices, fancies and imaginings, ‘Whosoever lives these stories shall have the fairest prose of all. I give you the gift of academic writing.’
Preliminary activity for workshop, 'Lacunae of enchantments: unfolding spaces ‘in which it is once more possible to think’…and act', presented at 'Re-enchanting the Academy' conference, Canterbury, 25-27 September 2015.
Similar to Espana: An Experiment in Cross-Genre Writing (16)
1. Espa ña: An Experiment in Cross-Genre Writing by Kelly Thomas April 3, 2009 University of Pittsburgh Bachelor’s of Philosophy Thesis Faculty Advisor: Leslie Rubinkowski
The intro addresses point 4: I wanted to learn about myself, and hopefully help the reader learn something about herself too.
Others: Ernest Hemingway, Martha Gellhorn, Washington Irving, Warren Zevon—most of these people obviously didn’t make it into the final draft. Don Quijote: metafiction, I wanted to do “meta-storytelling” somehow to pay homage
Pieces about Alcala would be interludes; the pieces would then be able to stand on their own. Started working on the project in February 2008 when I won the Arts and Sciences 2008 Undergraduate Summer Fellowship.
Churches: Even though I no longer worship in churches, I find myself drawn to them as powerful symbols of spirituality and religion The theme of storytelling comes out more in the structure and the inclusion of multiple genres. Heartbreak and recovery may not have come out as much as I wanted it to, because I focused so much on the spiritual.
Magic: Everyone tells you study abroad will be amazing, but you can never know exactly how. So I expected to have a great time, but not in the way that I did, or with the people that I did. I was also very focused on the spiritual, and I had my little Wicca book with me, although I wound up exploring Wicca through other ways than books. I also learned a lot about accepting other people and their religions for who and what they are. I probably didn’t realize that my heart was still broken when my flight took off from Philadelphia, because I was so nervous about having to live with a strange family for a month.
Catedral: Fernando is searching for healing in this church, and through telling his story, much like I am. (Initially I thought I would identify more with Marci.) Caidos: This is an example of what you can find when you’re not looking. Seina doesn’t go with her mother so that she can break away and finally express herself or work out her mixed feelings about her father, but when she sees Manuel’s ghost, she’s able to start doing that. Witch: At first I thought they would have to confront the witch, and that she would be a reflection of me, but H wound up being more of a reflection. This dramatizes a specific moment—understanding that it’s okay to not always understand, and moving on from that to continue the journey. Sometimes you DON’T find what you were looking for. Zevon: Something I really wanted to include. An example of how spirituality can lead you astray or not save you.
Fiction problems + nonfiction problems = 3 rd set of problems 2. Creating recognizable connections, arranging stories in a way that conveys narrative (most of the fiction wound up at the end). 3. emotions: I focused too much on the external, because I didn’t want to be too gushy or internal. Also couldn’t tell if what I was writing was any good, or just total crap most of the time. 4. Impossible to find good books, most research was in Spanish, my journals were undetailed and unhelpful.
Original lyric essay, second Zevon story, among other pieces. Also rewrote a lot of transitions to make everything flow and fit together. 2. Research 3. Ishtar as one of the reasons I was drawn to wicca in the first place, Moors from Mesopotamia so that’s an odd fit/connection.