Reading TaskTraveling through the Dark” by William Stafford, p.docx

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Reading Task: “Traveling through the Dark” by William Stafford, p. 440 “My Papa’s Waltz” by Theodore Roethke, p. 479 “Shall I compare thee to a summer’s day?” by William Shakespeare, p. 487 “Do Not Go Gentle into That Good Night” by Dylan Thomas, p. 491 “Alzheimer’s” by Kelly Cherry, p. 512 “Building with Its Face Blown Off” by Billy Colins, p. 541 “The Video” by Fleur Adcock, p. 551 “A Red, Red Rose” by Robert Burns, p. 561 "this morning (for the girls of eastern high school)” by Lucille Clifton, p. 563 “Because I could not stop for Death” by Emily Dickinson, p. 565 “The Road Not Taken” by Robert Frost, p. 574 “Pied Beauty” by Gerard Manley Hopkins, p. 575 “Harlem” by Langston Hughes, p. 576 “The New Colossus” by Emma Lazarus, p. 579 “They” by Siegfried Sassoon, p. 581 Task Type: Individual Project Deliverable Length: 1,000–1,200 words Points Possible: 100 Due Date: 9/9/2013 11:59:59 PM CT [removed] Weekly tasks or assignments (Individual or Group Projects) will be due by Monday and late submissions will be assigned a late penalty in accordance with the late penalty policy found in the syllabus. NOTE: All submission posting times are based on midnight Central Time. For your third Individual Project, you will be writing an essay of 1,000 words or more about two additional poems from the assigned reading list . Please select two works from the list of fifteen—excluding the one you already reflected on in Part A of the Phase 3 DB assignment—and answer the questions below. Again, be sure to begin your paper with an engaging introduction and clear thesis statement, develop each point in the body of your paper using examples and quotes from the poems, and conclude your paper with a restatement of your thesis and closing remarks. Also, make sure you maintain your credibility by including in-text citations and a reference list correctly formatted in APA style. Imagery: What visual images can you identify in both poems? Comment on the details you notice about objects, places, people, colors, textures and so forth. Which of your other senses are stimulated by the poets’ descriptions? Figures of Speech: List the specific metaphors, similes, puns and other figures of speech each poet uses and how they contribute to the poem’s overall meaning. (Remember, figurative language is not literal but rather suggestive of something else. For example, the metaphor, “Jack is a pig,” is not a reference to an actual animal with hooves but rather someone named Jack who has pig-like qualities or mannerisms.) Symbolism: Identify the symbols you notice in each poem. What abstract concepts (e.g., love, death, truth) might the concrete objects (e.g., persons, places, things) suggest? Language and Word Choice: Every word in a poem has been included (or left out) after much deliberation, as poets choose their words very carefully. Remark on the following in each poem: Does the poet use informal or formal language? Does he or she write in .

Education

Task Type:
Individual Project
Deliverable Length:
1,000–1,200 words
Points Possible:
100
Due Date:
9/9/2013 11:59:59 PM CT
[removed]
Weekly tasks or assignments (Individual or Group Projects) will
be due
by
Monday and late submissions will be assigned a late penalty in
accordance with the late penalty policy found in the syllabus.
NOTE: All submission posting times are based on midnight
Central Time.
For your third Individual Project, you will be writing
an essay of 1,000 words or more about two additional poems
from the assigned reading list
. Please select two works from the list of fifteen—excluding the
one you already reflected on in Part A of the Phase 3 DB
assignment—and answer the questions below. Again, be sure to
begin your paper with an engaging introduction and clear thesis
statement, develop each point in the body of your paper using

examples and quotes from the poems, and conclude your paper
with a restatement of your thesis and closing remarks. Also,
make sure you maintain your credibility by including in-text
citations and a reference list correctly formatted in APA style.
Imagery: What visual images can you identify in both poems?
Comment on the details you notice about objects, places,
people, colors, textures and so forth. Which of your other senses
are stimulated by the poets’ descriptions?
Figures of Speech: List the specific metaphors, similes, puns
and other figures of speech each poet uses and how they
contribute to the poem’s overall meaning. (Remember,
figurative language is not literal but rather suggestive of
something else. For example, the metaphor, “Jack is a pig,” is
not a reference to an actual animal with hooves but rather
someone named Jack who has pig-like qualities or mannerisms.)
Symbolism: Identify the symbols you notice in each poem. What
abstract concepts (e.g., love, death, truth) might the concrete
objects (e.g., persons, places, things) suggest?
Language and Word Choice: Every word in a poem has been
included (or left out) after much deliberation, as poets choose
their words very carefully. Remark on the following in each
poem: Does the poet use informal or formal language? Does he
or she write in an older dialect or contemporary English?
Provide examples.
Tone: What tone does each poet take (e.g., sad, humorous,
sarcastic, loving, etc.) toward his or her subject matter?
Themes: What are the main messages of both poems? Give
reasons for your answers.
Sound: Read both poems aloud. What do you notice about their
rhythms, rhyme schemes and musicality? How does listening to
the sound of a poem differ from merely reading it as words on a
page?
Final Thoughts: Poetry can enlighten and/or evoke deep emotion
in readers. Express the impact each of the two poems you have
analyzed for this assignment had on you. What insights did you
gain about life or human nature, and what feelings did each

piece stir in you? Has your view of poetry changed in any way
since reading and analyzing the Phase 3 poems? Explain your
answer

Reading Task: choose two and write paper “Dog's Death" by John Updike, p. 340 "The World is Too Much with Us" by William Wordsworth, p. 491 “Shall I compare thee to a summer’s day?” by William Shakespeare, p. 492 “The Facebook Sonnet" by Sherman Alexie, p. 495 “Form" by Elaine Mitchell, p. 507 “Shooting the Horse" by David Shumate, p. 512 "this morning (for the girls of eastern high school)” by Lucille Clifton, p. 566 “Because I could not stop for Death” by Emily Dickinson, p. 568 “The Road Not Taken” by Robert Frost, p. 575 “Pied Beauty” by Gerard Manley Hopkins, p. 578 “Harlem” by Langston Hughes, p. 579 “Written in Disgust of Vulgar Superstition" by John Keats, p. 582 “The New Colossus” by Emma Lazarus, p. 582 Imagery: What visual images can you identify in both poems? Comment on the details you notice about objects, places, people, colors, textures and so forth. Which of your other senses are stimulated by the poets’ descriptions? Figures of Speech: List the specific metaphors, similes, puns and other figures of speech each poet uses and how they contribute to the poem’s overall meaning. (Remember, figurative language is not literal but rather suggestive of something else. For example, the metaphor, “Jack is a pig,” is not a reference to an actual animal with hooves but rather someone named Jack who has pig-like qualities or mannerisms.) Symbolism: Identify the symbols you notice in each poem. What abstract concepts (e.g., love, death, truth) might the concrete objects (e.g., persons, places, things) suggest? Language and Word Choice: Every word in a poem has been included (or left out) after much deliberation, as poets choose their words very carefully. Remark on the following in each poem: Does the poet use informal or formal language? Does he or she write in an older dialect or contemporary English? Provide examples. Tone: What tone does each poet take (e.g., sad, humorous, sarcastic, loving, etc.) toward his or her subject matter? Themes: What are the main messages of both poems? Give reasons for your answers. Sound: Read both poems aloud. What do you notice about their rhythms, rhyme schemes and musicality? How does listening to the sound of a poem differ from merely reading it as words on a page? Final Thoughts: Poetry can enlighten and/or evoke deep emotion in readers. Express the impact each of the two poems you have analyzed for this assignment had on you. What insights did you gain about life or human nature, and what feelings did each piece stir in you? Has your view of poetry changed in any way since reading and analyzing the Phase 3 poems? Explain your answer .

Essay on the Following poemsThey by Siegfried Sassoon & Magi.docx

debishakespeare

Essay on the Following poems: "They" by Siegfried Sassoon & "Magic of Love" by Helen Farries Begin your paper with an engaging introduction and clear thesis statement, develop each point in the body of your paper using examples and quotes from the poems, and conclude your paper with a restatement of your thesis and closing remarks. Also, make sure you maintain your credibility by including in-text citations and a reference list correctly formatted in APA style. Imagery: What visual images can you identify in both poems? Comment on the details you notice about objects, places, people, colors, textures and so forth. Which of your other senses are stimulated by the poets’ descriptions? Figures of Speech: List the specific metaphors, similes, puns and other figures of speech each poet uses and how they contribute to the poem’s overall meaning. (Remember, figurative language is not literal but rather suggestive of something else. For example, the metaphor, “Jack is a pig,” is not a reference to an actual animal with hooves but rather someone named Jack who has pig-like qualities or mannerisms.) Symbolism: Identify the symbols you notice in each poem. What abstract concepts (e.g., love, death, truth) might the concrete objects (e.g., persons, places, things) suggest? Language and Word Choice: Every word in a poem has been included (or left out) after much deliberation, as poets choose their words very carefully. Remark on the following in each poem: Does the poet use informal or formal language? Does he or she write in an older dialect or contemporary English? Provide examples. Tone: What tone does each poet take (e.g., sad, humorous, sarcastic, loving, etc.) toward his or her subject matter? Themes: What are the main messages of both poems? Give reasons for your answers. Sound: Read both poems aloud. What do you notice about their rhythms, rhyme schemes and musicality? How does listening to the sound of a poem differ from merely reading it as words on a page? Final Thoughts: Poetry can enlighten and/or evoke deep emotion in readers. Express the impact each of the two poems you have analyzed for this assignment had on you. What insights did you gain about life or human nature, and what feelings did each piece stir in you? Has your view of poetry changed in any way since reading and analyzing the Phase 3 poems? Explain your answer .

Here is the list of assigned poems for Phase ThreeDogs Deat.docx

trappiteboni

Here is the list of assigned poems for Phase Three: “Dog's Death" by John Updike, "The World is Too Much with Us" by William Wordsworth, “Shall I compare thee to a summer’s day?” by William Shakespeare, “The Facebook Sonnet" by Sherman Alexie, “Do Not Go Gentle into That Good Night” by Dylan Thomas, “Form" by Elaine Mitchell, “Shooting the Horse" by David Shumate, “A Red, Red Rose” by Robert Burns, "this morning (for the girls of eastern high school)” by Lucille Clifton, “Because I could not stop for Death” by Emily Dickinson, “The Road Not Taken” by Robert Frost, “Pied Beauty” by Gerard Manley Hopkins, “Harlem” by Langston Hughes, “Written in Disgust of Vulgar Superstition", “The New Colossus” by Emma Lazarus, PHASE 3 DISCUSSION BOARD What is poetry? This literary genre has been around, first as an oral tradition, since the beginning of human history. Yet there is no absolute, agreed-upon definition of poetry. The poet Salvatore Quasimodo said it is “the revelation of a feeling that the poet believes to be interior and personal which the reader recognizes as his own,” while Greek philosopher Plutarch called it “painting that speaks.” And contemporary author and poet Salman Rushdie has said, “A poet's work is to name the unnamable, to point at frauds, to take sides, start arguments, shape the world, and stop it going to sleep.” Whatever your own feelings, try to approach the Phase 3 readings with openness. You just may discover that all three writers were correct about poetry! Part A: Chosen Poem After reading the fifteen assigned poems, choose one that especially resonates with you and speaks your truth in some way. Write a paragraph elaborating on at least three reasons why you selected this particular poem. Which lines are especially memorable to you? Part B: A Poet and Didn’t Know It Try your hand at composing your own 8 to 20 line poem. Choose a topic that interests you: anything from a hobby to a place to a special person or memory. It doesn’t matter whether it is rhymed or unrhymed, but it does need to include vivid imagery and figurative language. Don’t worry about perfecting your poem; you are not expected to produce a finished product. Rather, this is an exercise in learning about the poet’s creative process. Try not to over-think it; one of the wonderful gifts of poetry is that there is no “right” or “wrong” way to write it. PHASE 3 INDIVIDUAL PROJECT For your third Individual Project, you will be writing an essay of 1,000 words or more about two additional poems from the assigned reading list . Please select two works from the list of fifteen—excluding the one you already reflected on in Part A of the Phase 3 DB assignment—and answer the questions below. Again, be sure to begin your paper with an engaging introduction and clear thesis statement, develop each point in the body of your paper using examples and quotes from the poems, and conclude your paper with a restatement of your thesis and closing remarks. Al.

or your third Individual Project, you will be writing an essay of .docx

MARRY7

or your third Individual Project, you will be writing an essay of 1,000 words or more about two additional poems from the assigned reading list . Please select two works from the list of fifteen—excluding the one you already reflected on in Part A of the Phase 3 DB assignment—and answer the questions below. Again, be sure to begin your paper with an engaging introduction and clear thesis statement, develop each point in the body of your paper using examples and quotes from the poems, and conclude your paper with a restatement of your thesis and closing remarks. Also, make sure you maintain your credibility by including in-text citations and a reference list correctly formatted in APA style. Imagery: What visual images can you identify in both poems? Comment on the details you notice about objects, places, people, colors, textures and so forth. Which of your other senses are stimulated by the poets’ descriptions? Figures of Speech: List the specific metaphors, similes, puns and other figures of speech each poet uses and how they contribute to the poem’s overall meaning. (Remember, figurative language is not literal but rather suggestive of something else. For example, the metaphor, “Jack is a pig,” is not a reference to an actual animal with hooves but rather someone named Jack who has pig-like qualities or mannerisms.) Symbolism: Identify the symbols you notice in each poem. What abstract concepts (e.g., love, death, truth) might the concrete objects (e.g., persons, places, things) suggest? Language and Word Choice: Every word in a poem has been included (or left out) after much deliberation, as poets choose their words very carefully. Remark on the following in each poem: Does the poet use informal or formal language? Does he or she write in an older dialect or contemporary English? Provide examples. Tone: What tone does each poet take (e.g., sad, humorous, sarcastic, loving, etc.) toward his or her subject matter? Themes: What are the main messages of both poems? Give reasons for your answers. Sound: Read both poems aloud. What do you notice about their rhythms, rhyme schemes and musicality? How does listening to the sound of a poem differ from merely reading it as words on a page? Final Thoughts: Poetry can enlighten and/or evoke deep emotion in readers. Express the impact each of the two poems you have analyzed for this assignment had on you. What insights did you gain about life or human nature, and what feelings did each piece stir in you? Has your view of poetry changed in any way since reading and analyzing the Phase 3 poems? Explain your answer Be able to describe the key elements of form, character, voice, symbolism, language, etc., that enable the writer to deliver a key message Can articulate the (sometimes various) main meaning or key message in a story or poem as the writer intended it, as well as describe the writer’s unique point of view Can reflect upon how a piece of literature illuminates or enriches one’ own experience Un.

Can someone please help me out I had posted this paper over a week .docx

chestnutkaitlyn

Can someone please help me out? I had posted this paper over a week ago to have done by tonight. an individual had responded, I paid a $15 down payment and they never completed it and I can not seem to find them online any more. I am in desperate need of some help. Please help me. I can not pay anything until Thursday. For your third Individual Project, you will be writing an essay of 1,000 words or more about two additional poems from the assigned reading list . Please select two works from the list of fifteen—excluding the one you already reflected on in Part A of the Phase 3 DB assignment—and answer the questions below. Again, be sure to begin your paper with an engaging introduction and clear thesis statement, develop each point in the body of your paper using examples and quotes from the poems, and conclude your paper with a restatement of your thesis and closing remarks. Also, make sure you maintain your credibility by including in-text citations and a reference list correctly formatted in APA style. Imagery: What visual images can you identify in both poems? Comment on the details you notice about objects, places, people, colors, textures and so forth. Which of your other senses are stimulated by the poets’ descriptions? Figures of Speech: List the specific metaphors, similes, puns and other figures of speech each poet uses and how they contribute to the poem’s overall meaning. (Remember, figurative language is not literal but rather suggestive of something else. For example, the metaphor, “Jack is a pig,” is not a reference to an actual animal with hooves but rather someone named Jack who has pig-like qualities or mannerisms.) Symbolism: Identify the symbols you notice in each poem. What abstract concepts (e.g., love, death, truth) might the concrete objects (e.g., persons, places, things) suggest? Language and Word Choice: Every word in a poem has been included (or left out) after much deliberation, as poets choose their words very carefully. Remark on the following in each poem: Does the poet use informal or formal language? Does he or she write in an older dialect or contemporary English? Provide examples. Tone: What tone does each poet take (e.g., sad, humorous, sarcastic, loving, etc.) toward his or her subject matter? Themes: What are the main messages of both poems? Give reasons for your answers. Sound: Read both poems aloud. What do you notice about their rhythms, rhyme schemes and musicality? How does listening to the sound of a poem differ from merely reading it as words on a page? Final Thoughts: Poetry can enlighten and/or evoke deep emotion in readers. Express the impact each of the two poems you have analyzed for this assignment had on you. What insights did you gain about life or human nature, and what feelings did each piece stir in you? Has your view of poetry changed in any way since reading and analyzing the Phase 3 poems? Explain your answer .

For your third Individual Project, you will be writing an essay of.docx

mecklenburgstrelitzh

For your third Individual Project, you will be writing an essay of 1,000 words or more about two additional poems from the assigned reading list . Please select two works from the list of fifteen—excluding the one you already reflected on in Part A of the Phase 3 DB assignment—and answer the questions below. Again, be sure to begin your paper with an engaging introduction and clear thesis statement, develop each point in the body of your paper using examples and quotes from the poems, and conclude your paper with a restatement of your thesis and closing remarks. Also, make sure you maintain your credibility by including in-text citations and a reference list correctly formatted in APA style. Imagery: What visual images can you identify in both poems? Comment on the details you notice about objects, places, people, colors, textures and so forth. Which of your other senses are stimulated by the poets’ descriptions? Figures of Speech: List the specific metaphors, similes, puns and other figures of speech each poet uses and how they contribute to the poem’s overall meaning. (Remember, figurative language is not literal but rather suggestive of something else. For example, the metaphor, “Jack is a pig,” is not a reference to an actual animal with hooves but rather someone named Jack who has pig-like qualities or mannerisms.) Symbolism: Identify the symbols you notice in each poem. What abstract concepts (e.g., love, death, truth) might the concrete objects (e.g., persons, places, things) suggest? Language and Word Choice: Every word in a poem has been included (or left out) after much deliberation, as poets choose their words very carefully. Remark on the following in each poem: Does the poet use informal or formal language? Does he or she write in an older dialect or contemporary English? Provide examples. Tone: What tone does each poet take (e.g., sad, humorous, sarcastic, loving, etc.) toward his or her subject matter? Themes: What are the main messages of both poems? Give reasons for your answers. Sound: Read both poems aloud. What do you notice about their rhythms, rhyme schemes and musicality? How does listening to the sound of a poem differ from merely reading it as words on a page? Final Thoughts: Poetry can enlighten and/or evoke deep emotion in readers. Express the impact each of the two poems you have analyzed for this assignment had on you. What insights did you gain about life or human nature, and what feelings did each piece stir in you? Has your view of poetry changed in any way since reading and analyzing the Phase 3 poems? Explain your answer .

For your third Individual Project, you will be writing an essay of.docx

mecklenburgstrelitzh

For your third Individual Project, you will be writing an essay of 1,000 words or more about two additional poems from the assigned reading list . Please select two works from the list of fifteen—and answer the questions below. Again, be sure to begin your paper with an engaging introduction and clear thesis statement, develop each point in the body of your paper using examples and quotes from the poems, and conclude your paper with a restatement of your thesis and closing remarks. Also, make sure you maintain your credibility by including in-text citations and a reference list correctly formatted in APA style. *****Attached is a document with the poems I chose for this assignment**** The citations can just be author, and date....but the references will have to be for the book i am currently using in my class (Literature to go, second edition, by Michael Meyer) Imagery: What visual images can you identify in both poems? Comment on the details you notice about objects, places, people, colors, textures and so forth. Which of your other senses are stimulated by the poets’ descriptions? Figures of Speech: List the specific metaphors, similes, puns and other figures of speech each poet uses and how they contribute to the poem’s overall meaning. (Remember, figurative language is not literal but rather suggestive of something else. For example, the metaphor, “Jack is a pig,” is not a reference to an actual animal with hooves but rather someone named Jack who has pig-like qualities or mannerisms.) Symbolism: Identify the symbols you notice in each poem. What abstract concepts (e.g., love, death, truth) might the concrete objects (e.g., persons, places, things) suggest? Language and Word Choice: Every word in a poem has been included (or left out) after much deliberation, as poets choose their words very carefully. Remark on the following in each poem: Does the poet use informal or formal language? Does he or she write in an older dialect or contemporary English? Provide examples. Tone: What tone does each poet take (e.g., sad, humorous, sarcastic, loving, etc.) toward his or her subject matter? Themes: What are the main messages of both poems? Give reasons for your answers. Sound: Read both poems aloud. What do you notice about their rhythms, rhyme schemes and musicality? How does listening to the sound of a poem differ from merely reading it as words on a page? Final Thoughts: Poetry can enlighten and/or evoke deep emotion in readers. Express the impact each of the two poems you have analyzed for this assignment had on you. What insights did you gain about life or human nature, and what feelings did each piece stir in you? Has your view of poetry changed in any way since reading and analyzing the Phase 3 poems? Explain your answer .

Here is the list of assigned poemsDogs Death by John Updike,.docx

trappiteboni

Here is the list of assigned poems: “Dog's Death" by John Updike, "The World is Too Much with Us" by William Wordsworth, “Shall I compare thee to a summer’s day?” by William Shakespeare, “The Facebook Sonnet" by Sherman Alexie, “Do Not Go Gentle into That Good Night” by Dylan Thomas, “Form" by Elaine Mitchell, “Shooting the Horse" by David Shumate, “A Red, Red Rose” by Robert Burns, "this morning (for the girls of eastern high school)” by Lucille Clifton, “Because I could not stop for Death” by Emily Dickinson, “The Road Not Taken” by Robert Frost, “Pied Beauty” by Gerard Manley Hopkins, “Harlem” by Langston Hughes, “Written in Disgust of Vulgar Superstition", “The New Colossus” by Emma Lazarus, In this course you have been exposed to many authors, genres, writing styles and themes. For your Key Assignment, you will reflect on what you learned from the works of fiction, poetry and drama you have read and consider the impact literature has had—and will hopefully continue to have—on your own life. Please write a final paper of 1500 words or more discussing the following questions. Be sure to begin your paper with an engaging introduction and clear thesis statement, develop each point in the body of your paper using examples and quotes from the assigned readings, and conclude your paper with a restatement of your thesis and closing remarks. As always, be sure to maintain your credibility by including in-text citations and a reference list correctly formatted in APA style. Short Stories: Analyze the elements of fiction, including setting, characters, point of view, plot, symbolism, themes, tone and irony. Cite specific examples from the assigned stories for each element. Which of the short stories we read was your favorite, and why? Give several reasons. Poetry: Break down the elements of poetry, including imagery, figurative language, symbolism, word choice, themes, tone and sound. Cite specific examples from the assigned poems for each element. Which of the poems we read was your favorite, and why? Share several reasons. Drama: Review the elements of drama, including setting, characters, plot, stage directions, symbolism, themes and dialogue. Cite specific examples from Trifles for each element. How has reading the play deepened your understanding of live performances, television dramas and movies? Values and Morals: Values and morality have been recurring considerations in many of our assigned works. Talk about personal values and moral codes as they are conveyed in each of the following: one short story (chosen from the Phase 1 or Phase 2 reading lists), one poem (chosen from the Phase 3 reading list), and the play, Trifles . Which of all the works we've read is your favorite and why? In what ways do you think it will make a lasting impact on you personally and professionally? Final Considerations: Discuss how literature can provide “a reflection of life” which can help us understand our own struggles, triumphs, values and m.

For your third Individual Project, you will be writing an essay of 1,000 words or more about two additional poems from the assigned reading list . Please select two works from the list of fifteen—and answer the questions below. Again, be sure to begin your paper with an engaging introduction and clear thesis statement, develop each point in the body of your paper using examples and quotes from the poems, and conclude your paper with a restatement of your thesis and closing remarks. Also, make sure you maintain your credibility by including in-text citations and a reference list correctly formatted in APA style. *****Attached is a document with the poems I chose for this assignment**** The citations can just be author, and date....but the references will have to be for the book i am currently using in my class (Literature to go, second edition, by Michael Meyer) Imagery: What visual images can you identify in both poems? Comment on the details you notice about objects, places, people, colors, textures and so forth. Which of your other senses are stimulated by the poets’ descriptions? Figures of Speech: List the specific metaphors, similes, puns and other figures of speech each poet uses and how they contribute to the poem’s overall meaning. (Remember, figurative language is not literal but rather suggestive of something else. For example, the metaphor, “Jack is a pig,” is not a reference to an actual animal with hooves but rather someone named Jack who has pig-like qualities or mannerisms.) Symbolism: Identify the symbols you notice in each poem. What abstract concepts (e.g., love, death, truth) might the concrete objects (e.g., persons, places, things) suggest? Language and Word Choice: Every word in a poem has been included (or left out) after much deliberation, as poets choose their words very carefully. Remark on the following in each poem: Does the poet use informal or formal language? Does he or she write in an older dialect or contemporary English? Provide examples. Tone: What tone does each poet take (e.g., sad, humorous, sarcastic, loving, etc.) toward his or her subject matter? Themes: What are the main messages of both poems? Give reasons for your answers. Sound: Read both poems aloud. What do you notice about their rhythms, rhyme schemes and musicality? How does listening to the sound of a poem differ from merely reading it as words on a page? Final Thoughts: Poetry can enlighten and/or evoke deep emotion in readers. Express the impact each of the two poems you have analyzed for this assignment had on you. What insights did you gain about life or human nature, and what feelings did each piece stir in you? Has your view of poetry changed in any way since reading and analyzing the Phase 3 poems? Explain your answer .

Here is the list of assigned poemsDogs Death by John Updike,.docx

trappiteboni

Imagery, symbolism, and allusionImageryImagery refers

MalikPinckney86

Imagery, symbolism, and allusion Imagery Imagery refers to the creation of mental images – sight, sound, taste, touch – through words. Imagery is related to the themes and ideas of a poem. Poets use imagery to create an experience that opens the reader up to the poem’s themes and ideas. Types of imagery Visual imagery uses words to create sights. In Pound’s “In a Station of the Metro,” the visual is that of faces in a station crowd. In Pound’s image, these faces are “Petals on a wet, black bough” (line 2). Auditory imagery captures sounds. In “Preludes,” Eliot’s images of the city include the familiar sounds of inner-city life: The showers beat On broken blinds and chimney-pots, And at the corner of the street A lonely cab-horse steams and stamps. (lines 9 – 12) Types of imagery Olfactory imagery uses smell to create an experience. It’s quite direct in Eliot’s “Preludes”: “The winter evening settles down / With smell of steaks in passageways” (lines 1-2). And again: “The morning comes to consciousness / Of faint stale smells of beer” (14-15). Gustatory imagery describes tastes. In “Ode to a Nightingale,” Keats describes pining for the taste of wine thus: “O, for a draught of vintage! that hath been / Cool’d a long age in the deep-delved earth, / Tasting of Flora and the country green” (lines 11 – 13). Types of imagery Tactile imagery relates to touch and texture. Eliot’s “Preludes” creates a cycle of urban life that connects day and night, work and rest, using images: Sitting along the bed’s edge, where You curled the papers from your hair Or clasped the yellow soles of feet In the palms of both soiled hands. (lines 35-38) Kinetic imagery is images of general motion, while kinesthetic imagery is images of human or animal movement. In “Sonnet 130,” Shakespeare describes the awkward walk of his beloved: “My mistress, when she walks, treads on the ground” (line 12). Symbolism Symbolism is the use of symbols to create meaning in an imaginative way. A symbol is a thing that represents something else. Think of symbolism as using code to express ideas. A word, an action, a setting, a character, a situation – all of these can be symbolic and, as symbols, significant to the themes and ideas of a work. Symbolism Symbols are often indirect and subtle. For example, one wouldn’t say that a character’s cough is a symbol for the character’s illness. The cough is a symptom of the illness and directly related to it. Be careful how you use the terms “symbolism,” “symbolize,” and “symbol.” Often students use “symbolizes” when they actually mean “represents” in the general sense. Identifying symbolism and symbols in works of literature is interpretation, and, like all interpretation, it must be supported by the text. symbolism Cultural or universal symbols are symbols that are common and easily recognized. Spring as a symbol for new life is a cultural/universal symbol. Contextual, private, or authorial symbols are sy ...

English 220 week #1.pptmadiajohn

QuestionFor assignment instructions, see Unit Module.Submit th.docx

rudybinks

Question For assignment instructions, see Unit Module. Submit the discussion as an attached document, MLA formatting, file name: 102 Last First DB2 Poetry Additionally, submit content of document as intitial post to discussions: summary and paragraphs to the textbox in the Discussions: Feb. 12; responses to classmates MLA FORMATTING 2 PAGES Regarding the poem choice: The poem must be in the course text. If the poem you are considering as the topic of the discussion -- and the literary analysis essay -- is not in the assigned reading, I ask that you discuss your choice with me. This "discussion" is intended only to ensure that the analysis not be more challenging than necessary. In response to a question about the poem, "We Wear the Mask" by Paul Dunbar I offered the following discussion: Consider who the speaker is and who the speaker is speaking of, the "our" and "we" of the poem. Since the author is African American and lived in the late 1800s and into the early 1900s, the voice is typically assumed to be speaking about the African American experience; however, the poem's meaning can be generalized to any group that is marginalized. Consider the imagery and the type response it evokes. How does the poem appeal to the senses? Rather than thinking in terms of the poem "causing the reader to . . . ," consider that the poem evokes or elicits a type of emotional response; that is, the poem brings that emotion into consciousness rather than "making a reader" respond a certain way. Consider the mask as a symbol. What is the "literal" mask? What does it represent symbolically? Consider the mask as an allusion: According to the Columbia Electronic Encyclopedia masks were used "in ancient Greek drama [to represent] the character being portrayed by the actor and were constructed to portray a fixed emotion such as grief or rage" ("Mask"). In Greek theatre, there were typically only a few characters, but there was also a chorus that either spoke in unison or were represented by one speaker. The chorus represented the voice of the community as well as serving as a narrator and a transitional element between acts or scenes in the play. "Mask." Columbia Electronic Encyclopedia, 6th ed. (2013): n. p. Literary Reference Center Plus . Web. 10 Feb. 2015. If you have questions about your poem choice, let me know. A reminder: While you may go to online sites for some general information about the poem you have chosen, you are expected to use that information only as a springboard for ideas. In other words, your choices about discussion and support should be based on your critical reading and the information in the course text. Additionally, use the glossary in the course text for definitions (not general internet searches), and if you need a definition, use an online collegiate-level dictionary (One is recommended in the course syllabus). If you want to read further, use library databases: The Literary Reference Center Plus is a good.

Literary Terms Teaching1athenamilis

106 slides Nov 16 on outlining

Daniel Feldman

Ewrt 1 c class 3 onlinejordanlachance

Petite poetry unitBrittany Hinks

Writing Assignments Poetry1) Write a poem of at least 10 .docx

ambersalomon88660

Writing Assignments: Poetry 1) Write a poem of at least 10 lines using at least five items from your “character list.” 2) Write a poem in a voice not your own. You might choose to write in the voice of some historical figure, in the voice of someone you know, or in the voice of a made-up character (perhaps someone from your story). 3) Write a poem in a traditional form (sonnet, villanelle, sestina), or with a set syllabic count, or make up a form of your own. 4) Write a poem with a controlling metaphor (the likeness or connection between two things—ie., life and baseball—should be carried throughout the poem) or with at least three metaphors from the same context. 5) Write a poem in imitation of another published poem. If you choose a poem that’s not in our textbook, please make copies for the rest of the class and hand the copies in along with your imitation poem. When preparing the “imitation poem,” try to decide what is essential to the “original poem.” Is it rhyme scheme, meter, imagery, subject, language, tone? Several of the above, or something else? Write a poem of your own that includes those essential elements (it should be similar in form and length to the original, but it doesn’t have to be exactly the same). Turn in the poem as usual; by your name, put “Imitation of ‘(Title of Poem)’ by (Author).” 6) Write about a domestic task, such as knitting, doing dishes, installing an air-conditioner, or watering plants, OR about a ceremony, such as bap- tism, transferring a car title, or being graduated. At last once in the poem, contradict received wisdom. Dare to contradict your own beliefs, if you wish. Ten line minimum. (Kevin Bath, EH 200) 7) Write about a game you played as a child—preferably a folk game, such as kick-the-can, capture-the-flag, scissors-paper-stone, hopscotch, or jump rope, and not a commercial game like Monopoly or Space Invaers. Use at least two figures of speech, but make sure they’re not clichés. This poem must be in blank verse or in a fixed form (sonnet, ballad stanzas, heroic couplets, terza rima, etc.) (Kevin Bath, EH 200) Creating a 14-er Compose a poem in which the lines end with the words below in the order given. Find possible connections between the words, so that your poem gives a sensible or logical account of something specific. We haven’t discussed rhythm (syllable count) or accents (meter) yet, so use any rhythm you want to; but if you make your lines 10 syllables each, you will have written a Shakespearean sonnet. Give your poem a title: _____________________________________________quiet _____________________________________________kiss _____________________________________________riot _____________________________________________abyss _____________________________________________trees _____________________________________________June _____________________________________________peas _____________________________________________prune _____________________________________________cryst.

Literary analysisppt

Erica Thompson

Stylistic devicesNavera Rahman

How to Quote and Cite PoetryYou will be required to quote and ci.docx

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How to Quote and Cite Poetry You will be required to quote and cite lines of poetry for both the Red Bird and Rose analyses. The grade for the poetry analyses will be partly determined by style and partly determined by your analysis of meaning. This PDF handout will focus on the importance of correct style. Paragraph Basics In order to promote clarity, each paragraph must have a topic sentence that announces the main idea of the paragraph. For smooth flow, the beginning of the topic sentence should include a transitional phrase. To promote unity (staying on topic), all paragraphs should present only ONE idea which is supported by facts, examples, statistics or illustrations, etc... Writing unified paragraphs helps both the writer and the reader to concentrate on one point at a time. Let no detail or example creep into your paragraph if it doesn’t support the one idea, or topic sentence. A new paragraph should result if there is a shift of subject, idea, emphasis, speaker, time, or place. In other words, keep one idea per paragraph. Introducing Quotes Readers should be able to move from your own words to the words you quote from a source without feeling a jolt. So introduce all your quotes with signal phrases, usually including the author’s name, to prepare readers for the source: According to ornithologist Jay Sheppard, “The bald eagle seems to have stabilized its population, at the very least, almost everywhere” (96). Although the bald eagle is still listed as an endangered species, it “seems to have stabilized its population, at the very least, almost everywhere” (Sheppard 96). To avoid monotony and excessive repetition, try to vary your signal phrases. Below is a list of appropriate phrases you can use to introduce a quote: acknowledges, adds, admits, agrees, argues, asserts, believes, claims, comments, compares, confirms, contends, declares, denies, disputes, emphasizes, endorses, grants, illustrates, implies, insists, notes, observes, points out, reasons, refutes, rejects, reports, responds, states, suggests, thinks, writes. (Work Cited - Hacker, Diana. Instructor’s Edition: Rules for Writers. 5th ed. Boston: Bedford/St. Martin’s, 2004.) Introducing Lines of Verse * Here are a few examples on h ow to introduce lines of verse. (Source: WikiHow. Please visit the webpage (link below) to read more about quoting and citing poetry): Example: Robert Frost uses a variety of words and phrases such as “frozen” (7), “darkest evening” (8), and “before I sleep” (15) to imply thoughts of solitude and the desire to not return to his obligations. Example: The notion of solitude appears in many notable poems including the famous lines, "The woods are lovely, dark, and deep / But I have promises to keep / And miles to go before I sleep" (Frost 13-15). Example: Robert Frost writes about solitude and man’s relationship with nature: Whose woods these are I think I know. His house is in the village, though; He will not see me stopping ...

Detailed lesson plan - Crossing the Bar - giocosovivace

Jivanee Abril

John SmithProf. C. SimmonsEnglish 22730 January 2014Goth.docx

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John Smith Prof. C. Simmons English 227 30 January 2014 Gothic Imagery in Hawthorne’s Rappaccini’s Daughter The word “gothic” gives a connotation of gloom, despair, and the decay of time. The grotesque and horrifying are used in Gothic literature for atmosphere, foreshadowing, and symbolism. Nathaniel Hawthorne is an early American example of a writer of Gothic tales. In “Rappaccini’s Daughter,” Hawthorne uses Gothic conventions to tell a story of dual natures and doomed love. In the opening scene, Giovanni, a university student and the hero of our tale, is shown to his new lodgings in Padua. Here Hawthorne utilizes two Gothic conventions to create a grim sense of foreshadowing: the ancient, ruined building, and the mysterious old woman. Giovanni’s lodgings are in a “high and gloomy chamber of an old edifice which looked not unworthy to have been the palace of a Paduan noble” (Hawthorne 178). He is reminded of Dante’s Inferno, and imagines that a member of this ancient household “[partook] of the immortal agonies” described in the poem (178). This foreshadows the “agonies” of Giovanni’s love for Beatrice, the heroine. Giovanni is with his new landlady, a strange and vaguely superstitious woman named “dame” Lisabetta. She makes frequent reference to the Virgin and the Saints, and directs Giovanni to the view of Dr. Rappaccini’s herb garden. She tells Giovanni that he may see Rappaccini and his daughter at work in the garden, cultivating plants that “are as potent as a charm” (179). Later in the story, Lisabetta is the means by which Giovanni and Rappaccini’s daughter Beatrice meet clandestinely in the deadly garden (187). The garden itself is the scene of the majority of Hawthorne’s Gothic symbolism and foreshadowing. It is dominated by “the ruin of a marble fountain in the centre, sculptured with rare art, but so woefully shattered that it was impossible to trace the original design from the chaos of the remaining fragments” (179). The fountain is beautiful, “rare,” and destroyed. It is a symbol for the dual nature of the garden itself, with its beautiful, deadly flowers; for Beatrice Rappaccini, who is beautiful, but literally poisonous; and the love/obsession Giovanni has for Beatrice, which is beautiful, but kills. In the end, the Gothic tone of Hawthorne’s “Rappaccini’s Daughter” portrays the dual nature of love and obsession in the story. Hawthorne brilliantly displays symbolism and foreshadowing as techniques by which an author can show the deeper meaning of surface imagery. Works Cited Hawthorne, Nathaniel. “Rappacini’s Daughter.” The Art of the Short Story. Ed. Wendy Martin. Boston: Houghton Mifflin, 2006. 178-197. Print. How to Write about Literature If you wish to write well about literature, you must keep in mind the following: Clearly articulate a main point. Main Points in Paragraphs In a short writing of only one paragraph this main point is called a topic sentence and it should us.

Exploration of one or more characteristic(s) of an authors style an.docx

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Exploration of one or more characteristic(s) of an author's style and approach Consider analyzing the author's use of imagery or setting: Analyzing Setting “Setting refers to the natural or artificial scenery or environment in which characters in literature live and move. Seeing also includes what in the theater would be called props or properties—the implements employed by the characters in various activities. Such things as the time of day and the consequent amount of light at which an event occurs, the flora and fauna, the sounds described, the smells, and the weather are also part of the setting. Paintbrushes, apples, pitchforks, rafts, six-shooters, watches, automobiles, horses and buggies, and innumerable other items belong to the setting. References to clothing, descriptions of physical appearance, and spatial relationships among the characters are also part of setting.” (Edgar V. Roberts, Writing Themes about Literature) In order to create an argument about the function of the setting in a particular work, you need to identify the principal settings and to see how they work. Here are some steps you can take: 1) Read the story and mark references to setting. Start with the place and time of the action and then focus upon recurrent details and objects. 2) Think about what the story is about. What happens? What is its point? Is it a story about love, jealousy, gain, or loss? What is the main experience here? 3) Look through your setting notes and see if they fall into any pattern. What are the interesting shifts and contrasts? 4) Determine how the setting relates to either the main point of the story (step 2) or to some part of it. In other words what does the setting have to do with character or action? What are its effects? Whatever you decide here will be your thesis statement. 5) Make an outline, indicating what aspects of setting you will discuss and what you intend to say about them. Discard notes that are not central to your plan (you don’t have to discuss everything). Focus on the four or five key passages in the story that you wish to examine. List them in your outline in the order in which they occur. Analyzing Imagery As distinct from character, theme, and plot, imagery occurs primarily in language, in the metaphors (i.e. comparisons), similes (comparisons with “like” or “as”), or other forms of figurative (pictorial) language in a literary work. Sometimes setting, i.e., the locality or placing of scenes, or stage props (like swords, flowers, blood, winecups) can also be considered under the rubric of imagery. But whatever the expression, images primarily are visual and concrete, i.e., things which the reader sees or can imagine seeing. Some examples are flowers, tears, animals, the moon, sun, stars, diseases, floods, metals, darkness and light. In order to create an argument about the significance of an image in a particular work, identify a principal image or image cluster and to see how it works by following the.

How To Write About EssaysElizabeth Levine, M.A., M.P.H.,M.F.A.

Style and stylistics

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Ewrt 1 c class 3 online

jordanlachance

pdfcoffee.com_21st-century-literature-from-the-philippines-to-the-world-pdf-.pdf

KharissaMayCajes

21st century Q2 Melc1.pptx grade 7 english

JullyAnnJimenezFullo

106 slides Nov 21 & 23Daniel Feldman

Readreview the following resources for this activity· Poll.docx

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Read/review the following resources for this activity: · Pollock (Cengage, 9e) Writing Requirements (APA format) · 3-4 pages (approx. 300 words per page), not including title page or references page · 1-inch margins · Double spaced · 12-point Times New Roman font · Title page with topic and name of student Week 1 Assignment: Essay Introduction In your reading, you learned that there is man-made law and natural law. Next week you’ll read about punishment and its proposed purpose(s). In this assignment, you’re asked to evaluate the letter of the law vs. the spirit of the law in terms of whether someone is guilty of a crime and/or whether they should be punished. In addition, you’re asked to evaluate the ethical dilemma using a methodical process that will help you critically think through, resolve, and defend your decision on what to do. You’re just starting to see, hopefully, that ethical dilemmas aren’t always easy to resolve, and that’s precisely why they’re dilemmas! (If you like the challenge of thinking this dilemma through and are interested in something similar, read “The Merchant of Venice” by William Shakespeare. It has a similar theme and is written by one of the greatest play writes of all time!) Activity Instructions Mercy Killing You are selected for a jury trial of a 64-year-old mother who killed her two adult sons. The two men had Huntington’s disease, a degenerative brain disease, and were institutionalized. They were certain to die and would endure much pain and suffering before they expired. The defendant’s husband had died from this same disease, and she had nursed him throughout his illness until his death. The defendant took a gun into the nursing home, kissed her sons good-bye, and then shot them both through the head. She was arrested for first-degree murder. The prosecutor informs you that there is not “mercy killing” defense in the law as it is written. If you were on the jury, how would you decide this case? What punishment does she deserve? Why? Content Requirements: each assignment must cover the following four requirements fully. 1. Ethical Dilemma . State what the primary and ancillary ethical dilemmas are as presented by the Case Study. Do not restate the facts of the case. 2. Present a resolution of the case study . State specifically WHAT you’re going to do and WHY you’re doing what you’re doing to resolve the ethical dilemma. Be very specific and detailed. 3. Identify which ethical system(s) support your resolution. Look to Chapter 2 of the Pollock textbook to identify the list of ethical systems to be used. 4. Integrate any material/concepts learned in the course that are applicable to the case study and/or your resolution. Show specifically how the material/content applies. Be sure to cite your resources/textbook properly. Week 2 Assignment: Essay Introduction In the assignment for last week, I suggested you might enjoy reading “The Merchant of Venice”. The as.

Read a selection of your colleagues’ postings.Respond to two of .docx

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Read a selection of your colleagues’ postings. Respond to two of your colleagues (select colleagues, if possible, who have not yet received feedback on their original post) in one or more of the following ways: · Based on your experience and the resources from the course, provide that person with additional suggestions and/or alternative approaches that he or she may not have considered specific to his or her evaluation. · Compare your colleagues’ ideas with what IDEO found to be successful. Does IDEO offer additional ideas that would enhance the potential for success of your colleagues’ suggestions? · Provide positive feedback that describes how the post gave you new perspectives on how to support and encourage a creative environment in the workplace. Provide details about how those perspectives influence the way you now think about creativity in the workplace. MUST USE TEMPLATES/HEADINGS BELOW Responses to Colleagues Template Additional Alternatives or Suggestions to Colleague Comparison of Colleagues Ideas to IDEO Ideas Positive Feedback on New Perspectives Supporting Creative Environment APA References 1st Colleague to respond to: Factors That Contribute to a Creative Climate Specific to Both Individuals and Teams Just last week, I started my new career as a Licensing Specialist. Thus far, it has been a wonderful experience and I am grateful for all the opportunities that are brought forth with my new career position. There is great leadership demonstrated at my job that allows the company to run smoothly. Each department has a team lead as well as a supervisor, although, you would not know it because they are reserved and treat everyone equally as if everyone is on the same management level. Puccio, Mance, and Murdock (2011) says “employee performance is more important than seniority, and the behavior of IDEO leadership consistently demonstrates that flexibility is “in” and rigid rules are “out” ” (Puccio, Mance, and Murdock, 2011, pp. 3-4). Our leaders are not strict on us and permit us the freedom to take risks, make mistakes, and learn from them. There are rules and regulations presented, however, our leaders provide an environment that is not just easy to work in, but comfortable and safe to work in. Our work environment is surrounded by each individual having their own cubicle desk amongst their own team. Some but not all of the supervisors have their own office. Due to the open space that everyone has, it encourages everyone to mingle by communicating with each other, learning from each other, and sharing creative ideas with one another for the success of the company. The work environment is crucial at my organization mainly because of everyone not being able to have their own individual offices with having doors for privacy. “IDEO has learned that having the right size workspace makes a difference. Too much workspace decreases energy and slightly tight space generates energy. There are opportunities for spontaneous interactio.

reading Phillips & Soltis Chapter 6Wenger A Social .docx

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reading Phillips & Soltis: Chapter 6 Wenger: A Social Theory of Learning McLeod: Vygotsky (Links to an external site.) https://www.simplypsychology.org/vygotsky.html Schunk: Chapter 6 (Read Only the Following Pages/Sections) 240 (Vygotsky S.C. Theory) - 248 250 (Socially Mediated Learning) - 233 269 (Peer Assisted) - 271 274 (Summary) - 277 Commentonat least 3 Classmates’Posts (approximately 150 -300 words each)§ - comment must address the R2R prompt and your classmate’s response substantively; if you agree or disagree, provide reasoning and rational evidence from the readings to support your position - build on the ideas of what your classmate has written and dig deeper into the ideas - support your views through research you have read or through your personal and/or professional experiences§demonstrate a logical progression of ideas - comments need to be thoughtful and substantive; not gratuitous comments like “this was a good post” or simply that “you agree”. Simply congratulating the writer on their astute insights is insufficient. - cite the readings in your response by using proper APA Style format and conventions. classmate 1 Hello everyone! Social learning theory is described as being a “theory of learning process and social behavior which proposes that new behaviors can be acquired by observing and imitating others.” Learning is a social experience in a lot of different ways. Social interactions are critical in learning. We learn so much from interacting with others and our environment. The fundamental principles of social learning states that “learning occurs when observing other's behaviors and the resulting outcomes of those behaviors.” Observation and mimicking are the first forms of learning as a child. Peer collaboration, reciprocal teaching, apprenticeships, and scaffolding are all examples of learning using the social model. In other words, we learn from everything around us. We learn from our interactions as it stimulates developmental processes and fosters cognitive growth, the information that is “learned” is transformed into knowledge. Lev Vygotsky is a constructivist theorist; he placed more emphasis on the social environment being a factor in learning. Vygotsky’s theory stresses that “the interaction of interpersonal (social), cultural-historical, and individual factors as the key to human development. Vygotsky considered the social environment critical for learning and thought that social interactions form learning experiences” (Schunk, page 242). One of the fundamental concepts presented by Lev Vygotsky is that a person’s interactions with the environment aid in their learning. Social interactions are necessary for learning to take place, and that knowledge is gained when two or more people interact with one another. Another concept would be self-regulation, which involves “the coordination of mental processes such as planning, synthesizing, and forming concepts” (Schunk, page 252)..

Readings Maggie Nelson, Great to Watch”Martha Stout, .docx

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Readings: Maggie Nelson, “Great to Watch” Martha Stout, “When I Woke Up Tuesday Morning, It Was Friday” Azar Nafisi, “Selections from Reading Lolita in Tehran ” Rough Draft (4 pages) due Wed. 11/20 (bring 2 paper copies to class for Peer Review and upload To Canvas) Final Draft (5-6 pages) due Wed. 12/4 (upload to Canvas) Question for Writing: Azar Nafisi reflects on her experiences as a woman living in Tehran under a totalitarian regime. In secret, with a select group of female students, Nafisi and her class explore the world of forbidden literature as a form of mental resistance against their loss of freedom. Considering the ideas and themes of Martha Stout and Maggie Nelson, develop a thesis that investigates how these concepts may inform our reading of Nafisi’s memoir. Themes include (but are not limited to) the utility of subjective mental states such as dissociation and imagination; the role of violence in the media; and the creation and preservation of self-identity. Remember: Connections between authors are not only parallels, but include complications, contrasts, frame-case relationships, etc. A quality Expos essay has complex connections! .

Readings1.pngReadings2.pngReadings3.pngReadings4.docx

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ReadingsRead Jason Mittell, Narrative Complexity in Contemporar.docx

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Readings: Read Jason Mittell, Narrative Complexity in Contemporary American Television,” pp. 29-40 in The Velvet Light Trap 58 (Fall 2006). Screening: Nurse Jackie pilot Answer after reading： After reading Mittell's article on Narrative Complexity, explain how/why Nurse Jackie is a complex narrative. Can you give examples of the operational aesthetic? Narrative special effect? 3 pages， double spaced Jason Mittell 29 longside the host of procedural crime dramas, domestic sitcoms, and reality com- petitions that populate the American television schedule, a new form of entertainment television has emerged over the past two decades to both critical and popular acclaim. This model of television storytelling is distinct for its use of narrative complexity as an alternative to the conventional episodic and serial forms that have typified most American television since its inception. We can see such innovative narrative form in popular hits of recent decades from Seinfeld to Lost, West Wing to The X-Files, as well as in critically beloved but ratings-challenged shows like Arrested Development, Veronica Mars, Boomtown, and Firefly. HBO has built its reputation and subscriber base upon narratively complex shows, such as The Sopranos, Six Feet Under, Curb Your Enthusiasm, and The Wire. Clearly, these shows offer an alternative to conventional television narrative—the purpose of this essay is to chart out the formal attributes of this storytelling mode, explore its unique pleasures and patterns of comprehension, and suggest a range of reasons for its emergence in the 1990s. In trying to understand the storytelling practices of contemporary American television, we might consider narrative complexity as a distinct narrational mode, as suggested by David Bordwell’s analysis of film narrative. For Bordwell, a “narrational mode is a historically distinct set of norms of narrational construction and comprehension,” one that crosses genres, specific creators, and artistic movements to forge a coherent category of practices.1 Bordwell outlines specific cinematic modes such as classical Hollywood, art cinema, and historical materialism, all of which encompass distinct storytelling strategies while still referencing one another and building on the foundations of other modes. Kristin Thompson has ex- Narrative Complexity in Contemporary American Television jason mittell the Velvet light trap, Number 58, Fall 2006 ©2006 by the University of Texas Press, P.O. Box 7819, Austin, TX 78713-7819 a tended Bordwell’s approach to television, suggesting that programs like Twin Peaks and The Singing Detective might be usefully thought of as “art television,” importing norms from art cinema onto the small screen.2 Although certainly cinema influences many aspects of television, especially concerning visual style, I am reluctant to map a model of.

ReadingsRead pp. 207-221 of Ch. 10 of Positive Psychology.Ch.docx

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Readings Read pp. 207-221 of Ch. 10 of Positive Psychology. CheckPoint Human Virtues and Character Strengths Examine one human virtue and the associated character strengths that are important to you, as listed in Ch. 10 of Positive Psychology . Select someone who you know or is a public figure who you feel encompasses at least one of these virtues. Discuss why this virtue is important to you. How does the person you selected encompass this virtue and the associated character strengths? Post a 200- to 300-word response. Think of someone you hold in high regard and look up to as a model for yourself and others. Perhaps a friend, relative, or a person from history or contemporary society comes to mind. Think about this individual’s personal qualities and how you might describe the basis of your admiration to another person. Make a mental list of 4 or 5 qualities that make this person deserving of your respect. Now compare your list to the positive traits discussed in Chapter 9. How many of them overlap? Did your list include extraversion, cheerfulness, selfesteem, or optimism? What traits on your list are not in Chapter 9? Did you include any of the following qualities: integrity, courage, honesty, kindness, religious conviction, wisdom, fairness, or modesty? The point here, affirmed by how we think about people we respect, is that a description of positive human traits would be incomplete without including personal qualities CHAPTER OUTLINE Developing a Classification of Human Virtues Measuring Strengths of Character Wisdom as a Foundational Strength and Virtue What is Wisdom? Theories of Wisdom Balance Theory Wisdom as Expert Knowledge in the Conduct of Life Wisdom in Action: The SOC Model of Effective Life Management Focus on Theory: Wisdom or Self-control as Master Virtues? Transcendence: Religion and Spirituality The Search for Meaning Religion and Spirituality: The Diversity of Views Defining Religion and Spirituality Religion/Spirituality and Well-Being Religious Orientation Intrinsic and Extrinsic Religious Orientation Quest Religious Orientation Attachment Theory and Relationship to God Styles of Religious Coping “Explaining Religion versus Explaining Religion Away” Religion and Virtue Forgiveness Gratitude Focus on Research: Increasing Well-Being by Counting Your Blessings 10 Virtue and Strengths of Character 207 ISBN 1-256-51557-4 Positive Psychology, by Steve R. Baumgardner and Marie K. Crothers. Published by Prentice Hall. Copyright © 2009 by Pearson Education, Inc. 208 Chapter 10 • Virtue and Strengths of Character judged as positive because they are “good” in moral and ethical terms. Clearly, we may admire people who are outgoing, upbeat, and positive about the future. But just as clearly, and perhaps at a deeper level, we also admire individuals who show strengths of character that reflect virtuous qualities like integrity, kindness, and compassion. In short, virtue and character strengths belong on a list of .

ReadingsRead Chapter 10 in the text Human resource management..docx

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Readings Read Chapter 10 in the text: Human resource management. Discussions To participate in the following Discussion Forums, go to this week's Discussion link in the left navigation: Global HRM How does the current landscape of global HRM impact HR planning? What are the HRM implications of Hofstede’s, Trompenaars’, and the GLOBE models’ cross-cultural dimensions? Respond to at least two of your classmates' postings. The Future of HRM Today, social media is playing a major role in the selection process. How would the use of such tools as LinkedIn, Twitter, Facebook and others impact your decision in finding the right candidate and why would you select such tool(s)? What would be the impact on HR policies? .

READINGSINCLASSICALCHINESEPHILOSOPHY2RE.docx

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READINGS IN CLASSICAL CHINESE PHILOSOPHY 2 READINGS IN CLASSICAL CHINESE PHILOSOPHY Second Edition Edited by Philip J. Ivanhoe City University of Hong Kong and Bryan W. Van Norden Vassar College Hackett Publishing Company, Inc. Indianapolis/Cambridge 3 Copyright © 2001 Reprinted in 2003 by Hackett Publishing Company, Inc. Second edition copyright © 2005 by Hackett Publishing Company, Inc. All rights reserved Printed in the United States of America 12 11 10 09 08 07 2 3 4 5 6 7 8 For further information, please address Hackett Publishing Company, Inc. P.O. Box 44937 Indianapolis, Indiana 46244-0937 www.hackettpublishing.com Composition by SNP Best-set Typesetter Ltd., Hong Kong Printed at Malloy, Inc. Library of Congress Cataloging-in-Publication Data Readings in classical Chinese philosophy/edited by Philip J. Ivanhoe and Bryan W. Van Norden.—2nd ed. p. cm. Includes bibliographical references. ISBN 0-87220-781-1 (cloth)—ISBN 0-87220-780-3 (pbk.) 1. Philosophy, Chinese—To 221 B.C. I. Ivanhoe, P. J. II. Van Norden, Bryan W. (Bryan William) B126.R43 2005 181’.11—dc22 2005050463 ISBN-13: 978-0-87220-781-3 (cloth) ISBN-13: 978-0-87220-780-6 (pbk.) epub ISBN: 978-1-60384-520-5 4 CONTENTS Preface Comparative Romanization Table Map of China during the Spring and Autumn Period Introduction Selective Bibliography CHAPTER ONE Kongzi (Confucius) “The Analects” Introduction and Translation by Edward Gilman Slingerland CHAPTER TWO Mozi Introduction and Translation by Philip J. Ivanhoe CHAPTER THREE Mengzi (Mencius) Introduction and Translation by Bryan W. Van Norden CHAPTER FOUR Laozi (“The Daodejing”) Introduction and Translation by Philip J. Ivanhoe CHAPTER FIVE Zhuangzi Introduction and Translation by Paul Kjellberg CHAPTER SIX Xunzi Introduction and Translation by Eric L. Hutton CHAPTER SEVEN Han Feizi Introduction and Translation by Joel Sahleen SUPPLEMENTAL TEXTS Gongsun Longzi “On the White Horse” 5 Introduction and Translation by Bryan W. Van Norden Yangism “Robber Zhi” Introduction and Translation by Paul Kjellberg APPENDICES Important Figures Important Periods Important Texts Important Terms 6 PREFACE This newly revised edition of Readings in Classical Chinese Philosophy introduces the seven most familiar, widely read, and important thinkers of the “classical period” (roughly the sixth to the end of the third century B.C.E.) of Chinese philosophy, as well as two critically important but often neglected philosophers of this period: Gongsun Longzi and Yang Zhu. Each of the seven chapters and two Supplemental Text sections of the volume begins with a brief introduction to the work and thinker it concerns and concludes with a short and lightly annotated selective bibliography. The volume is intended to serve as an introduction to and source book for these texts and not as a philosop.

READINGSIntroductionUnit II examines ethical, legal, and .docx

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READINGS: Introduction Unit II examines ethical, legal, and legislative issues affecting leadership and management as well as professional advocacy. This chapter focuses on applied ethical decision making as a critical leadership role for managers. Chapter 5 examines the impact of legislation and the law on leadership and management, and Chapter 6 focuses on advocacy for patients and subordinates and for the nursing profession in general. Ethics is the systematic study of what a person’s conduct and actions should be with regard to self, other human beings, and the environment; it is the justification of what is right or good and the study of what a person’s life and relationships should be, not necessarily what they are. Ethics is a system of moral conduct and principles that guide a person’s actions in regard to right and wrong and in regard to oneself and society at large. Ethics is concerned with doing the right thing, although it is not always clear what that is. Applied ethics requires application of normative ethical theory to everyday problems. The normative ethical theory for each profession arises from the purpose of the profession. The values and norms of the nursing profession, therefore, provide the foundation and filter from which ethical decisions are made. The nurse-manager, however, has a different ethical responsibility than the clinical nurse and does not have as clearly defined a foundation to use as a base for ethical reasoning. In addition, because management is a discipline and not a profession, its purpose is not as clearly defined as medicine or law; therefore, the norms that guide ethical decision making are less clear. Instead, the organization reflects norms and values to the manager, and the personal values of managers are reflected through the organization. The manager’s ethical obligation is tied to the organization’s purpose, and the purpose of the organization is linked to the function that it fills in society and the constraints society places on it. So, the responsibilities of the nurse-manager emerge from a complex set of interactions. Society helps define the purposes of various institutions, and the purposes, in turn, help ensure that the institution fulfills specific functions. However, the specific values and norms in any institution determine the focus of its resources and shape its organizational life. The values of people within institutions influence actual management practice. In reviewing this set of complex interactions, it becomes evident that arriving at appropriate ethical management decisions can be a difficult task. In addition, nursing management ethics are distinct from clinical nursing ethics . Although significant research exists regarding ethical dilemmas and moral distress experienced by staff nurses in clinical roles, less research exists regarding the ethical distress experienced by nursing managers. Nursing management ethics are also distinct from other areas of m.

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