Visit two (2) hawker centres of your choice. Examine how you would conduct trading area analyses and recommend the one that you would like to set up your stall.
I have chosen the hawkers in Ang Mo Kio S11 and Chomp Chomp. The hawker at Ang Mo Kio is a walkable distance from the mrt station. Ang Mo Kio is a mutual estate; this cause the crowds to be older. The main audience of the hawkers are middle aged. The trading area at Ang Mo Kio is smaller than Chomp Chomp. The stores at Ang Mo Kio are saturated.
The hawker at Chomp Chomp is future away from the mrt station. As compared to the one at Ang Mo Kio, Chomp Chomp is less accessible. Chomp Chomp still managed to gain crowds despite being less accessible. The crowds in Chomp Chomp have a wider age range from young to old. Tourist also head down to Chomp Chomp to try Singapore local food. The trading area at Chomp Chomp is much larger than Ang Mo Kio. The stalls at Chomp Chomp are over-stored as there are more than one stall selling the same food.
I have chosen Ang Mo Kio hawker for my stall as the competition is lesser than Chomp Chomp. Being new in this industry there will be more opportunities to expand at Ang Mo Kio as compared to Chomp Chomp.
1 | P a g e
Table of Contents -- Course Reader -- English 1A – Fall 2019
Course Syllabus 2
Revision Process 6
Sample Formatting Page 7
Sample Process Letter 8
1. Inductive Analysis Essay (4-5 pgs.) 50 points Page
Essay Prompt 9
Nature by Ralph Waldo Emerson 10
“The Transparent I” by William Fitzgerald (Sample Essay) 11
2. Deductive Analysis Essay (6-7 pgs.) 100 points Page
Essay Prompt 14
“Seeing” by Annie Dillard 15
An Outline of the Essential Key Points of Dillard’s Essay 22
Sample Paragraphs for writing about “Seeing” 24
3. Personal Essay (4-6 pages) 25 points Page
Essay Prompt 25
“Haudenosaunee Thanksgiving Address” 27
The Pledge of Allegiance 30
“Allegiance to Gratitude” by Robin Wall Kimmerer 31
“Learning the Grammar of Animacy” by Robin Wall Kimmerer 36
4. Research Essay (8-10 pgs.) 200 points Page
Essay Prompt 41
Sample Prospectus 44
Sample Annotated Bibliography 45
Sample Outline for a Possible Approach to Writing the Research Essay 46
“The Impermanence of Order: The True Nature of Gardens” by William Fitzgerald 47
Basic Outline for “The Impermanence of Order” by William Fitzgerald 51
“Gardening Means War” by Michael Pollan 53
“The How-To Garden” by Jim Nollman 57
5. Group Presentation Page
Group Presentation Prompt 67
Sentence Combining Page
Sentence Patterns 68
Clause/Phrase Review 69
Sentence Focus 71
Coordination 77
Conjunctive Adverbs and Transitional Phrases 78
Subordination 80
Run Together Sentences (RTS) 83
Free Modifiers: Adjective Clauses 85
Free Modifiers: Noun Phrase Appositives (NPA) 91
Free Modifiers: Clause Modifying Verbal Phrases (CMVP) 94
Free Modifiers: Absolute Phrases 97
Correlative Conjunctions 100
Fragments 101
Faulty Parallel Str ...
This document provides an overview of an English 101 course titled "Rhetoric and Composition I" taught by instructor Dianna Rockwell Shank. The course will focus on developing students' writing skills through various assignments including five essays. Students will also participate in writing workshops and online/classroom discussions that will account for 10% of the final grade each. The document outlines the course objectives, assignments, grading criteria, policies, and instructor contact information.
This document outlines the syllabus for an online English 102 course titled "Writing About Place & Identity" taught during the summer of 2019. The course focuses on applying principles of expository and argumentative essay writing through exploring how one's environment shapes their life and identity. Major assignments include a personal narrative essay, annotated bibliography, exploratory research essay, and op-ed essay. The course aims to help students develop composition and research skills to communicate effectively for different audiences and contexts. It provides learning outcomes, assignment requirements and deadlines, grading policies, textbook information, and instructor contact details.
English 1302.WC1 Composition II Fall 2014, Central Park.docxYASHU40
English 1302.WC1: Composition II
Fall 2014, Central Park Campus
Course Number: ENGL 1302
Course Title: Composition II
Instructor: Wendy Commons
Office: E221, Central Park Campus
Office Hours: Monday, 11:30 a.m.-12:30 p.m. online; 2:30-3:30 on-site
Tuesday, 1:00-2:15 p.m. on-site
Wednesday, 11:30 a.m.-12:45 p.m. on-site
Thursday, 1:00-1:30 p.m. on-site
Friday, 9:30-10:30 a.m. online
(Other times available by appointment)
Email: [email protected] (Preferred contact method; please allow 24-48 hours for response. Email
may not always be checked on weekends.)
Office Phone: 972-548-6823
Department office contact in case of emergencies: Office of Academic Affairs, B-122 F, 214.491.6270
“When asked, ‘How do you write?’ I invariably answer, ‘One word at a time.’” - Stephen King
Class Information: Section number WC1, Online, Central Park Campus
Special Considerations for Online Students: Because this class has no face-to-face component, your primary
method of receiving information will be through text. You must read all course materials thoroughly and carefully.
You also need to check course materials and email regularly (I’d suggest at least twice a week), which naturally
requires a computer with internet access. If you don’t have one at home, I highly recommend choosing a study
location where you can access one (library, home of a friend or relative, etc.) and planning to spend a lot of time
there over the course of the semester. We do not have a strict schedule in which everyone is expected to be online
at specific times, but all students are expected actively participate in class activities.
Technology Requirements: To successfully complete this course, students must have ready access to a computer
with internet access and access to Blackboard. Students should also know how to send emails, attach files to emails
and discussion board posts, and type and save documents in Microsoft Word or a similar word processing
program.
Netiquette: Part of your evaluation will include work done in online class environments (Blackboard and
TurnItIn.com). The activities in which you participate in our online class space should be conducted as if you were
in a classroom. Be courteous to your fellow students and to your instructor. In discussion board posts, emails, and
other online exchanges, I expect you to use the sort of written language I would see in an essay that you would turn
in for a grade: no IM-speak, no slang, no all-caps, no no-caps. I don’t have problems with the occasional emoticon,
but just make sure that everyone can understand the point you are trying to communicate.
Course Description: Intensive study of and practice in the strategies and techniques for developing research
based expository and persuasive texts. Emphasis on effective and ethical rhetorical inquiry, including primary and
secondary research methods; critical reading of verbal, v ...
This document provides an overview of an English 101 course, including student learning outcomes, contact information for the instructor, grading policies, major assignments, and homework requirements. Students will develop critical reading, thinking, and research skills through four multi-draft essays, a midterm exam, and a final project presentation. Assignments are due on specified dates throughout the semester and grades will be based on a percentage scale. The instructor provides resources and encourages students to schedule appointments or office hours for any writing assistance.
COLG 191: Developing and Implementing a 1-Credit Required Online Information ...Harvey Brenneise
In 2010 Chadron State College (CSC) in northwest Nebraska voted to make a 1-hour information literacy class a graduation requirement and to teach this class online. The new requirement became effective with the 2012 school year. OLGThis poster session describes the process of implementing this decision, including the goal, outcomes, learning activities, course schedule/outline for the 8-week course, sample tutorials, implementation issues, what was learned, and areas for further research.
English 103 Online Course OverviewEnglish 103 is a course on cri.docxkhanpaulita
English 103 Online: Course Overview
English 103 is a course on critical thinking and writing. Throughout the semester, we will consider various "perspectives on argument," and you will be required to present a detailed and effective argument on a specific issue of your choice. As a class, we will also discuss various controversial issues, and you will be asked to present your position on these subjects as well.
Each week, on Monday at 12:00AM, a new “Lesson” plan will post to our course site. The lessons will usually present a brief overview of the assigned readings for the week. Following the chapter overview, there will be a set of assignments or activities to complete. You will have until Sunday, 11:59PM, to submit assignments for each week's lesson. On a typical week, students will read a chapter from Perspectives on Argument. There will be a timed reading quiz for each chapter (10-15 points each) and a discussion forum. The “course overview” below outlines the requirements for this section of English 103 online in more detail: Mandatory Essays:
Students will write a total of four formal essays for this course: Essay 1 (an Issue Proposal=50 points), Essay 2 (an Exploratory Paper=100 points), Essay 3 (a Position Paper=100 points) and Essay 4 (the Research Project=200 points). For your first essay (the Issue Proposal), you will be asked to select an issue for your final research project, and that issue will be the focus of ALL FOUR essays. Each assignment will build towards the final essay and will be incorporated into your research paper. All of the essays must be written to pass English 103.
Research Paper:
Once a student selects an issue (in week two) for the research project, s/he will not be permitted to change topics. The research paper, must address the selected issue, and it must meet the minimum requirements for that assignment (in terms of page number and number/type of sources as well as documentation skills). If a student fails to submit any of the required essays, or if his/her research paper does not meet the minimum requirements outlined, s/he will not be eligible for a passing grade in English 103—regardless of his/her point total in the class.A failing grade is the consequence of plagiarism. English 100 is a prerequisite for this course, and students are expected to understand what constitutes plagiarism and how to avoid it. Chapters 11-12 on the research project will offer a review on this topic, but if you have any questions, you should ask prior to submitting your work. The consequences for plagiarism are severe. A plagiarized essay will receive a score of 0, and it will be sent (along with an “incident report”) to the Dean of Humanities. This report will become a part of the student's permanent record at the college. Because all of the essays must be submitted to pass English 103, a student who receives a 0 for plagiarism will not be eligible to pass English 103. All of your writing for this class mus.
10 tips for Incorporating Writing in to the Nursing Classroomrecummings
This document provides 10 tips for incorporating writing into nursing classrooms. The tips address common concerns faculty have around not having time to assess writing, lacking training in writing assessment, and not having space in the curriculum for writing. The tips suggest strategies like only collecting writing for completion, using peer review, adopting tools like Calibrated Peer Review, focusing feedback on grammar/form, choosing a lesson to teach with feedback, developing writing assignments to support learning goals, designing assignments for inquiry, and incorporating reflection. The document aims to demonstrate manageable ways for faculty to integrate writing into their courses to benefit student learning.
This document provides information about an English 1A course, including the instructor's contact details, course goals and requirements, assignments, grading scale, textbooks, and policies. The main goals of the course are to prepare students to analyze college texts and write college papers by developing skills such as reading analysis, essay writing, thesis development, and personal writing style. Students will complete four formal papers, online posts and discussions, and be assessed on their writing process, analysis of diverse texts, argument writing, and citation skills. The hybrid class meets twice a week in person and requires additional online work. Students are expected to adhere to academic honesty, attendance, and participation policies.
This document provides an overview of an English 101 course titled "Rhetoric and Composition I" taught by instructor Dianna Rockwell Shank. The course will focus on developing students' writing skills through various assignments including five essays. Students will also participate in writing workshops and online/classroom discussions that will account for 10% of the final grade each. The document outlines the course objectives, assignments, grading criteria, policies, and instructor contact information.
This document outlines the syllabus for an online English 102 course titled "Writing About Place & Identity" taught during the summer of 2019. The course focuses on applying principles of expository and argumentative essay writing through exploring how one's environment shapes their life and identity. Major assignments include a personal narrative essay, annotated bibliography, exploratory research essay, and op-ed essay. The course aims to help students develop composition and research skills to communicate effectively for different audiences and contexts. It provides learning outcomes, assignment requirements and deadlines, grading policies, textbook information, and instructor contact details.
English 1302.WC1 Composition II Fall 2014, Central Park.docxYASHU40
English 1302.WC1: Composition II
Fall 2014, Central Park Campus
Course Number: ENGL 1302
Course Title: Composition II
Instructor: Wendy Commons
Office: E221, Central Park Campus
Office Hours: Monday, 11:30 a.m.-12:30 p.m. online; 2:30-3:30 on-site
Tuesday, 1:00-2:15 p.m. on-site
Wednesday, 11:30 a.m.-12:45 p.m. on-site
Thursday, 1:00-1:30 p.m. on-site
Friday, 9:30-10:30 a.m. online
(Other times available by appointment)
Email: [email protected] (Preferred contact method; please allow 24-48 hours for response. Email
may not always be checked on weekends.)
Office Phone: 972-548-6823
Department office contact in case of emergencies: Office of Academic Affairs, B-122 F, 214.491.6270
“When asked, ‘How do you write?’ I invariably answer, ‘One word at a time.’” - Stephen King
Class Information: Section number WC1, Online, Central Park Campus
Special Considerations for Online Students: Because this class has no face-to-face component, your primary
method of receiving information will be through text. You must read all course materials thoroughly and carefully.
You also need to check course materials and email regularly (I’d suggest at least twice a week), which naturally
requires a computer with internet access. If you don’t have one at home, I highly recommend choosing a study
location where you can access one (library, home of a friend or relative, etc.) and planning to spend a lot of time
there over the course of the semester. We do not have a strict schedule in which everyone is expected to be online
at specific times, but all students are expected actively participate in class activities.
Technology Requirements: To successfully complete this course, students must have ready access to a computer
with internet access and access to Blackboard. Students should also know how to send emails, attach files to emails
and discussion board posts, and type and save documents in Microsoft Word or a similar word processing
program.
Netiquette: Part of your evaluation will include work done in online class environments (Blackboard and
TurnItIn.com). The activities in which you participate in our online class space should be conducted as if you were
in a classroom. Be courteous to your fellow students and to your instructor. In discussion board posts, emails, and
other online exchanges, I expect you to use the sort of written language I would see in an essay that you would turn
in for a grade: no IM-speak, no slang, no all-caps, no no-caps. I don’t have problems with the occasional emoticon,
but just make sure that everyone can understand the point you are trying to communicate.
Course Description: Intensive study of and practice in the strategies and techniques for developing research
based expository and persuasive texts. Emphasis on effective and ethical rhetorical inquiry, including primary and
secondary research methods; critical reading of verbal, v ...
This document provides an overview of an English 101 course, including student learning outcomes, contact information for the instructor, grading policies, major assignments, and homework requirements. Students will develop critical reading, thinking, and research skills through four multi-draft essays, a midterm exam, and a final project presentation. Assignments are due on specified dates throughout the semester and grades will be based on a percentage scale. The instructor provides resources and encourages students to schedule appointments or office hours for any writing assistance.
COLG 191: Developing and Implementing a 1-Credit Required Online Information ...Harvey Brenneise
In 2010 Chadron State College (CSC) in northwest Nebraska voted to make a 1-hour information literacy class a graduation requirement and to teach this class online. The new requirement became effective with the 2012 school year. OLGThis poster session describes the process of implementing this decision, including the goal, outcomes, learning activities, course schedule/outline for the 8-week course, sample tutorials, implementation issues, what was learned, and areas for further research.
English 103 Online Course OverviewEnglish 103 is a course on cri.docxkhanpaulita
English 103 Online: Course Overview
English 103 is a course on critical thinking and writing. Throughout the semester, we will consider various "perspectives on argument," and you will be required to present a detailed and effective argument on a specific issue of your choice. As a class, we will also discuss various controversial issues, and you will be asked to present your position on these subjects as well.
Each week, on Monday at 12:00AM, a new “Lesson” plan will post to our course site. The lessons will usually present a brief overview of the assigned readings for the week. Following the chapter overview, there will be a set of assignments or activities to complete. You will have until Sunday, 11:59PM, to submit assignments for each week's lesson. On a typical week, students will read a chapter from Perspectives on Argument. There will be a timed reading quiz for each chapter (10-15 points each) and a discussion forum. The “course overview” below outlines the requirements for this section of English 103 online in more detail: Mandatory Essays:
Students will write a total of four formal essays for this course: Essay 1 (an Issue Proposal=50 points), Essay 2 (an Exploratory Paper=100 points), Essay 3 (a Position Paper=100 points) and Essay 4 (the Research Project=200 points). For your first essay (the Issue Proposal), you will be asked to select an issue for your final research project, and that issue will be the focus of ALL FOUR essays. Each assignment will build towards the final essay and will be incorporated into your research paper. All of the essays must be written to pass English 103.
Research Paper:
Once a student selects an issue (in week two) for the research project, s/he will not be permitted to change topics. The research paper, must address the selected issue, and it must meet the minimum requirements for that assignment (in terms of page number and number/type of sources as well as documentation skills). If a student fails to submit any of the required essays, or if his/her research paper does not meet the minimum requirements outlined, s/he will not be eligible for a passing grade in English 103—regardless of his/her point total in the class.A failing grade is the consequence of plagiarism. English 100 is a prerequisite for this course, and students are expected to understand what constitutes plagiarism and how to avoid it. Chapters 11-12 on the research project will offer a review on this topic, but if you have any questions, you should ask prior to submitting your work. The consequences for plagiarism are severe. A plagiarized essay will receive a score of 0, and it will be sent (along with an “incident report”) to the Dean of Humanities. This report will become a part of the student's permanent record at the college. Because all of the essays must be submitted to pass English 103, a student who receives a 0 for plagiarism will not be eligible to pass English 103. All of your writing for this class mus.
10 tips for Incorporating Writing in to the Nursing Classroomrecummings
This document provides 10 tips for incorporating writing into nursing classrooms. The tips address common concerns faculty have around not having time to assess writing, lacking training in writing assessment, and not having space in the curriculum for writing. The tips suggest strategies like only collecting writing for completion, using peer review, adopting tools like Calibrated Peer Review, focusing feedback on grammar/form, choosing a lesson to teach with feedback, developing writing assignments to support learning goals, designing assignments for inquiry, and incorporating reflection. The document aims to demonstrate manageable ways for faculty to integrate writing into their courses to benefit student learning.
This document provides information about an English 1A course, including the instructor's contact details, course goals and requirements, assignments, grading scale, textbooks, and policies. The main goals of the course are to prepare students to analyze college texts and write college papers by developing skills such as reading analysis, essay writing, thesis development, and personal writing style. Students will complete four formal papers, online posts and discussions, and be assessed on their writing process, analysis of diverse texts, argument writing, and citation skills. The hybrid class meets twice a week in person and requires additional online work. Students are expected to adhere to academic honesty, attendance, and participation policies.
This document provides an overview of an online English composition course. It outlines course objectives which include developing critical thinking and writing skills through writing analytical, evaluative, and persuasive essays. Students will learn the writing process and hone their academic writing. The course will require reading assignments, weekly discussions, peer reviews, drafting essays, and final revisions. Students must have access to a computer and internet to complete the online work, which includes 10 hours of weekly work. The course will be graded based on discussions, peer reviews, essays, revisions, and tests.
This document outlines the policies and expectations for English 121: English Composition 1. The course emphasizes developing critical thinking and writing skills through writing a minimum of five analytical, evaluative, or persuasive compositions. Students will learn how to plan, write, and revise compositions. They will also develop their critical reading abilities. The course is online, so students must have access to a computer and the internet, be self-motivated, and able to manage their time well. Assignments include discussions, peer reviews, essays, revisions, and quizzes. Students are expected to follow MLA formatting guidelines and adhere to the academic honesty policy.
This document provides the syllabus for the ENG 100: Introduction to College Reading and Writing course. The summary includes:
The course is designed to support students in their ENG 1301 class by strengthening writing drafts, understanding their writing process, and working on reading skills. Students will workshop drafts from ENG 1301 in small groups, complete reading responses, maintain a journal, and write a final 7+ page memoir on their writing process and improvement over the semester. The course requires regular attendance, participation in class activities and conferences, and completion of assigned readings and writings. It accounts for 30% of the grade in ENG 1301.
This document provides information about an English 2 course, including the course description, goals, requirements, grading, policies, and textbooks. The main goals of the course are to develop critical thinking skills through analyzing literature and arguments. Students will write 5 formal papers totaling around 6,000 words to be evaluated. Grades are based on essays, in-class writing, website posts, tests, and participation. The course uses an online platform and requires establishing a username to complete homework assignments. Various policies outline expectations for attendance, late work, and academic integrity.
This document provides an overview of the agenda and policies for the first class of an American literature course. It discusses adding and dropping the class, required texts, assignments including exams, essays and online posts. It also covers class policies on attendance, late work, academic honesty and conduct. Students are instructed to set up an account on the class website to complete and post daily homework assignments. The first homework is to read the introduction and post a question about the relevance of the assigned topics.
This document provides guidance on completing the writing section of an English exam, which consists of two non-fiction writing tasks worth 16 and 24 marks respectively. It outlines the timing, structure, and content of the tasks, and offers tips for planning, developing ideas, using language effectively, and structuring writing to achieve a high grade. Key points include spending 25 minutes on the shorter task and 35 minutes on the longer one, aiming for 3-4 paragraphs on the first and 5-6 on the second. Advice is given on creating topic sentences, linking paragraphs, openings, endings, using similes, metaphors, emotive language and statistics.
This document provides information about an English 1A hybrid class. It summarizes that the class will meet both in person and online, with assignments due on Fridays to be completed before the next class meeting on Monday. It also outlines the course goals of improving reading, writing, and critical analysis skills. Key requirements include active participation, five essays, blog posts, tests and quizzes. The grading scale and policies on attendance, late work, and academic dishonesty are also summarized.
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This document is the syllabus for an English 102 college writing course taught in the spring of 2017. The instructor is Jacob D. Wilson and the course will meet on Tuesdays and Thursdays at two different times. The goals of the course are to improve students' skills in persuasive and expository writing. By the end of the course, students should be able to analyze texts, present and support their own ideas, conduct research, give and receive feedback, and use proper formatting and citation. There are four major writing assignments, reflective journal entries, and requirements to pass including regular attendance, participation, submitting drafts on time, revising work based on feedback, and avoiding plagiarism. Meeting all the requirements listed in
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This document is the syllabus for an English 102 college writing course taught online during the summer of 2017. The instructor is Shannon Dryden and the course focuses on community awareness, critical thinking about one's environment and place within it, and effective written communication. Over the course of the semester, students will complete four major assignments exploring these themes, including an essay on sense of place, an annotated bibliography, a research-based response essay, and a public service announcement. Students will also participate in weekly discussion boards, maintain a writing journal, and provide peer reviews of classmates' work. The goal is for students to improve their skills in persuasive and expository writing across disciplines and beyond college.
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- The class meets partially in-person and partially online, with homework assigned on Fridays to be completed before an online Monday session.
- The class website is an important resource, where students will post homework. Students must create a WordPress account to access the site.
- The goals of the course are to improve students' reading, writing, and analytical skills through assignments including five essays, website posts, tests, and workshops.
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2. Requirements include class participation, keeping up with readings and assignments, four papers, blog posts, and tests/quizzes. The main texts are The St. Martin's Guide to Writing and The Hunger Games novel.
3. Grades are based on 1000 points from assignments like papers, blog posts, tests, and participation. Letter grades correspond to point ranges. Academic
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Why do you think that Israel is such an important place for the Jews?
What is the importance of the area to the Palestinians?
What do you think the impact would be on you and your families if you participated in such long-distance migration?
No references needed, need response within 3 hours!
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This document provides information about an English 2 course, including the course description, goals, requirements, grading, policies, and textbooks. The main goals of the course are to develop critical thinking skills through analyzing literature and arguments. Students will write 5 formal papers totaling around 6,000 words to be evaluated. Grades are based on essays, in-class writing, website posts, tests, and participation. The course uses an online platform and requires establishing a username to complete homework assignments. Various policies outline expectations for attendance, late work, and academic integrity.
This document provides an overview of the agenda and policies for the first class of an American literature course. It discusses adding and dropping the class, required texts, assignments including exams, essays and online posts. It also covers class policies on attendance, late work, academic honesty and conduct. Students are instructed to set up an account on the class website to complete and post daily homework assignments. The first homework is to read the introduction and post a question about the relevance of the assigned topics.
This document provides guidance on completing the writing section of an English exam, which consists of two non-fiction writing tasks worth 16 and 24 marks respectively. It outlines the timing, structure, and content of the tasks, and offers tips for planning, developing ideas, using language effectively, and structuring writing to achieve a high grade. Key points include spending 25 minutes on the shorter task and 35 minutes on the longer one, aiming for 3-4 paragraphs on the first and 5-6 on the second. Advice is given on creating topic sentences, linking paragraphs, openings, endings, using similes, metaphors, emotive language and statistics.
This document provides information about an English 1A hybrid class. It summarizes that the class will meet both in person and online, with assignments due on Fridays to be completed before the next class meeting on Monday. It also outlines the course goals of improving reading, writing, and critical analysis skills. Key requirements include active participation, five essays, blog posts, tests and quizzes. The grading scale and policies on attendance, late work, and academic dishonesty are also summarized.
This document provides information about an English composition course titled EWRT 1B: Winter 2015. It outlines the course goals, requirements, texts, grading breakdown, policies, and logistics. The main goals are to develop students' ability to understand complex texts and convey that understanding through essays. Requirements include class participation, assignments, four formal papers, online posts, and tests. The grading is based on a 1000 point scale divided among essays, online posts, exams, and participation. Various policies cover essay submissions, attendance, conduct, late work, and revisions.
This document is the syllabus for an English 102 college writing course taught in the spring of 2017. The instructor is Jacob D. Wilson and the course will meet on Tuesdays and Thursdays at two different times. The goals of the course are to improve students' skills in persuasive and expository writing. By the end of the course, students should be able to analyze texts, present and support their own ideas, conduct research, give and receive feedback, and use proper formatting and citation. There are four major writing assignments, reflective journal entries, and requirements to pass including regular attendance, participation, submitting drafts on time, revising work based on feedback, and avoiding plagiarism. Meeting all the requirements listed in
Elit 17 class 1 intro and comedy of errorskimpalmore
This document provides an overview of the first class of an ELIT 17 Shakespeare course. It includes the agenda, which introduces the class website, discusses The Comedy of Errors, and covers Shakespearean comedies in general. Requirements are outlined, including regular homework posts to the class website. Guidelines are provided for assignments, exams, attendance, and academic integrity policies.
This document provides instructions for a criminology course discussion assignment. Students are asked to discuss research on the link between nutrition and criminality. The instructions specify formatting requirements such as double spacing, font size, and margins. They also provide guidance on writing quality, citing sources, original analysis, and policies on late submissions and communication.
This document is the syllabus for an English 102 college writing course taught online during the summer of 2017. The instructor is Shannon Dryden and the course focuses on community awareness, critical thinking about one's environment and place within it, and effective written communication. Over the course of the semester, students will complete four major assignments exploring these themes, including an essay on sense of place, an annotated bibliography, a research-based response essay, and a public service announcement. Students will also participate in weekly discussion boards, maintain a writing journal, and provide peer reviews of classmates' work. The goal is for students to improve their skills in persuasive and expository writing across disciplines and beyond college.
2014 NACAC 2014: Make Your Stories Pop: Strategies to Help Students Share The...Rebecca Joseph
2014 NACAC: Make Your Stories Pop: Strategies to Help Students Share Their Own Unique Voices in College Application Essays: This is the presentation from Rebecca Joseph, Margit Dahl, Valerie Gregory, and Anya Good with tips towards the end of the ppt.
This document provides information about an English 1A hybrid class. Key points:
- The class meets partially in-person and partially online, with homework assigned on Fridays to be completed before an online Monday session.
- The class website is an important resource, where students will post homework. Students must create a WordPress account to access the site.
- The goals of the course are to improve students' reading, writing, and analytical skills through assignments including five essays, website posts, tests, and workshops.
- Grades are based on a 1000 point system divided among various assignments, with letter grades corresponding to certain point ranges. Policies cover submission formats, attendance, conduct, and late work
This document provides an overview of an English 1A course, including goals, requirements, policies, and grading. The main points are:
1. The course aims to prepare students to analyze college texts and write papers through learning skills like developing theses and integrating ideas. Students will read diverse texts and write four papers.
2. Requirements include class participation, keeping up with readings and assignments, four papers, blog posts, and tests/quizzes. The main texts are The St. Martin's Guide to Writing and The Hunger Games novel.
3. Grades are based on 1000 points from assignments like papers, blog posts, tests, and participation. Letter grades correspond to point ranges. Academic
This document provides information about an English 1A course, including the instructor's contact details, course goals and requirements, assignments, grading scale, and policies. The main goals of the course are to prepare students to analyze college texts and write college papers by developing skills such as reading analysis, essay writing, thesis development, and personal writing style. Students will complete four formal papers, online posts and discussions, and be assessed on their writing process, analysis of diverse texts, argument writing with evidence, and documenting sources. The hybrid course involves both in-class and online work. Students must establish accounts to engage with online course materials and assignments.
This document provides information about an introductory creative writing course titled EWRT 30. The course will explore various genres of creative writing including fiction, poetry, drama, and creative non-fiction. Students will read published works, discuss elements of creative writing, and workshop their original writing. Requirements include regular attendance, online submissions, quizzes, four writing projects of different genres, and a final portfolio. The course aims to help students understand and employ elements of creative writing.
This document provides an overview of the English 1A course taught by Kim Palmore. The goals of the course are to prepare students to analyze college texts and write college papers by developing skills such as reading comprehension, thesis development, organization, and writing style. Requirements include attendance, keeping up with assignments, five formal papers, meetings with the instructor, blog posts, and tests/quizzes. Required texts are The St. Martin's Guide to Writing and The Hunger Games. Grades are based on essays, blog posts, tests, participation, and writing workshops. Course policies address plagiarism, attendance, conduct, late work, and use of student papers.
The document provides guidance on writing a successful college application essay. It discusses selecting an engaging topic that reflects who you are, establishing an authentic tone, and using examples and stories to show rather than tell about your characteristics. The essay writing process should start early and involve multiple drafts. Students are advised to have teachers, counselors, and writing tools review their essays to catch errors before submitting their final draft. The goal is to craft a compelling narrative that gives admissions officers insights beyond just grades and scores.
Similar to Visit two (2) hawker centres of your choice. Examine how you would.docx (20)
Milestones Navigating Late Childhood to AdolescenceFrom the m.docxjessiehampson
Milestones: Navigating Late Childhood to Adolescence
From the movie, Lila, Eight to Thirteen in this week's materials, identify 2–3 developmental milestones Lila reaches, and assess whether or not you think she successfully navigates her way through them as she prepares for adolescence. Support your assertions with evidence from your text and this week's materials.
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Migration and RefugeesMany immigrants in the region flee persecu.docxjessiehampson
Migration and Refugees
Many immigrants in the region flee persecution and then return after they are liberated. For example, 700,000 Jews were allowed to leave the former Soviet Union and enter Israel in the 1990s. There has also been a migration of Palestinian people. Discuss the following:
Why do you think that Israel is such an important place for the Jews?
What is the importance of the area to the Palestinians?
What do you think the impact would be on you and your families if you participated in such long-distance migration?
No references needed, need response within 3 hours!
.
Min-2 pagesThe goal is to develop a professional document, take .docxjessiehampson
Min-2 pages
The goal is to develop a professional document, take a stake in your company (its a t-shirt and apparel company; see attached) as a business owner, and develop a business plan with the aim of securing financing to expand one’s business for an established firm.
Complete the following: (using the business plan working document)
10.0 Financials Plan
*Annotated plan has additional details if you have questions or need explanation
.
Mingzhi Hu
First Paper
3/5/2020
POLS 203
Application of Realism Theory on Civil war in Syria and International Relations
International relation can be best understood through the various schools of thought or
rather theories. They are significant in giving a comprehensive detail of the constructs that make
international relations. Realism theory still remains one of the most influential tools in
understanding events related to international relations. This is because it provides a pragmatic
approach in examining current events in the sphere of international relations (Maghroori, pg. 17).
Realism is divided into three subdivisions, seeking to explain causes of state conflict. This
include classical realism that argues that the conflict comes from the nature of man, neorealist
which associates conflict the elements of the state, and neoclassical realism which associates it to
both human nature and elements of the state. This school of thought is grounded on some
fundamental principles that make the core of its arguments.
The first assumption in realism is the idea that a country, usually referred to as a state,
serves as the main actor in international relations. It acknowledges the fact that there are other
actors like individuals and organizations, which have limited influence (Maghroori 11).
Secondly, the state is considered a unitary player, which is expected to work harmoniously, with
regard to matters of national interest. In addition, realists believe that the people who make
decisions are rational players, since this rationality is required in pursuing the interest of the
nation. In essence, the leaders are believed to understand these assumptions regardless of their
Laci Hubbard-Mattix
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But selfish
Laci Hubbard-Mattix
90000004849605
Laci Hubbard-Mattix
90000004849605
What do you mean by "work harmoniously"
Laci Hubbard-Mattix
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It is not clear what this sentence means.
political position, so ensure their sustainability and continuity. Consequently, it is assumed that
states exist in an anarchy context, where there is no single international leader. In this
theorization, the role of nature in influencing human action is not ignored. It asserts that nature
influence people to continue acting in repetitive tendencies. In this assumption, it comes out that
people desire power because of the egoistic nature. The innate selfishness of human beings,
mistrust and their thirst for power explains the unpredicted consequences that can result from
their actions (Maghroori 20). Such human tendencies can explain the unending wars among
nations. Bearing the fact that nations are governed by human beings, their nature contributes
largely to their behavioral tendencies, which in turn influence its security.
Realist therefore assume that leaders have the responsibility to promote the security of
their country in all fronts. This can be realized through consta.
Miller, 1 Sarah Miller Professor Kristen Johnson C.docxjessiehampson
Miller, 1
Sarah Miller
Professor Kristen Johnson
CHID 230
2 April 2019
The Myth of Disability as Isolating in Tim Burton’s Edward Scissorhands
Jay Timothy Dolmage discusses the common disability myths that condition our
understanding of disability in his work Disability Rhetoric. He argues that these myths create the
perception that disabled people are “others”, through the portrayal of them as lesser, surplus, or
improper (Dolmage, 31). One of the myths that Dolmage examines is disability as isolating or
individualizing, which is perpetrated through narratives of disabled people living in isolation,
rarely having romantic relationships or friendships, and often being left alone at the end
(Dolmage, 43). This myth can be seen in the film Edward Scissorhands, directed by Tim Burton.
Edward is a human being created by an inventor, yet the inventor’s death before his completion
leaves him with scissor blades for hands. Edward lives in a gothic mansion atop a hill,
completely in isolation until local Avon saleswoman Peg Boggs visits. She is initially frightened
by his appearance, yet decides to take him home with her upon the realization that he is
harmless. Edward’s disability causes his transition into society to be largely unsuccessful, as he
is objectified and used by other people for their benefit, and at the end of the film he is forced to
return to living in isolation after their perception of him turns to one of fear and scorn.
Edward’s isolation from society is symbolically portrayed through many film design
techniques. The mansion in which he lives at the beginning and the end of the film starkly
contrasts the community in which the able-bodied society lives. The mansion is gothic, dark, and
partially in ruins, whereas the rest of the houses are brightly colored in pinks, yellows, and
Miller, 2
greens, all with perfectly manicured green lawns. His appearance also separates him from the
rest of society, as he has very pale skin, dark under-eyes, black untamed hair, and wears gothic
industrial clothes. The able-bodied individuals often wear colorful or light clothes and appear
quite “ordinary”. The contrast created between Edward and society through set, clothing,
makeup, and hair design work to portray Edward and his disability as unusual, creepy, and
“other”. Peg even attempts to “normalize” his appearance by giving him different clothes to wear
and attempting to cover his scars with makeup, in the hopes that it will ease his transition into the
community. This film phenomenon is discussed by Martin F. Norden in his book The Cinema of
Isolation: A History of Physical Disabilities in the Movies. He argues that filmmakers will
separate disabled characters from their able-bodied peers not only through the storyline, but also
through a number of design elements. He also states that this technique allows filmmakers to
reflect an able-bodied point of view and reduce d.
Migrating to the Cloud Please respond to the following1. .docxjessiehampson
"Migrating to the Cloud" Please respond to the following:
1. Imagine that you are a CIO and you have been tasked to examine the process of moving from one host server or storage location to another. Predict two foreseen challenges of migrating an application to the cloud in a live migration and high- availability setting. Propose a preventative measure or a solution for each of these challenges.
2. Imagine that you are the CIO for a midsized organization in this industry. Determine, in 10 or less steps, the timeline for a live migration to the cloud in your organization. Determine the three greatest risks in this deployment.
.
Mike, Ana, Tiffany, Josh and Annie are heading to the store to get.docxjessiehampson
Mike, Ana, Tiffany, Josh and Annie are heading to the store to get some snacks. Mike has $1, Ana has $2, Tiffany has $3, Josh has $4, and Annie has $5.
What's the average (mean) amount of cash the five kids have? What's the median? A few days later, Annie's family won the lottery, and the kids go together to the store to get some snacks again. This time Mike has $1, Ana has $2, Tiffany has $3, Josh has $4, and Annie has wad of cash totaling $5,000.
What's the average (mean) amount of cash the five kids have this time? What's the median?
From part a, how have the mean and the median changed?
Which one - the mean or the median - is a better reflection of how much money they have together? Take you time before answering.
.
Michelle Wrote; There are several different reasons why an inter.docxjessiehampson
Michelle Wrote;
There are several different reasons why an intervention fails, such as the wrong intervention being selected or trying to solve the wrong problem. It is important that when performing and intervention that every thing have been severely observed and taken into consideration. I worked with an organization that was a travel agency, and they operated off of the commission that was collected from the booking that are processed, but they also provided a discount to the members that was taken out of the commission total. The issue was that when they initially opened the department there was no budget plan done and no guidelines were given, the agents were told to use discretion, and all though the department was a huge success in booking reservations they were still failing, because they were not withholding enough commission for the organization to operate under. Where the intervention process failed is that they never had formal training, which would have been a focus group to define the exact percentage to give to customer and the amount the organization needed to cover their overhead. During the meeting process there should have been definite guidelines to lead employees and managers from the accounting department so that the employees did not need to play the guessing game. Although they had the meeting nothing changed, because the problem was not solved with the employees and managers and was not addressed by the accounting department. The business is now in danger of folding because of the poor communication practices.
William Wrote:
Although what I am going to talk about is not my workplace but the place that I volunteer my time to sit on the board of directors for a non profit agency. As a board member we oversee the agency as a whole but we also break down into small committee groups to address needs as they arise. One of the committees that I am on is the planning committee. A change that was implemented by administration, program staff, and the board was all departments would start entering all their own data. At the time the agency had two data entry personal that was entering all agency data. So the change we made was that instead of hiring another data entry person we would require all programs to enter their own data into the collection software. This ended up being a failure that could have been huge had we not pulled reports the first two quarters of the year. What we found was some programs were right on target with getting their information entered with the first quarter. The Executive Director addressed this with staff. When the second quarter reports were pulled the data did not get any better. As an agency this failed due to program staff just did not have the appropriate time to take on more data entry. The agency ended up where we should have to start off, hiring another data entry staff member. I will say with this failure it actually turned into a very positive experience over all.
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Midterm Lad Report 7
Midterm Lab Report
Introduction
Cellular respiration refers to all the metabolic processes and chemical reactions that take place in living organisms, particularly at the cellular level. These processes focus on the extraction of energy from nutrients. It is also responsible for converting the biochemical energy into 'adenosine triphosphate' (ATP) by the breakdown of sugars in the cells (Bennet 58). Cellular respiration is also responsible for the process by which cells release chemical energy required for conducting cellular activities. The reactions and processes facilitate the release of waste products from the cells. This experiment seeks to conduct a study of the processes and reactions involved during cellular respiration. The experiment will include several activities, such as having a study on the amount of Carbon dioxide produced during the experiment.
The number of levels of the growth of a yeast medium as a dependent variable will also be monitored during the experiment. There are other several independent variables associated with the experiment. These independent variables include sugar and temperature, among others, and their role in the experiment were also monitored. The experiment design involved the use of airtight balloons capped over reaction chambers that were used to collect the Carbon dioxide produced during the experiment. The reaction chambers contained sugars and yeast medium, which facilitated the reactions. Thermometers and pH scale were used to monitor the changes in temperature and acidity levels during the experiment. The paper involves a lab design that institute steps such as arranging the bottles used on the experiment. Notably, a proper arrangement to make sure that all the carbon dioxide released during the respiration process is well tapped in the bottles for correct lab results
Methodology
The actual procedure for experimenting involved taking measurements and recording of all observations made during the experiment. For accurate results, measures were taken three times, and a mean measurement was calculated and recorded. Winzler asserts that the mean obtained from the measurements should be used to calculate the standard deviation, which in turn facilitated the calculation of uncertainty (276). Below are the steps for conducting the experiment. It is essential to read the instructions carefully safety and accuracy during the experiment. Notably, all the lab and experiment results were well observed and thus making sure that there are limited errors in the whole process.
Consequently, all the steps required in the lab report were also clearly followed to help in getting the correct data and even not to affect the whole experiment process. The experiment involved setting the apparatus as per the set standard and the requirement. As per this concept, all the apparatus were set in a proper way to avoid vague results. Notably, to get the correct measurement and results, it is import.
MicroEssay Identify a behavioral tendency that you believe.docxjessiehampson
MicroEssay
Identify a behavioral tendency that you believe you have inherited (one that is determined, at least in part, by your genetic make-up). Explain the ways you think this trait has been affected by your environment by applying the different types of gene x environment correlations to your example (passive, evocative, and active)? What does this suggest about the nature-nurture debate?
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MILNETVisionMILNETs vision is to leverage the diverse mili.docxjessiehampson
MILNET
Vision
MILNETs vision is to leverage the diverse military experience of Crawford employees to create awareness opportunities that help forester an appreciation, understand, and respect for the military culture and members we serve
Benefits
· Know our Members
· Support recruiting and retention
· Facilitate transition from military to Crawford
· Centralized source to connect with peer veterans
· Provide Member Experience, Marketing, and other Crawford initiatives and expert knowledge base.
MILNET Leadership Team (Volunteer position)
· Event & Volunteer Lead- Plan and execute mandatory enterprise events
· Technology Lead- Maintain MILNET budget throughout the year and reports overview or expenses monthly
· MILNET Spouse Lead- Ensures connect of sites are up to date/accurate, to include Veteran/Military Spouse Registration
· Secretary-Manages relationships by identifying opportunism for partnership
· Communications/Marketing Lead- Communicates to the MILNET community regularly via multiple channels (Email, Internal Social) regarding upcoming events, announcement, and other communications.
Background
Grandfather Air force
Parents- Army
Myself- Army
Spouse Army
Skills
Knowledgeable
Passionate
Qualified
Education
-Associates Accounting
-Bachelor’s in business and HR
-MRA w/ HR concentration
1 – Paragraph for each question (Professional answers)
Question 1- What is your visions of MILNET?
Question 2-How would your selection impact the Leadership Team?
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midtermAnswer all question with proper number atleast 1 and half.docxjessiehampson
midterm
Answer all question with proper number atleast 1 and half page
APA FORMAT SIZE 12
1. Why is culture important to political scientists?
2. How is political science an interdisciplinary major?
3. How can politics be treated as a science?
4. Describe how modern liberalism differs from classical liberalism and explain how modern conservatism related to classical liberalism?
5. Explain how nationalism can be dangerous to a nation. Use both theoretical ideas and concrete examples to support your claims
6.
Evaluate the "end of ideology" argument by considering the facts that fit and contradict this view on today's world
7. What are the means by which power is institutionalized? What makes for good institutions? Provide examples from the United States and one other country
8. Identify the purposes of constitutions and explain why they are necessary
9. Describe how the principle of separation of powers is manifested in the U.S. Constitution and explain how this principle has evolved over time in the United States.
10. Bonus Question: What are the 10 Bill of Rights
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Midterm QuestionIs the movement towards human security a true .docxjessiehampson
Midterm Question
Is the movement towards human security a true paradigm shift? In answering this question make sure to consider which of the authors whom you have read in Weeks one to four of the course support your view and which do not. *The sole use of attached readings is required for the midterm*
Midterm Assignment – Instructions (Read Carefully)
In university courses, assignments (or assessments) are meant to give students the opportunity to demonstrate what they have been learning in the course – and give instructors evidence that such learning is occurring within the classroom. Because of these objectives, it is imperative to incorporate the specifics of what you’ve been studying in the course into your writing assignments. You accomplish this by answering the Midterm question in the assessment via the course objectives and readings from the course. The midterm will cover the following objectives:
1. Describe the role of rapid globalization in changing perceptions of security
2. Identify key threats to human security (food security, personal security, environmental security)
3. Apply the concepts of human security
4. Compare and contrast traditional international relations approaches to security with the doctrine of human security.
Additional Instructions
To answer the Midterm question you will write an analytical essay. The analytical essay is a practical approach to solving a problem. So think of this essay question as you would an assignment from your boss: “I need you to take a look at this problem and solve it for me using things from your IR toolkit (what you have learned, or know). Present a well-written, concise answer to me in four pages. I need it by tomorrow morning.” This is how it happens in the real world, and this is what we want to prepare you to do. To achieve this structure of the essay please keep the following tips in mind:
1. Remember that the analytical essay is highly-structured. Each paragraph should look like the others in terms of style and substance. Writing to the limit of four pages is an art and something you need to learn to do. So, don’t write fewer than four pages and don’t write more. You may need to write over just a little and then edit away the extra parts of the essay to reach the concise four pages.
2. Review your submission and make sure that you have covered the requirements of the assignment using only material from the lessons and readings.
Format for the Essay:
1. Do not use a cover page. Instead, create a header with your name, assignment name, and date. To do this in Word, go to “insert” and then “header.” Do the same thing to insert a ‘footer’ and include page numbers. If you need help, use the ‘help’ function to learn more within Word.
2. Your submission should be four pages (no more, no less) and look like this:
a. Introduction: Introduce your topic & include a thesis. To help you set up your analytical essay include three reasons why you agree or disagree with the midterm quest.
MGT/526 v1
Wk 2 – Apply: Organizational Analysis
MGT/526 v1
Page 2 of 2
Wk 2 – Apply: Organizational AnalysisInstructions
Complete the worksheet based on your chosen organization. Use Business Source Complete and your selected company’s website, annual report, and other available sources. Part 1: Organization Information
Organization
Define your chosen company and its industry.
Mission and Vision
Identify the mission and vision of the organization.
Mission
Vision
Organizational Initiatives
Outline 1-2 major initiative for this organization. What are they currently doing to support these initiatives?
Organizational Plans
Describe the plans employed by the organization. Determine which types of managers create each type of plan.
Type of Plan
Description
Type of Manager
SWOT Analysis
There are various factors within the external environment of an organization that impacts its strategy.
Analyze the organization’s SWOT analysis. Identify the internal and external factors. Include a link to the SWOT analysis in the Reference section of this worksheet.
Internal Factors
External Factors
Part 2: Evaluation
Evaluate if the mission, vision, planning process, and SWOT analysis meets the current needs of the organization. Include the following in your evaluation:
· Describe the unmet need, (not limited to product or service, can be new demographic, new mode of delivery, etc.).
· Analyze your competitive advantages.
· Based upon the SWOT analysis, is there another business that is doing something similar that can be referred to? Provide examples.
· If there is not another business, describe how what you’re doing is a unique product or service offering.
· Propose a competitive business initiative to address the unmet need.
· Create a high-level timeline and operational steps necessary to implement your solution. References
Include a link to theSWOT analysis.
Copyright 2020 by University of Phoenix. All rights reserved.
Copyright 2020 by University of Phoenix. All rights reserved.
COUN 6785: Social Change in Action:
Prevention, Consultation, and Advocacy
Social Change Portfolio
M. Negrón
Contents
Introduction
Scope and Consequences
Social-ecological Model
Theories of Prevention
Diversity and Ethical Considerations
Advocacy
INTRODUCTIONAdressing Teen Pregnancy in Pittsburg, California
In more recent years, there has been an effort in my community to address teen pregnancy due to its growing rates. Over the years teen pregnancy rates have continued to rise in Contra Costa County as well as surrounding counties. Unfortanately, the town I come from is a small town within Contra Costa County so resources are limited. In order to address teen pregnancy there needs to be easier access to resources to prevent teen pregnancy from occurring. Teen pregnancy can lead to a number of different problems such as low socioeconomic status, greater chance of contracting a sexually transmitted infec.
Microsoft Word Editing Version 1.0Software Requirement Speci.docxjessiehampson
This document provides a software requirements specification for Microsoft Word 2016. It includes an introduction, purpose, scope, definitions, and overview. Use cases are defined for signing in, opening, creating new files, saving, saving as, exporting, printing, and changing fonts. Requirements cover performance, usability, supportability, configurability, and recoverability. The 8 use cases are then described in more detail with normal and alternate flows and screenshots.
Microsoft Windows implements access controls by allowing organiz.docxjessiehampson
Microsoft Windows implements access controls by allowing organizations to define users, groups, and object DACLs that support their environment. Organizations define the rules, and Windows enables those rules to be enforced.
Answer the following question(s):
Do you think access controls are implemented differently in a government agency versus a typical information technology company? Why or why not?
2. Do you think access controls differ among private industries, such as retail, banking, and manufacturing? Why or why not?
.
MGT520
Critical Thinking Writing Rubric - Module 10
Exceeds
Expectation
Meets Expectation Below Expectation Limited Evidence
Content, Research, and Analysis
21-25 Points 16-20 Points 11-15 Points 6-10 Points
Requirements Exceeds
Expectation -
Includes all of the
required
components as
specified in the
assignment.
Meets Expectation-
Includes most of
the required
components as
specified in the
assignment.
Below Expectation-
Includes some of
the required
components as
specified in the
assignment.
Limited Evidence -
Includes few of the
required
components as
specified in the
assignment.
21-25 Points 16-20 Points 11-15 Points 6-10 Points
Content Exceeds
Expectation -
Demonstrates
substantial and
extensive
knowledge of the
materials, with no
errors or major
omissions.
Meets Expectation-
Demonstrates
adequate
knowledge of the
materials; may
include some
minor errors or
omissions.
Below Expectation-
Demonstrates fair
knowledge of the
materials and/or
includes some
major errors or
omissions.
Limited Evidence -
Fails to
demonstrate
knowledge of the
materials and/or
includes many
major errors or
omissions.
25-30 Points 19-24 Points 13-18 Points 7-12 Points
Analysis Exceeds
Expectation -
Provides strong
thought, insight,
and analysis of
performance
management
system, concepts
and applications.
Meets Expectation-
Provides adequate
thought, insight,
and analysis of
performance
management
system, concepts
and applications.
Below Expectation-
Provides poor
thought, insight,
and analysis of
performance
management
system, concepts
and applications.
Limited Evidence -
Provides little or no
thought, insight,
and analysis of
performance
management
system, concepts
and applications.
13-15 Points 10-12 Points 7-9 Points 4-6 Points
Sources Exceeds
Expectation -
Sources go above
and beyond
required criteria,
and are well
chosen to provide
effective
substance and
perspectives on
the issue under
examination.
Meets Expectation-
Sources meet
required criteria
and are adequately
chosen to provide
substance and
perspectives on the
issue under
examination.
Below Expectation-
Sources meet
required criteria,
but are poorly
chosen to provide
substance and
perspectives on the
issue under
examination.
Limited Evidence -
Source selection
and integration of
knowledge from
the course is
clearly deficient.
Mechanics and Writing
5 Points 4 Points 3 Points 1-2 Points
Demonstrates Exceeds Meets Expectation- Below Expectation- Limited Evidence -
MGT520
Critical Thinking Writing Rubric - Module 10
college-level
proficiency in
organization,
grammar and
style.
Expectation -
Project is clearly
organized, well
written, and in
proper format as
outlined in the
assignment. Strong
sentence and
paragraph
structure; contains
no errors in
grammar, spelling,
APA style, or APA
citations and
references..
Midterm PaperThe Midterm Paper is worth 100 points. It will .docxjessiehampson
Midterm Paper
The Midterm Paper is worth 100 points. It will consist of a 500 word written description and analysis of a work of art using terminology from Chapters 2-5.
For this assignment, you are to discuss the form, content, and subject matter of a work of art chosen from the list provided. This is an exercise in recognizing visual elements and principles of design in works of art and demonstrating an understanding of how they relate to each other to create meaning. This paper is about looking and seeing. This is not a research paper; you will not need to do additional research. Please follow the outline provided below.
First: Select a work of art
Select one of the following listed works of art:
Circle of Diego Quispe Tito.
The Virgin of Carmel Saving Souls in Purgatory
. Late 17th century. Fig. 1.22, pg. 17.
Henri Matisse.
Large Reclining Nude
. 1935. Fig. 4.24, pg. 85.
Faith Ringgold.
Tar Beach
. 1988. Fig. 13.18, pg. 219.
Henry Ossawa Tanner.
The Banjo Lesson
. 1893. Fig. 21.15, pg. 373
Andy Warhol.
Marilyn Diptych
. 1962. Fig. 24.23, pg. 447.
Format
Describe the use of each visual element and principle of design in the order they are listed in the outline. You can simply list each term and address how it is used in the painting. If you write in paragraph form be sure to identify each term clearly. Any term not addressed will receive 0 points. Provide specific examples. For example, don’t just say “there are lines,” give specific examples of how line is used in the piece you’ve selected.
Papers should be 500 words minimum (not including images), double-spaced, 10 or 12 point, with 1" margins. The preferred format is Microsoft Word (.doc or .docx). If these formats are not available, other acceptable formats are ASCII (.txt), rich text format (.rtf), Open Office (.odt), and PDF. Make sure you proofread your papers for incorrect grammar, spelling, punctuation, and other errors.
The Midterm Paper is due at 11:59 pm CT Sunday of Week 4.
Midterm Paper Outline
Introduction (First Paragraph)
In the first paragraph, called the introduction, you will include:
An identification of the work of art you selected: The name of the artist, title (which is underlined or italicized every time you use the title in your paper), date, and medium.
Your initial interpretation of the subject based on your initial observations.
Description
Describe how each of the following is used in the piece you selected.
Visual Elements
:
Line: what types of lines do you see in the piece? Provide examples.
Shape: what types of shapes do you see? Provide examples.
Mass: How is mass implied?
Space: How is the illusion of space created in the piece?
Time and Motion: Are time and motion evident in tis piece? How so?
Light: How is light used here?
Color: How does the artist use color?
Texture: How does the artist create the illusion of texture, or incorporate actual texture
Principles of Design
Unity and Variety: In what way is this pi.
Miami Florida is considered ground zero for climate change, in parti.docxjessiehampson
Miami Florida is considered ground zero for climate change, in particular rising seas will not only drown coastal sections of the city but will disrupt our local supply of drinking water.
Based on what you have learned so far from this class, discuss the following:
Explain where the drinking water from South Florida primarily comes from and why would rising sea levels disrupt this supply?
What efforts can be made and are being made to mitigate the effects of rising seas on our drinking water?
If you were a local politician, what advice would you give to state and federal officials on the best way to ensure residents in South Florida had a steady supply of drinking water for many years to come?
.
MGT230 v6Nordstrom Case Study AnalysisMGT230 v6Page 2 of 2.docxjessiehampson
MGT/230 v6
Nordstrom Case Study Analysis
MGT/230 v6
Page 2 of 2
Nordstrom Case Study Analysis
Nordstrom—“High Touch” with “High Tech”
How does Nordstrom stay profitable despite dips in consumer spending, changing fashion trends, and intense competition among retailers? One answer: Acute attention to detail and well-laid plans.
All in the Family
The fourth generation of family members that runs Nordstrom has brought the store’s time-honored and successful retail practices into a new era. “Nordstrom, it seems, is that rarity in American business: an enterprise run by a founding family that hasn’t wrecked it,” says one business writer. The company provides a quality customer experience via personalized service, a compelling merchandise offering, a pleasant shopping environment, and increasingly better management of its inventory.
Secret of Success
The secret of this company’s success lies in its strategic planning efforts and the ability of its management team to set broad, comprehensive, and longer-term action directions, all of which are focused on the customer experience. The current generation of Nordstrom family members was quick to spearhead an ultramodern multimillion-dollar, Web-based inventory management system. This upgrade helped the company meet two key goals: (1) correlate purchasing with demand to keep inventory as lean as possible, and (2) give customers and sales associates a comprehensive view of Nordstrom’s entire inventory, including every store and warehouse.
Demand Planning
Instead of relying on one-day sales, coupon blitzes, or marking down entire lines of product, Nordstrom discounts only certain items. “Markdown optimization” software assists in planning more profitable sale prices. According to retail analyst, Patricia Edwards, this helps Nordstrom calculate what will sell better at different discounts and forecast which single items should be marked down. If a style is no longer in demand, the company can ship it off to its Nordstrom Rack outlet stores. It’s all part of Nordstrom’s long-term investment in efficiency. “If we can identify what is not performing and move it out to bring in fresh merchandise,” says Pete Nordstrom, “that’s a decision we want to make.”
Inventory Planning
Although inventory naturally fluctuates, Nordstrom associates can easily locate any item in another store or verify when it will return to stock. Customers on their smart phones and associates behind sales counters see the same thing—the entire inventory of Nordstrom’s stores is presented as one selection, which the company refers to as perpetual inventory. “Customer service is not just a friendly, helpful, knowledgeable salesperson helping you buy something,” says Robert Spector, retail expert and author of The Nordstrom Way. “Part of customer service is having the right item at the right size at the right price at the right time. And that’s something perpetual inventory will help with.”
The upgraded inventory management system was an .
How to Setup Default Value for a Field in Odoo 17Celine George
In Odoo, we can set a default value for a field during the creation of a record for a model. We have many methods in odoo for setting a default value to the field.
Information and Communication Technology in EducationMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 2)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐈𝐂𝐓 𝐢𝐧 𝐞𝐝𝐮𝐜𝐚𝐭𝐢𝐨𝐧:
Students will be able to explain the role and impact of Information and Communication Technology (ICT) in education. They will understand how ICT tools, such as computers, the internet, and educational software, enhance learning and teaching processes. By exploring various ICT applications, students will recognize how these technologies facilitate access to information, improve communication, support collaboration, and enable personalized learning experiences.
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐫𝐞𝐥𝐢𝐚𝐛𝐥𝐞 𝐬𝐨𝐮𝐫𝐜𝐞𝐬 𝐨𝐧 𝐭𝐡𝐞 𝐢𝐧𝐭𝐞𝐫𝐧𝐞𝐭:
-Students will be able to discuss what constitutes reliable sources on the internet. They will learn to identify key characteristics of trustworthy information, such as credibility, accuracy, and authority. By examining different types of online sources, students will develop skills to evaluate the reliability of websites and content, ensuring they can distinguish between reputable information and misinformation.
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
Gender and Mental Health - Counselling and Family Therapy Applications and In...PsychoTech Services
A proprietary approach developed by bringing together the best of learning theories from Psychology, design principles from the world of visualization, and pedagogical methods from over a decade of training experience, that enables you to: Learn better, faster!
How to Manage Reception Report in Odoo 17Celine George
A business may deal with both sales and purchases occasionally. They buy things from vendors and then sell them to their customers. Such dealings can be confusing at times. Because multiple clients may inquire about the same product at the same time, after purchasing those products, customers must be assigned to them. Odoo has a tool called Reception Report that can be used to complete this assignment. By enabling this, a reception report comes automatically after confirming a receipt, from which we can assign products to orders.
Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
🔥🔥🔥🔥🔥🔥🔥🔥🔥
إضغ بين إيديكم من أقوى الملازم التي صممتها
ملزمة تشريح الجهاز الهيكلي (نظري 3)
💀💀💀💀💀💀💀💀💀💀
تتميز هذهِ الملزمة بعِدة مُميزات :
1- مُترجمة ترجمة تُناسب جميع المستويات
2- تحتوي على 78 رسم توضيحي لكل كلمة موجودة بالملزمة (لكل كلمة !!!!)
#فهم_ماكو_درخ
3- دقة الكتابة والصور عالية جداً جداً جداً
4- هُنالك بعض المعلومات تم توضيحها بشكل تفصيلي جداً (تُعتبر لدى الطالب أو الطالبة بإنها معلومات مُبهمة ومع ذلك تم توضيح هذهِ المعلومات المُبهمة بشكل تفصيلي جداً
5- الملزمة تشرح نفسها ب نفسها بس تكلك تعال اقراني
6- تحتوي الملزمة في اول سلايد على خارطة تتضمن جميع تفرُعات معلومات الجهاز الهيكلي المذكورة في هذهِ الملزمة
واخيراً هذهِ الملزمة حلالٌ عليكم وإتمنى منكم إن تدعولي بالخير والصحة والعافية فقط
كل التوفيق زملائي وزميلاتي ، زميلكم محمد الذهبي 💊💊
🔥🔥🔥🔥🔥🔥🔥🔥🔥
Andreas Schleicher presents PISA 2022 Volume III - Creative Thinking - 18 Jun...EduSkills OECD
Andreas Schleicher, Director of Education and Skills at the OECD presents at the launch of PISA 2022 Volume III - Creative Minds, Creative Schools on 18 June 2024.
THE SACRIFICE HOW PRO-PALESTINE PROTESTS STUDENTS ARE SACRIFICING TO CHANGE T...indexPub
The recent surge in pro-Palestine student activism has prompted significant responses from universities, ranging from negotiations and divestment commitments to increased transparency about investments in companies supporting the war on Gaza. This activism has led to the cessation of student encampments but also highlighted the substantial sacrifices made by students, including academic disruptions and personal risks. The primary drivers of these protests are poor university administration, lack of transparency, and inadequate communication between officials and students. This study examines the profound emotional, psychological, and professional impacts on students engaged in pro-Palestine protests, focusing on Generation Z's (Gen-Z) activism dynamics. This paper explores the significant sacrifices made by these students and even the professors supporting the pro-Palestine movement, with a focus on recent global movements. Through an in-depth analysis of printed and electronic media, the study examines the impacts of these sacrifices on the academic and personal lives of those involved. The paper highlights examples from various universities, demonstrating student activism's long-term and short-term effects, including disciplinary actions, social backlash, and career implications. The researchers also explore the broader implications of student sacrifices. The findings reveal that these sacrifices are driven by a profound commitment to justice and human rights, and are influenced by the increasing availability of information, peer interactions, and personal convictions. The study also discusses the broader implications of this activism, comparing it to historical precedents and assessing its potential to influence policy and public opinion. The emotional and psychological toll on student activists is significant, but their sense of purpose and community support mitigates some of these challenges. However, the researchers call for acknowledging the broader Impact of these sacrifices on the future global movement of FreePalestine.
Visit two (2) hawker centres of your choice. Examine how you would.docx
1. Visit two (2) hawker centres of your choice. Examine how you
would conduct trading area analyses and recommend the one
that you would like to set up your stall.
I have chosen the hawkers in Ang Mo Kio S11 and Chomp
Chomp. The hawker at Ang Mo Kio is a walkable distance from
the mrt station. Ang Mo Kio is a mutual estate; this cause the
crowds to be older. The main audience of the hawkers are
middle aged. The trading area at Ang Mo Kio is smaller than
Chomp Chomp. The stores at Ang Mo Kio are saturated.
The hawker at Chomp Chomp is future away from the mrt
station. As compared to the one at Ang Mo Kio, Chomp Chomp
is less accessible. Chomp Chomp still managed to gain crowds
despite being less accessible. The crowds in Chomp Chomp
have a wider age range from young to old. Tourist also head
down to Chomp Chomp to try Singapore local food. The trading
area at Chomp Chomp is much larger than Ang Mo Kio. The
stalls at Chomp Chomp are over-stored as there are more than
one stall selling the same food.
I have chosen Ang Mo Kio hawker for my stall as the
competition is lesser than Chomp Chomp. Being new in this
industry there will be more opportunities to expand at Ang Mo
Kio as compared to Chomp Chomp.
1 | P a g e
Table of Contents -- Course Reader -- English 1A – Fall 2019
Course Syllabus 2
Revision Process 6
Sample Formatting Page 7
2. Sample Process Letter 8
1. Inductive Analysis Essay (4-5 pgs.) 50 points Page
Essay Prompt 9
Nature by Ralph Waldo Emerson 10
“The Transparent I” by William Fitzgerald (Sample Essay) 11
2. Deductive Analysis Essay (6-7 pgs.) 100 points Page
Essay Prompt 14
“Seeing” by Annie Dillard 15
An Outline of the Essential Key Points of Dillard’s Essay 22
Sample Paragraphs for writing about “Seeing” 24
3. Personal Essay (4-6 pages) 25 points Page
Essay Prompt 25
“Haudenosaunee Thanksgiving Address” 27
The Pledge of Allegiance 30
“Allegiance to Gratitude” by Robin Wall Kimmerer 31
“Learning the Grammar of Animacy” by Robin Wall Kimmerer
36
4. Research Essay (8-10 pgs.) 200 points Page
Essay Prompt 41
Sample Prospectus 44
Sample Annotated Bibliography 45
Sample Outline for a Possible Approach to Writing the Research
Essay 46
“The Impermanence of Order: The True Nature of Gardens” by
William Fitzgerald 47
Basic Outline for “The Impermanence of Order” by William
Fitzgerald 51
“Gardening Means War” by Michael Pollan 53
“The How-To Garden” by Jim Nollman 57
5. Group Presentation Page
Group Presentation Prompt 67
Sentence Combining Page
Sentence Patterns 68
3. Clause/Phrase Review 69
Sentence Focus 71
Coordination 77
Conjunctive Adverbs and Transitional Phrases 78
Subordination 80
Run Together Sentences (RTS) 83
Free Modifiers: Adjective Clauses 85
Free Modifiers: Noun Phrase Appositives (NPA) 91
Free Modifiers: Clause Modifying Verbal Phrases (CMVP) 94
Free Modifiers: Absolute Phrases 97
Correlative Conjunctions 100
Fragments 101
Faulty Parallel Structure 103
Punctuation 104
PIE Paragraph Structure 109
Quoting, Paraphrasing, and Summarizing vs. Plagiarism 110
MLA - Format for Bibliographical Sources Page
Citing Sources In-Text: Contextualizing Sources 112
The Mechanics of In-Text Citations 116
Citing Sources in Your Essay as You Move Between Different
Sources 119
Punctuating when Using Quotation Marks 119
Italicizing Titles vs. Using Quotation Marks 119
Formatting the Works Cited Page 121
Works Cited: Printed Sources 122
Works Cited: Sources from the Web 128
Works Cited: Other Common Sources 131
2 | P a g e
4. English 1A (CRN 71261-502) — Fall 2019
Tuesday Evenings 6:10 pm – 10 pm (Art 311)
Instructor: Nathan Wirth | Phone: 415.239.3199 (best to use
email) |
Email: [email protected] | Office: Art 213
Office Hours: Mondays and Tuesdays 5 pm to 6 pm and By
Appointment
Prerequisite for the course: Completion of English 96, 88, or
88b with a C or better or placement in English 1A
Course Website on Canvas: https://ccsf.instructure.com
Important Dates
Last Day to Drop Without a "W": Sep. 6 | Last Day to
Withdraw: Nov. 7 | Final Exam Date: Dec 17
Holidays: Jan 21, Feb 18, March 25
Required Texts & Materials
A Reliable Internet connection for Canvas
Course Reader (Download from Canvas)
The Botany of Desire by Michael Pollan (NOT available in
Bookstore)
Major Learning Outcomes
Outcome 1: Analyze university-level texts.
Outcome 2: Compose research-based, organized essays that are
driven by an arguable thesis and employ critical thinking.
Outcome 3: Apply the major conventions of standard written
English.
Outcome 4: Choose and integrate credible sources for support,
using appropriate citation format.
5. Course Description
This course is, first and foremost, a class about writing. We will
consider a variety of strategies for combining clauses
and phrases (adjective clauses, noun phrase appositives, verbal
phrases, absolute phrases), practice ways to focus
sentences more clearly, discuss how to develop and cultivate a
thesis, and go over the basic elements and strategies
for writing a research paper (citing sources, integrating
quotations, doing research, etc.). We will also, as a class and
in groups, be discussing the various texts and articles that you
will be reading during the semester. Naturally, any
class that focuses on writing and reading also inevitably leads
to thinking. This course is designed to take you through
a variety of experiences, perspectives and written assignments
that will help you to build a well-rounded
understanding of the various questions that will be posed during
this course and then to write about them.
Logging into Canvas
• Log into Canvas from MyCCSF:
https://www.ccsf.edu/en/myccsf.html
• Username: Your CCSF ID (example W12345678, @12345678,
or D12345678)
• Password: Your RAMID password
Internet. All homework-related assignments
and essays must be uploaded to Canvas, so if you do not have
access to the site, you will not be able to submit
your work.
contains all of the assignments and handouts for the
semester. You are required to bring the course reader to every
class. It can be found on Canvas.
6. Lab Hours Requirement
• The English Department require all 1A students to complete
the online library research tutorials.
• Failure to complete ALL the tutorials and/or turn in the
badges to prove you have completed them will result in
no participation points (a loss of 25 points).
Essays/Written Work/Assignments/
Formatting: All written work (except for rough drafts and notes)
must be typed and double spaced. If you don't
follow the proper formatting, I will return the paper to you. It is
essential that you meet the minimum required page
limit. If you do not, then points will be deducted from your
essay. You are always welcome to write more than the
minimum. Here are my basic, standard formatting guidelines.
• Set the margins of your document to 1 inch on all sides.
• Use Times New Roman 12 pt.
• Pages must be numbered. Place the number in the top right
corner. Omit the number on the first page.
3 | P a g e
• Indent the first line of paragraphs five spaces from the left
margin.
• Include a title
• Staple the pages.
• Underline your thesis statement.
• No large gaps between paragraphs.
Quizzes: There will be four reading quizzes for The Botany of
7. Desire. Check Canvas for dates and other details.
Assignments: You will be given several essential assignments
for your research paper (including, for example, a
prospectus and an annotated bibliography). Details are
available on Canvas and in the course reader.
Process Letters: For each formal essay, you are required to
include a brief letter that outlines the difficulties and
successes you experienced while working on your essay. Your
letter should be a short reflection (a) about your
experience writing your essay. What did you struggle with?
What problems did you encounter? How did you
overcome them? What do you feel satisfied about? Any
concerns that you want me to address when I read your
essay? The pedagogy behind this is to allow each student the
opportunity to actually think about his / her writing
process and to reflect on what each student does or does not do
when writing. You can find a sample in the course
reader.
Group Presentations: Instead of a final exam, you will be
participating in a group project that will be presented
either on December 10th or December 17th. All students must
attend both class meetings.
Revisions: You have the option to rewrite the first two essays
(unless you receive an A). For your rewrite, you must
include a detailed analysis of the changes that you made (e.g.
what was the mistake? what did you do to change
it?). Each rewrite, if done well, can earn up to a full grade;
however, in order to earn that many points, your
rewrite must be significantly improved and include detailed
notes about the changes you made. Specific details are
available in the course reader and will be discussed in class.
• If your first two essays do not meet the standards and
8. requirements for a passing essay, you will have to meet
me during an office hour to discuss strategies for fixing those
issues. Failure to rewrite the essay within three
weeks after I return the essay will result in a failing grade for
that essay (which means that you will not be able
to pass the course).
Plagiarism: Here is the official CCSF policy on plagiarism:
"Plagiarism is defined as the unauthorized use of the
language and thought of another author and representing them
as your own." Plagiarism is a violation of the rules
of student conduct, and discipline may include, but is not
limited to," a failing grade in an assignment, test, or class
in proven cases of cheating or plagiarism or other academic
dishonesty.”
• My official policy is that you will receive a failing grade for
the assignment (0 points for the assignment). At
my discretion, I sometimes offer a plagiarizer the opportunity to
rewrite the essay for an F with points (e.g.
55/100). If you should plagiarize a second time, then you will
receive a failing grade for the essay and, as a
result, for the class.
• My official thoughts about Plagiarism: I feel that plagiarizing
is exceptionally lame. Why bother going to
school if you have no intention of doing your own work? If you
are stressed out about your writing, just come
talk to me and we can discuss your situation.
Staying on Task: It is essential that you read the essay and
assignment prompts carefully. Any essays that do not
follow what the prompt specifically asks for will be returned
9. ungraded. I will read them after you revise them, but
they will be considered late. That said— the essays are
designed to allow you the opportunity to develop exactly
how you wish to address the questions posed, so you can still
express your individuality.
Late Essays: I will accept late essays, but if your essay is late, I
will provide no comments and return it at my
convenience (which might take a while). You are NOT allowed
to rewrite late essays. All late essays must be
turned in no later than two weeks after the due date.
Requirements for Passing the Class: All the essays must be
completed with a passing grade or you cannot pass the
course. No exceptions.
Help: I will gladly comment on thesis statements, outlines, or a
paragraph or two from your essays via email or
during office appointments-- but not on entire essays. Make
sure that you have specific questions about specific
4 | P a g e
things before you email me or come to an office appointment.
You can also get lots of quality help in the English
Lab (Rosenberg Library R205) — and your visits to the lab
count towards your lab-hours requirement.
Bring the course workbook to each and every class. Check the
course schedule on Canvas before each class to see
what we will be covering and make sure that you bring the
necessary materials to class.
10. Attendance/Participation/Class Discussion/Teacher-Student
Conference
Attendance: Let me make this as obvious as possible. Your
presence is important both to me and for your success
in the course. If you have made vacation plans, have work
obligations, can’t attend the final class, and/or have no
intention of showing up regularly, then I would not recommend
taking this course. Even if you find me and/or the
material boring, you still have to come to class; however, if that
is how you feel, I would strongly recommend that
you find a teacher and/or class more to your liking and
schedule.
• For a night class, you are allowed one unexcused absence (no
questions asked and no consequences for that
absence), but I reserve the right to reduce your participation
grade by five points for each subsequent
absence. Please note that this is not an invitation to miss a
class.
• If you miss three or more classes in a row before the final
withdrawal date -- and do not contact me to let me
know if you are still in the class— I will drop/withdraw you
from the course.
• If you miss a total of five class meetings before the final
withdrawal date — I will drop/withdraw you from the
course. There comes a point when you are just not really taking
the course-- and this, as far as I am concerned,
is pretty much when you have arrived at that point.
• You are expected to arrive to class on time and to bring the
proper materials (course reader, assignments ...
check Canvas for details). If you are late then YOU have to let
me know, or you will remain marked absent.
11. Three "lates / tardies" equal one absence.
• Please note that if you miss a class, you are still responsible
for all material/assignments covered in class.
• I recommend that you exchange email addresses with at least a
couple of students so that you can keep up
with anything you might miss in class. Though I will be as
helpful as I can, do not rely on me to keep you up to
date. I will not respond to emails that ask me what was covered
in class. Check Canvas for the latest schedule
/ due dates / required reading, etc. EVERYTHING is there.
• If life deals one of those many unfortunate situations that we
all dread but have to deal with, and, as a result,
you have to be absent for a few classes, then please have the
courtesy to let me know. I do not need to know
the details—just that you are “dealing with something” and,
thus, missing classes. I will drop or withdraw you
from the class if I have not heard from you after two weeks.
Don’t just vanish! Keep in touch and let me know
what is going on.
Participation Grade: I base your participation grade on
attendance, class participation, and completing the lab
work (25 pts). Most students, when attendance is good, receive
21 or 22 points. To get more points you need to
participate in discussions. Talking during class while others are
speaking (whether it be me or your fellow
classmates) will result in a reduced participation grade as well.
Class Discussion: This class is built around a lot of class
discussion and interaction; therefore, it is important that
you take part in class discussions—which means that you must
put your best effort towards reading the material
12. and thinking about it. Consistent lack of participation will
result in a lower participation score.
Teacher-Student Conference: Between November 29th and
December 3rd, I will conduct individual conferences
with each student. Failure to participate in a conference will
result in losing all your participation points.
General Class Rules
Eating & Drinking in Class: Official school rules prohibit eating
in class, so if you spill something, clean up after
yourself.
Smart Phones & Laptops in Class: I am beginning to accept that
some students use their smart phones to access
information during class, but I am not entirely convinced yet.
Let me say this: if you are far more interested in your
smart phone than the class, you should seriously ask yourself
why you are bothering to take this course.
Do not disrupt the class. If you do, I will ask you to leave and
then mark you absent.
responsibly/accordingly.
DURING LECTURES OR CLASS DISCUSSIONS!
not sleep or do homework during class. If you feel the
class is boring and/or stupid, I encourage you to
drop the course and find one that is more interesting to you.
5 | P a g e
13. Other Concerns
the email the
school has provided you. You can forward your school email to
your regular email account (and that way you won’t miss
anything the school sends you). This is the email that I am
provided
and my only way of contacting you. All mail related to Canvas
is delivered to your school email as well.
and discussion of adult themes and situations may occur. If
these
kinds of things offend you, you should consider taking a
different course.
accommodations because of a disability, or have any other
special needs,
please give me your DSPS form or make an appointment with
me as soon as possible. Disabled Students Programs and
Services (DSPS) is located in Room 323 of the Rosenberg
Library, phone (415) 452 5481
Grade Breakdown (Subject to Change)
70% of your grade
• Inductive Analysis Essay 1 (Emerson) = 50 points
• Deductive Analysis Essay 2 (Annie Dillard’s “Seeing”) = 100
points
• Personal Essay (Kimmerer) = 50 pts
• Research Essay (Gardening) = 200 points
20% of Your Grade
14. • In-class Essay = 25 pts
• Group Presentation = 25 points
• Assignments (Various Points)
• Reading Quizzes (Various pts.)
10% of Your Grade
• Participation (Attendance + Class Discussion + Online
Tutorials + Student-Teacher Conference) = 25 points
The Complete and Detailed Schedule for the Class Is on Canvas
6 | P a g e
Revision Process
If your grade is below passing, then disregard this process. You
must meet with me in person so that we
can discuss your rewrite. It is your responsibility to make this
appointment.
Turn in a printed copy of the rewritten essay to me – Do Not
Upload Rewrites to Canvas
This exercise in revision is not just a process of fixing the
corrections or responding to the comments I
made. Treat this as a revision of the essay as a whole. Think
about how you can improve or tighten up
15. your points/writing. In other words, this is a revision of the
whole essay.
As you revise your essay keep notes about the changes you have
made to your essay. I need to know
WHY you made EVERY change. Note: Because Nathan marked
it / told me to is not an acceptable
reason. If I asked you a question or commented about
something you wrote, I expect you to address
what I said and tell me how and why you fixed it. I want to
know what your reasoning is for every
change you make. Keep track of these changes on your freshly-
printed, revised draft.
Go ahead and write on the essay in pencil.
(A) Underline / circle the section you have changed in your
revised essay and then explain the nature of
the problem, how you fixed it, and why your fix has taken care
of the problem. The amount of points
you are awarded will be based on how detailed your
explanations are. If you are going to only make
minor changes and / or spend no time explaining this, then do
not bother revising the essay.
(B) For all sentence related errors—name the error (such as run
together sentence, misspelled word,
subject-verb agreement, incorrect verb tense, proofreading
error, wrong word choice, the sentence fell
apart/derailed/too weighty, etc) and then explain what you have
done to fix the problem.
(C) If it is repetitive problem—such as forgetting to use the
right tense or keeping the comma inside the
quotation marks or incorrectly formatting your in-text
citations— then explain the nature of the error
16. and circle each instance of that error. Do not explain the
instance of each error.
If you do not follow these requirements, then I will not read
your revised essay.
The amount of points that you are rewarded will reflect the
quality of your rewrite and how detailed
your explanations are. In general, your grade will be boosted a
half grade or a full grade if you do a
good job (for example a C+ will become a B-). If your rewrite
significantly improves your essay, then I
reserve the right to increase it a full grade (for example, a C
could become a B).
Provide me a printed copy with your corrections. Do not upload
the revision to Canvas.
Please Note
- or better, then you cannot rewrite the
essay.
rewritten.
If I am not requiring you to rewrite / revise your essay, then
don’t bother with this process unless you
really want to rewrite your essay and learn something from the
process. Anything less will receive no
points. Just changing a few quick things will not yield very
many points (and might receive no points).
17. 7 | P a g e
Sample Format Guidelines for Essays
Not a Writing Sample – Just a Formatting Sample
Bane
Personal Essay (Solitude)
December 31, 9768
The Eye of Solitude
Since my early childhood days, I have often returned to the
Point Reyes National
Seashore, but after moving to Marin County a few years ago,
that "often" has been
replaced with "as much as once a week," especially during the
winter and spring after a
good rain has settled but the clouds have not yet left. As a
child, my family was far too
poor to ever travel, but over several summers we would board
the Golden Gate Transit
bus before sunrise, in the dark, and then leave to come home on
the final bus, which
would return us to San Francisco in the dark. And thus began a
tradition of sorts, one
18. that stretches back to those early childhood days and looks
further forward to whatever
I may encounter in future visits. Now that I live in Novato, a
forty five minute drive
away, I visit Drake's Beach each week, camera, neutral density
filters, and tripod in
hand so that I can find yet another way to photograph this
stretch of beach where land
ends and the sea begins-- or if you wish where the sea ends and
land begins-- or,
perhaps, where the land and the sea simply meet, that shoreline
bringing to mind the
line on a map where the blue of the water is separated by the
color of the land mass.
These are the kinds of thoughts that I often play with as I wait
for the seconds to pass
into minutes during the long exposure photographs that I work
on each visit. Indeed,
gazing out into the sea, I often find a certain kind of silence, a
silence that is experienced
in between the sounds of the sea, a silence that I only find in
solitude.
Lately, I have been thinking about what Emerson and Thoreau
had to say about
19. 8 | P a g e
SAMPLE PROCESS LETTER
Dear Mr. Nathan,
Overall, I feel like I understand the question and answered it
well; however, I really struggled
with my introduction and my conclusion. I know that they are
supposed to be like the bookends of the
essay and really tie together my overall points/thesis, but I
don’t feel like I fully introduce my essay and I
am not certain if the introduction even really relates to my
thesis. I wish I had taken more time with it. I
am not entirely certain if I ever fully figured out exactly what
Emerson is saying about solitude. I do,
however, feel that I have a good grasp of Emerson’s main ideas
(I am not certain that I adequately
explained his thoughts, and I may have claimed he said things
he never actually says in the essay).
I feel confident about my body paragraphs. I worked very hard
on trying to write good
20. transitions between paragraphs and I think most of them are
very effective, but I also think a few of them
are a bit too formulaic. I think I did a really good job
integrating the sources and finding ways to support
my argument that solitude helps us to understand nature in very
human terms. I am used to thinking of
the first sentence of each paragraph as a topic sentence, so it
might take me a while to adjust to your
instruction about considering them as points.
I wish I had taken a little more time to revise the essay. I feel
good about the writing overall, but
I know that I could have cleaned up and better focused some of
the sentences. I’d really appreciate it if
you would comment on the conclusion and let me know if you
think I successfully tied together all the
elements of my body paragraphs and my thesis.
I plan to start the next essay even earlier so that I have lots of
extra time to proofread and
rethink my sentences (and make sure that all the elements of the
essay work together smoothly). I know
every student says that!
Thanks!
21. Miley
9 | P a g e
Essay 1: Inductive Analysis Essay -- Emerson (50 pts.)
Length: 4-5 pgs. Due Date: Check Canvas
Task: Analyze the text of the excerpt from Emerson’s Nature
and discuss how the writer explains (a) his experience
with nature while in solitude and (b) the spiritual connection
that he has with God through nature.
• To successfully accomplish this task, you will need to analyze
Emerson’s actual language. This is essential. I am
not asking you what your thoughts are about Emerson’s views.
I am asking you to analyze what he wrote.
• You need to make sure that you analyze the following key
elements in Emerson’s essay:
a) What Emerson feels is required to achieve the kind
of solitude he is discussing. How one can achieve it.
b) How our awe for the stars help us to understand
what true solitude means.
c) How all “natural objects” can fill us with the same
sense of awe if we are open to their influence.
d) How seeing this way is the way the poet sees.
e) How seeing with this sense of wonder is the way
many people experience nature when they are children.
f) How the “transparent eyeball” passage represents the
awe, the willingness to be open to the influence of
all “natural objects,” the way the poet sees, the
child-like wonder that we can have for nature, and his
22. connection with God through nature.
thorough about this (do not skip it).
Please note I am not asking you to discuss your views about his
thoughts. Your task is to analyze the text (so you will
need to summarize, paraphrase and directly quote from Emerson
and use your analysis of the text to shape your
understanding of how he experiences solitude and nature). And
your essay is not only a summary … it is an analysis.
Do not write from the perspective of what you think Emerson is
trying to say; instead, write from the perspective of
what he actually writes and how his observations are
interconnected-- and what they, ultimately, lead to.
so you should not retell everything that happens in
them. Instead, focus on those passages that you choose to
analyze. You should summarize, paraphrase and quote
those passages that will help you to demonstrate how Emerson
describes his experiences with nature in solitude. Do
not use “I” or “You.”
is an inductive analysis essay, which
means you do not begin your essay with the traditional
introduction that includes a thesis statement. Instead, you
should, after stating the title and the author’s full name,
jump right in and start analyzing what Emerson does and how
he does it. Your goal is to connect the various
elements of his essay and show how he ultimately connects with
God through his deep connection with nature.
Thus, it makes the most sense to discuss his essay by analyzing
these elements in the order he writes them in—your
job also including the need to make connections between these
elements. Your conclusion must, ultimately and
conclusively, state how Emerson’s essay explores his
connection with God through solitude and nature. And, very
importantly, state your thesis in your conclusion. Think of it
23. this way: this essay form requires you to argue towards
your thesis (instead of stating it at the beginning of your essay).
(1) When writing about the essay, use the present tense
(Example: Emerson explains a certain quality of solitude).
(2) In your introductory paragraph, refer to the title of the full
essay (Nature) and the author’s full name (Ralph
Waldo Emerson).
(3) For the rest of the essay, use the author’s last name
(Emerson). Do not repeat his full name again.
(4) Once you have mentioned the title, do not mention it again.
Do not write “in the essay.” We will know that you
are discussing the essay.
(5) For in-text citations / quotations, use the page number in the
course reader. You do not need to mention the
author’s last name in the citation because once you have
introduced us to the title and the author’s name, we will
know that you are only quoting that source because your task is
to analyze that essay and that essay only.
(6) Provide a Works Cited page. Here is the correctly formatted
bibliographical citation. Pay attention to the
italicized titles and the indented second line.
Emerson, Ralph Waldo. Nature. English 1A Course Reader.
Edited by Nathan Wirth, Nathan’s Mind Inc., 2019.
course schedule for due dates and the upload link.
which you write about your writing process for the
essay. Please make this the first page of your document (and it
24. does not count as one of the required pages). You
can find a sample process letter in this course reader.
equirements in this course
reader before you upload your essay.
10 | P a g e
Nature by Ralph Waldo Emerson, 1836
To go into solitude, a man needs to retire as much from his
chamber as from society. I am not solitary whilst I
read and write, though nobody is with me. But if a man would
be alone, let him look at the stars. The rays that come
from those heavenly worlds, will separate between him and
what he touches. One might think the atmosphere was
made transparent with this design, to give man, in the heavenly
bodies, the perpetual presence of the sublime.1 Seen
in the streets of cities, how great they are! If the stars should
appear one night in a thousand years, how would men
believe and adore; and preserve for many generations the
remembrance of the city of God which had been shown!
But every night come out these envoys of beauty, and light the
universe with their admonishing2 smile.
The stars awaken a certain reverence, because though always
present, they are inaccessible; but all natural
objects make a kindred impression, when the mind is open to
their influence. Nature never wears a mean appearance.
Neither does the wisest man extort3 her secret, and lose his
curiosity by finding out all her perfection. Nature never
became a toy to a wise spirit. The flowers, the animals, the
mountains, reflected the wisdom of his best hour, as much
as they had delighted the simplicity of his childhood.
When we speak of nature in this manner, we have a distinct but
25. most poetical sense in the mind. We mean
the integrity of impression made by manifold natural objects. It
is this which distinguishes the stick of timber of the
wood-cutter, from the tree of the poet. The charming landscape,
which I saw this morning, is indubitably4 made up of
some twenty or thirty farms. Miller owns this field, Locke that,
and Manning the woodland beyond. But none of them
owns the landscape. There is a property in the horizon which no
man has but he whose eye can integrate all the parts,
that is, the poet. This is the best part of these men's farms, yet
to this their warranty-deeds give no title.
To speak truly, few adult persons can see nature. Most persons
do not see the sun. At least they have a very
superficial seeing. The sun illuminates only the eye of the man,
but shines into the eye and the heart of the child. The
lover of nature is he whose inward and outward senses are still
truly adjusted to each other; who has retained the
spirit of infancy even into the era of manhood. His intercourse
with heaven and earth becomes part of his daily food.
In the presence of nature, a wild delight runs through the man,
in spite of real sorrows. Nature says, -- he is my
creature, and maugre5 all his impertinent6 griefs, he shall be
glad with me. Not the sun or the summer alone, but
every hour and season yields its tribute of delight; for every
hour and change corresponds to and authorizes a
different state of the mind, from breathless noon to grimmest
midnight. Nature is a setting that fits equally well a
comic or a mourning piece. In good health, the air is a cordial7
of incredible virtue. Crossing a bare common, in snow
puddles, at twilight, under a clouded sky, without having in my
thoughts any occurrence of special good fortune, I
have enjoyed a perfect exhilaration. I am glad to the brink of
fear. In the woods too, a man casts off his years, as the
snake his slough, and at what period soever of life, is always a
child. In the woods, is perpetual youth. Within these
plantations of God, a decorum and sanctity reign, a perennial8
26. festival is dressed, and the guest sees not how he
should tire of them in a thousand years. In the woods, we return
to reason and faith. There I feel that nothing can
befall me in life, -- no disgrace, no calamity, (leaving me my
eyes,) which nature cannot repair. Standing on the bare
ground, -- my head bathed by the blithe air, and uplifted into
infinite space, -- all mean egotism vanishes. I become a
transparent eye-ball; I am nothing; I see all; the currents of the
Universal Being circulate through me; I am part or
particle of God. The name of the nearest friend sounds then
foreign and accidental: to be brothers, to be
acquaintances, -- master or servant, is then a trifle and a
disturbance. I am the lover of uncontained and immortal
beauty. In the wilderness, I find something more dear and
connate9 than in streets or villages. In the tranquil
landscape, and especially in the distant line of the horizon, man
beholds somewhat as beautiful as his own nature.
The greatest delight which the fields and woods minister, is the
suggestion of an occult relation between man
and the vegetable. I am not alone and unacknowledged. They
nod to me, and I to them. The waving of the boughs in
the storm, is new to me and old. It takes me by surprise, and yet
is not unknown. Its effect is like that of a higher
thought or a better emotion coming over me, when I deemed I
was thinking justly or doing right.
Yet it is certain that the power to produce this delight, does not
reside in nature, but in man, or in a harmony
of both. It is necessary to use these pleasures with great
temperance. For, nature is not always tricked in holiday
attire, but the same scene which yesterday breathed perfume and
glittered as for the frolic of the nymphs, is
overspread with melancholy today. Nature always wears the
colors of the spirit. To a man laboring under calamity, the
heat of his own fire hath sadness in it. Then, there is a kind of
contempt of the landscape felt by him who has just lost
by death a dear friend. The sky is less grand as it shuts down
27. over less worth in the population.
1 sublime = of such grandeur, or beauty as to inspire great
admiration or awe (so much awe that it comes with fear /
respect & thus reverence)
2 admonish = to urge to a duty; remind
3 extort = obtain (something) by force, threats, or other unfair
means
4 indubitably = too evident to be doubted
5 maugre = in spite of
6 impertinent = not pertinent to a particular matter; irrelevant.
7 cordial = a comforting or pleasant-tasting medicine
8 perennial = lasting or existing for a long or apparently infinite
time; enduring or continually recurring.
9 connate = (especially of ideas or principles) existing in a
person or thing from birth; innate.
11 | P a g e
Sample of Essay One – Emerson
William Fitzgerald
English 1A
Mr. Nathan
The Transparent I
Ralph Waldo Emerson begins his essay Nature by offering his
readers the conditions necessary to
find a certain quality of solitude, one that he later experiences
28. when he finds a very deep and personal
connection with nature and, ultimately, God: “To go into
solitude, a man needs to retire as much from his
chamber as from society” (10). One should note that Emerson
specifically indicates the necessity to leave
both his connections with home and the society that his home is
located in; in fact, he indicates the need
to sever his ties from others even further by realizing that being
physically alone, being at home without
anyone else around, is not necessarily enough, for even when he
reads and writes in solitude he is still
connected with those whose thoughts he might read and for
those whom he might write. To best find the
truest sense of the solitary, he explains one should look to the
brilliance of the heavens and its many
stars, for this is how one can feel truly disconnected from the
rest of the world. The stars, Emerson
writes, “will separate” man “between him and what he touches”
(10). In other words, those who look to
the brilliance of the stars will see something filled with such
immensity they will feel a sense of awe that
separates them from all that is material, all that is touchable,
and, as a result, leave them to feel alone
and solitary in the face of such grandeur. But the stars are not
just beautiful. They also fill one with the
sense of the sublime, a word which not only describes the sheer
beauty and grandeur of the lights that fill
the night but also indicates the power of the stars, a power and
intensity that elicits veneration and
respect and awe and, thus, a touch of uneasiness. That fear, that
respect, that reverence, is essential to
understanding what Emerson wishes to communicate because
the heavens in all their vastness and
mystery are, in his words, “the city of God” (10). So,
ultimately, Emerson equates the intensity of this
quality of solitude he seeks with the intensity of connecting
29. with God, but, at this point, God is high in the
heavens and out of his reach.
Next, he shifts from the reverence and awe one might feel for
the stars to reverence for the
many facets of nature down here on earth, writing that that the
stars are “inaccessible,” that we can
never touch them and that, in the end, this is an essential part of
the reason why they “awaken a certain
reverence” (10)— “awaken” implying our senses and spirit have
been asleep or dulled and that through
this experience those inactive senses are stirred up, excited, and
aroused. And this is precisely where
Emerson associates that same awakening, that same awe, that
same reverence for the majesty of the
nighttime sky with all and any “natural objects” (10), the phrase
“kindred impression” (10) connecting the
stars to all “natural objects” (all of which we can touch, unlike
the stars, if we choose). “Kindred”
denotes there is a definite similarity between the stars and the
natural objects of the earth, but even
though they are not the same, they do, in a sense, come from the
same natural origin (later in the essay,
the “Universal Being”). “Impression” indicates the effect
something has on the mind, the conscience, and
one’s feelings. So, when combined in this context, these two
words indicate, once again, that Emerson is
drawing a connection between the intensity and awe we hold for
the stars and the awe and reverence
that we might have for any natural object, but, for this to
happen, the mind must be “open to their
influence” (10). “Influence” is the key word here, for it
indicates that experiencing these natural objects
and surroundings can affect one’s moods and feelings, that one
can experience the same awe for the stars
in the entirety of nature if one is open to seeing that influence,
30. that, ultimately, nature is as grand and
awe-inspiring as those stars (and, by connection, one can also
experience God in and through nature).
Emerson then shifts to explaining how the wise person— i.e.,
the person whose mind is open to
the influence of nature— recognizes that nature does not act
meanly, that nature is not a trivial toy to be
played with, that nature never ceases to amaze and intrigue the
person who experiences it, and, perhaps
most importantly, the truly wise person realizes the best
moments experiencing nature as an adult return
one to the wonder which childhood was often filled with, to a
time before the experiences of being an
adult deadened and dulled the innocence and curiosity of
childhood experiences in nature. In other
words, one of the deepest consequences of opening one’s mind
to the influence of nature is that it
awakens, in part, some of that lost wonder of our childhood.
Emerson then connects this reawakened
mind to a “most poetical sense” of how we see things. To see
things poetically is to see them as they are
and not in an analytical or purely functional way; the poet sees
nature in its entirety and not by its
material divisions. He offers the example of the woodcutter—
who sees a tree only for its potential
12 | P a g e
materials— and the poet, who sees the tree for what it is: as a
whole tree with all the beauty one might
associate with a tree— as well as a “natural object” that shares
a “kindred impression” with the stars that
31. invokes a sense of awe, reverence and wonder. He further
explains this poetical perception by describing
a walk through a variety of farms and woods, in which he sees
all these parcels of individually owned land
as one landscape and not a landscape divided by ownership.
The poetically-awakened mind realizes one
can possess a deed to some land, but one can never own the
landscape, the view, the experience (and the
awe and the wonder it can invoke if one’s mind is open to the
influence) .
And it is this poetical sense of mind that Emerson sees through
when he later goes for a walk in
the woods at twilight. The poetically-minded individual is the
one whose mind, heart, spirit and eyes,
“whose inward and outward senses,” are “still truly adjusted to
each other; who has retained the spirit of
infancy even into the era of manhood” (10). Indeed, the “lover
of nature,” as Emerson refers to it, sees
nature not only with the eyes but with a curiosity and
exhilaration that has not been deadened, one that
can continually be reawakened. As he takes his walk, he feels a
perfect exhilaration and his senses are
filled with delight, recognizing that every season brings its own
delights and reactions and that, very
importantly, one can feel a sense of excitement even when one
feels sad. For Emerson, experiencing
nature is like a ritual, one that offers him an opportunity to
communicate with both the heavens and the
earth, for God can be found— if one’s mind is open to such
influence, to such awe and reverence— in
both those celestial stars he discusses at the beginning of the
essay and the natural world that he is now
taking a walk in. He recognizes that a man (woman) can “cast
off his years” and “what period soever of
life” be always a child (10). So, before he describes the very
32. intense connection with the natural world
that he is about to have, Emerson once again connects the
feeling of childhood wonder and the awe of
nature that can be found if one’s mind is open to their influence.
In fact, this connection is so intense he
likens it to a “perennial festival,” which implies that a walk of
this kind is very similar to a ritual one might
experience in a church, but, in this case, no building is
necessary, for nature, itself, is the place of worship,
the place of ritual. He also takes the reader back to the
beginning of the essay by saying that a person
would never tire of this ritual in even a thousand years, which
brings us back to how even more intense
the stars in the night sky would be if they only appeared every
thousand years. But, in this case, he states
that one would never tire of what is clearly there, what can be
clearly touched.
And it is in this state of “perfect exhilaration” that one returns
to reason and faith, these words
being essential because, for Emerson and his fellow
transcendentalists, the spiritual and the scientific
were never in competition with one another. They generally
believed that the world could be understood
through spiritual intuition, but they also accepted scientific
doctrine. For some, this might be difficult to
understand— especially since he is about to speak about his
very deep, mystical connection with nature in
exceptionally poetic terms— but that poetic outlook is exactly
what fuels his direct experience. It may be
poetic, but it is also reasoned through a connection to what is
there, to what he sees in terms of what
these natural objects actually are. And with this focused
attention on his surroundings, he then writes
about the intensity of his connection to both the natural
landscape and God:
33. There I feel that nothing can befall me in life, -- no disgrace, no
calamity, (leaving
me my eyes,) which nature cannot repair. Standing on the bare
ground, -- my
head bathed by the blithe air, and uplifted into infinite space, --
all mean
egotism vanishes. I become a transparent eye-ball; I am
nothing; I see all; the
currents of the Universal Being circulate through me; I am part
or particle of God
(10).
At first glance, Emerson’s words seem to suggest an almost
hallucinatory experience, but when one
considers the reverence, the childhood wonder, and the most
poetical sense of mind that he has already
introduced us to, one can see the absolute delight and awe he
has for such an intense experience, a
moment of experience in which he fully absorbs his
surroundings, the intensity of the connection itself
being what instructs and connects him. Indeed, he speaks in
mystical terms, in a connection through
which he purely experiences the moment itself as if he is there,
but not there, and, in that state, connects
with God. In this perennially festive moment, he lets the self,
the “mean egotism” go, and it is as if he
joins, in that moment, the same “infinite space” where one
would find the stars and the “city of God,” as
if he has bridged the “intercourse with heaven and earth” (10).
To be transparent is to be opaque, as if
you are there but cannot be seen. One might also think of a
substance like water which is sheer and
allows light to shine through, as if in those moments the light of
34. everything in the universe, viz., the
“Universal Being,” radiate through him thus allowing him to
absorb everything in his surroundings. The
“eye,” the organ through which we see, can also be seen as a
pun on the personal pronoun “I,” which
13 | P a g e
connects this experience to the self, and, as a result, the self,
the “I,” is also made transparent and one
then becomes nothing, as if one is no longer there, and then
becomes a “part” of God or a minute particle
of God, both indicating that he has connected and become part
of nature and part of God. At the very
least, one sees the absolute intensity by which he finds this
connection, one that is bound to reverence, to
wonder, and to a most distinctly poetical sense of mind.
Emerson clarifies one last time the wonder he has for nature by
explaining that every time he
sees the “waving of the boughs in the storm,” it “is new to” him
“and old,” for it takes him “by surprise,
and yet is not unknown” (10). At first this might seem
paradoxical, for how can something one sees often
be both known and surprising? The answer lies in the wonder
of the poetical mind open to the influence
of nature. Regardless of the amount of times, he has seen such
things and experienced such moments, he
always feels wonder for them (as if each experience is “new”).
Finally, he ends by pointing out that nature
itself does not provide the emotional connection. It is the
individual who connects in this way—and he
calls this connection a “higher thought” or “better emotion,”
35. both suggesting that one must, again, be
open to such influences. For, after all, one could go for a walk
in the woods and feel nothing but
boredom, for it is the mood of the individual that sets the
experience. Earlier, he said that nature “never
wears a mean appearance” (10) and then ends with the
observation that nature “always wears the color
of the spirit” (10), a claim that clearly states that nature itself
does not control our mood—though it can
certainly affect our mood.
Ultimately, Emerson has written about experiencing an intense,
mystical-like connection with the
natural world, one that is, in fact, so intense that he has, at
times, connected to the “Universal Being.” In
order to explain the depth of this experience, he writes about
the reverence and awe one can have for
nature if one’s mind is open to the influence of such things— so
much so that he connects the awe one
might have for the brilliant, shining stars in the nighttime sky to
the awe one can have for all natural
things in this world down below those stars. To open one’s
mind to nature in this way is to see nature
poetically, to see it with a wonder that links one back to a
similar wonder and curiosity one had for nature
as a child. He represents the intensity of this awe and wonder
by using a metaphor of “becoming a
transparent eyeball” (10), a comparison which offers the
perspective that when he experiences this
intense connection, it is so intense he becomes one with both
nature and God. Early in the essay, he
refers to the unreachable stars as the “City of God” (10), and
later in the essay he refers to nature as
the“plantations of God” (10). By doing so, Emerson expresses
his belief that the unreachable God he
reveres so much in those unreachable stars can be experienced
36. in and through the beauty and awe of
nature experienced down here on earth. But, again, one must be
open to such possibilities, such
influences.
I underlined the entire conclusion because all of it can be seen
as a thesis for what Emerson ultimately
“does” in his essay—as well as “how” he “does” it.
---------------------------------------------------------------------------
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14 | P a g e
Essay 2: Deductive Analysis Essay -- “Seeing” (100 points)
Length: 6-7 pages Due Date: Check Canvas
Task: Write an analysis of how Dillard, in her essay, explores a
variety of ways for what it means to see, both
literally (the natural obvious) and figuratively (the artificial
obvious), and how she connects and builds from them
throughout her essay so that by the end of the essay she comes
to a realization about a kind of seeing that is more
visionary than it is biological or neurological.
• Very important: Your task is to analyze what Dillard says and
how she says it (and how everything is
interrelated)—and not what you think she says or how you feel
about what she says. You need to provide a clear
connection between the points and observations she makes in
37. her essay.
• Do not write from the perspective that Dillard is trying to
show us how to see or how to better enjoy our lives or be
happy. Dillard is writing about her thoughts and experiences.
You are analyzing that so write from that
perspective.
you should not retell everything that she writes
about. Instead, focus on those passages that you choose to
analyze in order to build and expand your thesis. You
should summarize, paraphrase and quote those passages that
will help you to demonstrate the different ways that
Dillard discusses what it means to see. Look for ways to
connect those passages so that your reader can see what
your analysis of them equals (thus allowing you to carefully
connect everything to come to an overall conclusion
about how Dillard explores what it means to see). You should
demonstrate an awareness of what the essay, overall,
is about.
the nature of what Dillard does in her essay—and
then make sure that your introduction is introducing us to your
thesis and the analysis you will be covering in your
body paragraphs. (2) Your thesis should be a specific claim
about how Dillard ponders what it means to see and how
those different “ways and meanings” lead to the end of her
essay where she experiences a visionary-like moment. (3)
Your body paragraphs should connect your various analyses of
the passages you cover (and directly relate to the
claim that you make in your thesis and where you are going in
your conclusion). They should also provide your
reader the material needed to understand how you came to your
conclusion. (4) Your conclusion should tie together
everything you say in your body paragraphs and tell us,
38. ultimately and conclusively, how Dillard’s various
explorations of “seeing” lead to her visionary moment at the
end of the essay. Your conclusion should be specifically
connected to your thesis / your thesis should be specifically
linked to your conclusion.
• In your introductory paragraph, refer to the title of the book
Pilgrim at Tinker Creek and the author’s full name
(Annie Dillard). Make it clear that “Seeing” is a chapter from
that book.
Tinker Creek, Annie Dillard writes about a variety
of different meanings for what it means “to see.”
• For the rest of the essay, use the author’s last name (Dillard).
Do not repeat her full name again.
• Once you have mentioned the title, do not mention it again.
Do not write “in the essay.” We will know that you
are discussing the essay.
• For in-text citations / quotations, use the page number from
the course reader. You do not need to mention the
author’s last name in the citation because once you have
introduced us to the title and the author’s name, we
will know that you are only quoting that source because your
task is to analyze that essay and that essay only
• Provide a works cited page. Here is the correctly formatted
bibliographical citation. Pay attention to the
italicized title of the course reader.
Dillard, Annie. “Seeing.” English 1A Course Reader. Edited
by Nathan Wirth, Nathan’s Mind, Inc. 2019
39. time to effectively combine sentences using
coordination and subordination.
subordinators, conjunctive adverbs and
transitional expressions to provide, where appropriate, clear
transitions between your ideas.
ke sure you provide meaningful and relevant context for
your quotations, paraphrasing, and summaries. Be
sure you also provide (a) relevant explanations of them and (b)
specific analysis.
aft to Canvas. Check the
course schedule for due dates and the upload link.
which you write about your writing process for the
essay. Please make this the first page of your document (and it
does not count as one of the required pages). You
can find a sample process letter in this course reader.
reader before you upload your essay.
15 | P a g e
"Seeing” by Annie Dillard
This is Chapter Two from the book Pilgrim at Tinker Creek,
Harper Perennial, 1974)
When I was six or seven years old, growing up in Pittsburgh, I
used to take a precious penny of my own
40. and hide it for someone else to find. It was a curious
compulsion; sadly, I’ve never been seized by it since. For some
reason I always “hid” the penny along the same stretch of
sidewalk up the street. I would cradle it at the roots of a
sycamore, say, or in a hole left by a chipped-off piece of
sidewalk. Then I would take a piece of chalk, and, starting
at either end of the block, draw huge arrows leading up to the
penny from both directions. After I learned to write
I labeled the arrows: SURPRISE AHEAD or MONEY THIS
WAY. I was greatly excited, during all this arrow-drawing, at
the thought of the first lucky passer-by who would receive in
this way, regardless of merit, a free gift from the
universe. But I never lurked about. I would go straight home
and not give the matter another thought, until, some
months later, I would be gripped again by the impulse to hide
another penny.
It is still the first week in January, and I’ve got great plans. I’ve
been thinking about seeing. There are lots
of things to see, unwrapped gifts and free surprises. The world
is fairly studded and strewn with pennies cast
broadside from a generous hand. But—and this is the point—
who gets excited by a mere penny? If you follow one
arrow, if you crouch motionless on a bank to watch a tremulous
ripple thrill on the water and are rewarded by the
sight of a muskrat kid paddling from its den, will you count that
sight a chip of copper only, and go your rueful
way? It is dire poverty indeed when a man is so malnourished
and fatigued that he won’t stoop to pick up a penny.
But if you cultivate a healthy poverty and simplicity, so that
finding a penny will literally make your day, then, since
the world is in fact planted in pennies, you have with your
poverty bought a lifetime of days. It is that simple. What
you see is what you get.
41. I used to be able to see flying insects in the air. I’d look ahead
and see, not the row of hemlocks across the
road, but the air in front of it. My eyes would focus along that
column of air, picking out flying insects. But I lost
interest, I guess, for I dropped the habit. Now I can see birds.
Probably some people can look at the grass at their
feet and discover all the crawling creatures. I would like to
know grasses and sedges—and care. Then my least
journey into the world would be a field trip, a series of happy
recognitions. Thoreau, in an expansive mood,
exulted, “What a rich book might be made about buds,
including, perhaps, sprouts!” It would be nice to think so. I
cherish mental images I have of three perfectly happy people.
One collects stones. Another—an Englishman, say—
watches clouds. The third lives on a coast and collects drops of
seawater which he examines microscopically and
mounts. But I don’t see what the specialist sees, and so I cut
myself off, not only from the total picture, but from
the various forms of happiness. Unfortunately, nature is very
much a now-you-see-it, now-you-don’t affair. A fish
flashes, then dissolves in the water before my eyes like so much
salt. Deer apparently ascend bodily into heaven;
the brightest oriole fades into leaves. These disappearances stun
me into stillness and concentration; they say of
nature that it conceals with a grand nonchalance, and they say
of vision that it is a deliberate gift, the revelation of
a dancer who for my eyes only flings away her seven veils. For
nature does reveal as well as conceal: now-you-
don’t-see-it, now-you-do. For a week last September migrating
red-winged blackbirds were feeding heavily down
by the creek at the back of the house. One day I went out to
investigate the racket; I walked up to a tree, an Osage
orange, and a hundred birds flew away. They simply
materialized out of the tree. I saw a tree, then a whisk of
color, then a tree again. I walked closer and another hundred
42. blackbirds took flight. Not a branch, not a twig
budged: the birds were apparently weightless as well as
invisible. Or, it was as if the leaves of the Osage orange
had been freed from a spell in the form of redwinged
blackbirds; they flew from the tree, caught my eye in the sky,
and vanished. When I looked again at the tree, the leaves had
reassembled as if nothing had happened. Finally I
walked directly to the trunk of the tree and a finally hundred,
the real diehards, appeared, spread, and vanished.
How could so many hide in the tree without my seeing them?
The Osage orange, unruffled, looked just as it had
looked from the house, when three hundred red-winged
blackbirds cried from its crown. I looked downstream
where they flew, and they were gone. Searching, I couldn’t spot
one. I wandered downstream to force them to
play their hand, but they’d crossed the creek and scattered. One
show to a customer. These appearances catch at
my throat; they are the free gifts, the bright coppers at the roots
of trees.
It’s all a matter of keeping my eyes open. Nature is like one of
those line drawings of a tree that are
puzzles for children: Can you find hidden in the leaves a duck, a
house, a boy, a bucket, a zebra, and a boot?
Specialists can find the most incredibly well-hidden things. A
book I read when I was young recommended an easy
way to find caterpillars to rear: you simply find some fresh
caterpillar droppings, look up, and there’s your
caterpillar. More recently an author advised me to set my mind
at ease about those piles of cut stems on the
ground in grassy fields. Field mice make them; they cut the
grass down by degrees to reach the seeds at the head.
It seems that when the grass is tightly packed, as in a field of
ripe grain, the blade won’t topple at a single cut
through the stem; instead, the cut stem simply drops vertically,
held in the crush of grain. The mouse severs the
43. bottom again and again, the stem keeps dropping an inch at a
time, and finally the head is low enough for the
16 | P a g e
mouse to reach the seeds. Meanwhile, the mouse is positively
littering the field with its little piles of cut stems into
which, presumably, the author of the book is constantly
stumbling.
If I can’t see these minutiae, I still try to keep my eyes open.
I’m always on the lookout for antlion traps in
sandy soil, monarch pupae near milkweed, skipper larvae in
locust leaves. These things are utterly common, and
I’ve not seen one. I bang on hollow trees near water, but so far
no flying squirrels have appeared. In flat country I
watch every sunset in hopes of seeing the green ray. The green
ray is a seldom-seen streak of light that rises from
the sun like a spurting fountain at the moment of sunset; it
throbs into the sky for two seconds and disappears.
One more reason to keep my eyes open. A photography
professor at the University of Florida just happened to see
a bird die in midnight; it jerked, died, dropped, and smashed on
the ground. I squint at the wind because I read
Stewart Edward White: “I have always maintained that if you
looked closely enough you could see the wind—the
dim, hardly-made-out, fine debris fleeing high in the air.” White
was an excellent observer, and devoted an entire
chapter of The Mountains to the subject of seeing deer: “As
soon as you can forget the naturally obvious and
construct an artificial obvious, then you too will see deer.”
But the artificial obvious is hard to see. My eyes account for
44. less than one percent of the weight of my
head; I’m bony and dense; I see what I expect. I once spent a
full three minutes looking at a bullfrog that was so
unexpectedly large I couldn’t see it even though a dozen
enthusiastic campers were shouting directions. Finally I
asked, “What color am I looking for?” and a fellow said,
“Green.” When at last I picked out the frog, I saw what
painters are up against: the thing wasn’t green at all, but the
color of wet hickory bark.
The lover can see, and the knowledgeable. I visited an aunt and
uncle at a quarter-horse race in Cody,
Wyoming. I couldn’t do much of anything useful, but I could, I
thought, draw. So, as we all sat around the kitchen
table after supper, I produced a sheet of paper and drew a horse.
“That’s one lame horse,” my aunt volunteered.
The rest of my family joined in: “Only place to saddle that one
is his neck”; “Looks like we better shoot the poor
thing, on account of those terrible growths.” Meekly, I slid the
pencil and paper down the table. Everyone in that
family, including my three young cousins, could draw a horse.
Beautifully. When the paper came back it looked as
though five shining, real quarter horses had been corralled by
mistake with a papier-mâché moose; the real horses
seemed to gaze at the monster with a steady, puzzled air. I stay
away from horses now, but I can do a creditable
goldfish. The point is that I just don’t know what the lover
knows; I just can’t see the artificial obvious that those in
the know construct. The herpetologist asks the native, “Are
there snakes in that ravine?” “Nosir.” And the
herpetologist comes home with, yessir, three bags full. Are
there butterflies on that mountain? Are the bluets in
bloom, are there arrowheads here, or fossil shells in the shale?
Peeping through my keyhole I see within the range of only
about thirty percent of the light that comes
45. from the sun; the rest is infrared and some little ultraviolet,
perfectly apparent to many animals, but invisible to
me. A nightmare network of ganglia, charged and firing without
my knowledge, cuts and splices what I do see,
editing it for my brain. Donald E. Carr points out that the sense
impressions of one-celled animals are not edited
for the brain: “This is philosophically interesting in a rather
mournful way, since it means that only the simplest
animals perceive the universe as it is.”
A fog that won’t burn away drifts and flows across my field of
vision. When you see fog move against a
backdrop of deep pines, you don’t see the fog itself, but streaks
of clearness floating across the air in dark shreds.
So I see only tatters of clearness through a pervading obscurity.
I can’t distinguish the fog from the overcast sky; I
can’t be sure if the light is direct or reflected. Everywhere
darkness and the presence of the unseen appalls. We
estimate now that only one atom dances alone in every cubic
meter of intergalactic space. I blink and squint. What
planet or power yanks Halley’s Comet out of orbit? We haven’t
seen that force yet; it’s a question of distance,
density, and the pallor of reflected light. We rock, cradled in
the swaddling band of darkness. Even the simple
darkness of night whispers suggestions to the mind. Last
summer, in August, I stayed at the creek too late.
Where Tinker Creek flows under the sycamore log bridge to the
tear-shaped island, it is slow and shallow,
fringed thinly in cattail marsh. At this spot an astonishing
bloom of life supports vast breeding populations of
insects, fish, reptiles, birds, and mammals. On windless summer
evenings, I stalk along the creek bank or straddle
the sycamore log in absolute stillness, watching for muskrats.
46. The night I stayed too late I was hunched on the fog
staring spellbound at spreading, reflecting stains of lilac on the
water. A cloud in the sky suddenly lighted as if
turned on by a switch; its reflection just as suddenly
materialized on the water upstream, flat and floating, so that
I couldn’t see the creek bottom, or life in the water under the
cloud. Downstream, away from the cloud on the
water, water turtles as smooth as beans were gliding down with
the current in a series of easy, weightless push-
offs, as men bound on the moon. I didn’t know whether to trace
the progress of one turtle I was sure of, risking
sticking my face in one of the bridge’s spider webs made
invisible by the gathering dark, or take a chance on seeing
the carp, or scan the mudbank in hope of seeing a muskrat, or
follow the last of the swallows who caught at my
heart and trailed after them like streamers as they appeared
from directly below, under the log, flying upstream
with their tails forked, so fast.
17 | P a g e
But shadows spread, and deepened, and stayed. After thousands
of years we’re still strangers to
darkness, fearful aliens in an enemy camp with our arms crossed
over our chests. I stirred. A land turtle on the
bank, startled, hissed the air from its lungs and withdrew into
its shell. An uneasy pink here, and unfathomable
blue there, gave great suggestion of lurking beings. Things were
going on. I couldn’t see whether that sere rustle I
heard was a distant rattlesnake, slit-eyed, or a nearby sparrow
kicking in the dry flood debris slung at the foot of a
willow. Tremendous action roiled the water everywhere I
looked, big action, inexplicable. A tremor welled up
47. beside a gaping muskrat burrow in the bank and I caught my
breath, but no muskrat appeared. The ripples
continued to fan upstream with a steady, powerful thrust. Night
was knitting over my face an eyeless mask, and I
still sat transfixed. A distant airplane, a delta wing out of a
nightmare, made a gliding shadow on the creek’s
bottom that looked like a stingray cruising upstream. At once a
black fin slit the pink cloud on the water, shearing it
in two. The two halves merged together and seemed to dissolve
before my eyes. Darkness pooled in the cleft of
the creek and rose, as water collects in a well. Untamed,
dreaming lights flickered over the sky. I saw hints of
hulking and underwater shadows, two pale splashes out of the
water, and round ripples rolling close together from
a blackened center.
At last I stared upstream where only the deepest violet remained
of the cloud, a cloud so high its
underbelly still glowed feeble color reflected from a hidden sky
lighted in turn by a sun halfway to China. And out
of that violet, a sudden enormous black body arced over the
water. I saw only a cylindrical sleekness. Head and
tail, if there was a head and tail, were both submerged in cloud I
saw only one ebony fling, a headlong dive to
darkness; then the waters closed, and the lights went out.
I walked home in a shivering daze, up hill and down. Later I lay
open-mouthed in bed, my arms flung wide
at my sides to steady the whirling darkness. At this latitude I’m
spinning 836 miles an hour round the earth’s axis; I
often fancy I feel my sweeping fall as a breakneck arc like the
dive of dolphins, and the hollow rushing of wind
raises hair on my neck and the side of my face. In orbit around
the sun I’m moving 64,800 miles an hour. The solar
system as a whole, like a merry-go-round unhinged, spins, bobs,
and blinks at the speed of 43,200 miles an hour
48. along a course set east of Hercules. Someone has piped, and we
are dancing a tarantella until the sweat pours. I
open my eyes and I see dark, muscled forms curl out of the
water, with flapping gills and flattened eyes. I close my
eyes and I see stars, deep stars giving way to deeper stars,
deeper stars bowing to deepest stars at the crown of an
infinite cone.
“Still,” wrote van Gogh in a letter, “a great deal of light falls on
everything.” If we are blinded by darkness,
we are also blinded by light. When too much light falls on
everything, a special terror results. Peter Freuchen
describes the notorious kayak sickness to which Greenland
Eskimos are prone. “The Greenland fjords are peculiar
for the spells of completely quiet weather, when there is not
enough wind to blow out a match and the water is
like a sheet of glass. The kayak hunter must sit in his boat
without stirring a finger so as not to scare the shy seals
away… The sun, low in the sky, sends a glare into his eyes, and
the landscape around moves into the realm of the
unreal. The reflex from the mirror-like water hypnotizes him, he
seems to be unable to move, and all of a sudden it
is as if he were floating in a bottomless void, sinking, sinking,
and sinking… Horror-stricken, he tries to stir, to cry
out, but he cannot, he is completely paralyzed, he just falls and
falls.” Some hunters are especially cursed with this
panic, and bring ruin and sometimes starvation to their families.
Sometimes here in Virginia at sunset low clouds on the southern
or northern horizon are completely
invisible in the lighted sky. I only know one is there because I
can see its reflection in still water. The first time I
discovered this mystery I looked from cloud to no-cloud in
bewilderment, checking my bearings over and over,
thinking maybe the ark of the covenant was just passing by
south of Dead Man Mountain. Only much later did I
49. read the explanation: polarized light from the sky is very much
weakened by perfection, but the light in clouds isn’t
polarized. So invisible clouds pass among visible clouds, till all
slide over the mountains; so a greater light
extinguishes a lesser as though it didn’t exist.
In the great meteor shower of August, the Perseid, I wail all day
for the shooting stars I miss. They’re out
there showering down, committing hara-kiri in a flame of fatal
attraction, and hissing perhaps at last into the
ocean. But at dawn what looks like a blue dome clamps down
over me like a lid on a pot. The stars and planets
could smash down and I’d never know. Only a piece of ashen
moon occasionally climbs up or down the inside of
the dome, and our local star without surcease explodes on our
heads. We have really only that one light, one
source for all power, and yet we must turn away from it by
universal decree. Nobody here on the planet seems
aware of this strange, powerful taboo, that we all walk about
carefully averting our faces, this way and that, lest
our eyes be blasted forever.
Darkness appalls and light dazzles; the scrap of visible light
that doesn’t hurt my eyes hurts my brain.
What I see sets me swaying. Size and distance and the sudden
swelling of meanings confuse me, bowl me over. I
straddle the sycamore log bridge over Tinker Creek in the
summer. I look at the lighted creek bottom: snail tracks
tunnel the mud in quavering curves. A crayfish jerks, but by the
time I absorb what has happened, he’s gone in a
billowing smokescreen of silt. I look at the water: minnows and
shiners. If I’m thinking minnows, a carp will fill my
18 | P a g e
50. brain till I scream. I look at the water’s surface: skaters,
bubbles, and leaves sliding down. Suddenly, my own face,
reflected, startles me witless. Those snails have been tracking
my face! Finally, with a shuddering wrench of the
will, I see clouds, cirrus clouds. I’m dizzy, I fall in. This
looking business is risky.
Once I stood on a humped rock on nearby Purgatory Mountain,
watching through binoculars the great
autumn hawk migration below, until I discovered that I was in
danger of joining the hawks on a vertical migration
of my own. I was used to binoculars, but not, apparently, to
balancing on humped rocks while looking through
them. I staggered. Everything advanced and receded by turns;
the world was full of unexplained foreshortenings
and depths. A distant huge tan object, a hawk the size of an
elephant, turned out to be the browned bough of a
nearby loblolly pine. I followed a sharp-shinned hawk against a
featureless sky, rotating my head unawares as it
flew, and when I lowered the glass a glimpse of my own
looming shoulder sent me staggering. What prevents men
on Palomar from falling, voiceless and blinded, from their tiny,
vaulted chairs?
I reel in confusion; I don’t understand what I see. With the
naked eye I can see two million light-years to
the Andromeda galaxy. Often I slop some creek water in a jar
and when I get home I dump it in a white china bowl.
After the silt settles I return and see tracings of minute snails on
the bottom, a planarian or two winding round the
rum of water, roundworms shimmying frantically, and finally,
when my eyes have adjusted to these dimensions,
amoebae. At first the amoebae look like muscae volitantes,
those curved moving spots you seem to see in your
51. eyes when you stare at a distant wall. Then I see the amoebae as
drops of water congealed, bluish, translucent,
like chips of sky in the bowl. At length I choose one individual
and give myself over to its idea of an evening. I see it
dribble a grainy foot before it on its wet, unfathomable way. Do
its unedited sense impressions include the fierce
focus of my eyes? Shall I take it outside and show it
Andromeda, and blow its little endoplasm? I stir the water with
a finger, in case it’s running out of oxygen. Maybe I should get
a tropical aquarium with motorized bubblers and
lights, and keep this one for a pet. Yes, it would tell its
fissioned descendants, the universe is two feet by five, and
if you listen closely you can head the buzzing music of the
spheres.
Oh, it’s mysterious lamplit evenings, here in the galaxy, one
after the other. It’s one of those nights when I
wander from window to window, looking for a sign. But I can’t
see. Terror and a beauty insoluble are a ribband of
blue woven into the fringes of garments of things both great and
small. No culture explains, no bivouac offers real
haven or rest. But it could be that we are not seeing something.
Galileo thought comets were an optical illusion.
This is fertile ground: since we are certain that they’re not, we
can look at what our scientists have been saying
with fresh hope. What if there are really gleaming, castellated
cities hung upside-down over the desert sand?
What limpid lakes and cool date palms have our caravans
always passed untried? Until, one by one, by the blindest
of leaps, we light on the road to these places, we must stumble
in darkness and hunger. I turn from the window
I’m blind as a bat, sensing only from every direction the echo of
my own thin cries.
I chanced on a wonderful book by Marius von Senden, called
52. Space and Sight. When Western surgeons
discovered how to perform safe cataract operations, they ranged
across Europe and America operating on dozens
of men and women of all ages who had been blinded by
cataracts since birth. Von Senden collected accounts of
such cases; the histories are fascinating. Many doctors had
tested their patients’ sense perceptions and ideas of
space both before and after the operations. The vast majority of
patients, of both sexes and all ages, had, in von
Senden’s opinion, no idea of space whatsoever. Form, distance,
and size were so many meaningless syllables. A
patient “had no idea of depth, confusing it with roundness.”
Before the operation a doctor would give a blind
patient a cube and a sphere; the patient would tongue it or feel
it with his hands, and name it correctly. After the
operation the doctor would show the same objects to the patient
without letting him touch them; now he had no
clue whatsoever what he was seeing. One patient called
lemonade “square” because it pricked on his tongue as a
square shape pricked on the touch of his hands. Of another
postoperative patient, the doctor writes, “I have found
in her no notion of size, for example, not even within the
narrow limits which she might have encompassed with
the aid of touch. Thus when I asked her to show me how big her
mother was, she did not stretch out her hands,
but set her two index-fingers a few inches apart.” Other doctors
reported their patients’ own statements to similar
effect. “The room he was in… he knew to be but part of the
house, yet he could not conceive that the whole house
could look bigger”; “Those who are blind from birth… have no
real conception of height or distance. A house that is
a mile away is thought of as nearby, but requiring the taking of
a lot of steps… The elevator that whizzes him up
and down gives no more sense of vertical distance than does the
train of horizontal.”
53. For the newly sighted, vision is pure sensation unencumbered
by meaning: “The girl went through the
experience that we all go through and forget, the moment we are
born. She saw, but it did not mean anything but
a lot of different kinds of brightness.” Again, “I asked the
patient what he could see; he answered that he saw an
extensive field of light, in which everything appeared dull,
confused, and in motion. He could not distinguish
objects.” Another patient saw “nothing but a confusion of forms
and colors.” When a newly sighted girl saw
photographs and paintings, she asked, “’Why do they put those
dark marks all over them?’ ‘Those aren’t dark
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marks,’ her mother explained, ‘those have shape. If it were not
for shadows many things would look flat.’ ‘Well,
that’s how things do look,’ Joan answered. ‘Everything looks
flat with dark patches.’”
But it is the patients’ concepts of space that are most revealing.
One patient, according to his doctor,
“practiced his vision in a strange fashion; thus he takes off one
of his boots, throws it some way off in front of him,
and then attempts to gauge the distance at which it lies; he takes
a few steps towards the boot and tries to grasp
it; on failing to reach it, he moves on a step or two and gropes
for the boot until he finally gets a hold of it.” “But
even at this stage, after three weeks’ experience of seeing,” von
Senden goes on, “’space,’ as he conceives it, ends
with visual space, i.e. with color-patches that happen to bound
his view. He does not yet have the notion that a
54. larger object (a chair) can mask a smaller one (a dog), or that
the latter can still be present even though it is not
directly seen.”
In general the newly sighted see the world as a dazzle of color-
patches. They are pleased by the sensation
of color, and learn quickly to name the colors, but the rest of
seeing is tormentingly difficult. Soon after his
operation a patient “generally bumps into one of these color-
patches and observes them to be substantial, since
they resist him as tactual objects do. In walking about it also
strikes him—or can if he pays attention—that he is
continually passing in between the colors he sees, that he can go
past a visual object, that a part of it then steadily
disappears from view; and that in spite of this, however he
twists and turns—whether entering the room from the
door, for example, or returning back to it—he always has a
visual space in front of him. Thus he gradually comes to
realize there is also a space behind him, which he does not see.”
The mental effort involved in these reasoning’s proves
overwhelming for many patients. It oppresses
them to realize, if they ever do at all, the tremendous size of the
world, which they had previously conceived of as
something touchingly manageable. It oppresses them to realize
that they have been visible to people all along,
perhaps unattractively so, without their knowledge or consent.
A disheartening number of them refuse to use their
new vision, continuing to go over objects with their tongues,
and lapsing into apathy and despair. “The child can
see, but will not make use of his sight. Only when pressed can
he with difficulty be brought to look at objects in
his neighborhood; but more than a foot away it is impossible to
bestir him to the necessary effort.” Of a twenty-
one-year-old girl, the doctor relates, “Her unfortunate father,
who had hoped for so much from this operation,
55. wrote that his daughter carefully shuts her eyes whenever she
wishes to go about the house, especially when she
comes to a staircase, and that she is never happier or more at
ease than when, by closing her eyelids, she relapses
into her former state of total blindness.” A fifteen-year-old boy,
who was also in love with a girl at the asylum for
the blind, finally blurted out, “No, really, I can’t stand it any
more; I want to be sent back to the asylum again. If
things aren’t altered, I’ll tear my eyes out.”
Some do learn to see, especially the young ones. But it changes
their lives. One doctor comments on “the
rapid and complete loss of that striking and wonderful serenity
which is characteristic only of those who have
never yet seen.” A blind man who learns to see is ashamed of
his old habits. He dresses up, grooms himself, and
tries to make a good impression. While he was blind, he was
indifferent to objects unless they were edible; now, “a
sifting of values sets in… his thoughts and wishes are mightily
stirred and some few of the patients are thereby led
into dissimulation, envy, theft and fraud.”
On the other hand, many newly sighted people speak well of the
world, and teach us how dull is our own
vision. To one patient, a human hand, unrecognized, is
“something bright and then holes.” Shown a bunch of
grapes, a boy calls out, “it is dark, blue and shiny… It isn’t
smooth, it has bumps and hollows.” A little girl visits a
garden. “She is greatly astonished, and can scarcely be
persuaded to answer, stands speechless in front of the tree,
which she only names on taking hold of it, and then as ‘the tree
with the lights in it.’” Some delight in their sight
and give themselves over to the visual world. Of a patient just
after her bandages were removed, her doctor
writes, “The first things to attract her attention were her own
hands; she looked at them very closely, moved them
56. repeatedly to and fro, bent and stretched the fingers, and
seemed greatly astonished at the sight.” One girl was
eager to tell her blind friend that “Men do not really look like
trees at all,” and astounded to discover that her
every visitor had an utterly different face. Finally, a twenty-
two-old girl was dazzled by the world’s brightness and
kept her eyes shut for two weeks. When at the end of that time
she opened her eyes again, she did not recognize
the objects, but, “the more she now directed her gaze upon
everything about her, the more it could be seen how
an expression of gratification and astonishment overspread her
features; she repeatedly exclaimed: ‘Oh God! How
beautiful!’”
I saw color-patches for weeks after I read this wonderful book.
It was summer; the peaches were ripe in
the valley orchards. When I woke in the morning, color-patches
wrapped round my eyes, intricately, leaving not
one unfilled spot. All day long I walked among shifting color-
patches that parted before me like the Red Sea and
closed again in silence, transfigured, wherever I looked back.
Some patches swelled and loomed, while others
vanished utterly, and dark marks flitted at random over the
whole dazzling sweep. But I couldn’t sustain the
illusion of flatness. I’ve been around for too long. Form is
condemned to an eternal danse macabre with meaning: I
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couldn’t unpeach the peaches. Now can I remember ever having
seen without understanding; the color patches of
57. infancy are lost. My brain then must have been smooth as any
balloon. I’m told I reached for the moon; many
babies do. But the color-patches of infancy swelled as meaning
filled them; they arrayed themselves in solemn
ranks down distance which unrolled and stretched before me
like a plain. The moon rocketed away. I live now in a
world of shadows that take shape and distance color, a world
where space makes a kind of terrible sense. What
Gnosticism is this, and what physics? The fluttering patch I saw
in my nursery window—silver and green and
shapeshifting blue—is gone; a row of Lombardy poplars takes
its place, mute, across the distant lawn. That
humming oblong creature pale as light that stole along the walls
of my room at night, stretching exhilaratingly
around the corners, is gone, too, gone the night I ate of the
bittersweet fruit, put two and two together and
puckered forever my brain. Martin Buber tells this tale: “Rabbi
Mendel once boasted to his teacher Rabbi
Elimelekh that evenings he saw the angel who rolls away the
light before the darkness, and mornings the angel
who rolls away the darkness before the light. ‘Yes,’ said Rabbie
Elimelekh, ‘in my youth I saw that too. Later on you
don’t see these things any more.’”
Why didn’t someone hand those newly sighted people paints
and brushes from the start, when they still
didn’t know what anything was? Then maybe we all could see
color-patches too, the world unraveled from reason,
Eden before Adam gave names. The scales would drop from my
eyes; I’d see trees like men walking; I’d run down
the road against all orders, hallooing and leaping.
Seeing is of course very much a matter of verbalization. Unless
I call my attention to what passes before
58. my eyes, I simple won’t see it. It is, as Ruskin says, “not merely
unnoticed, but in the full, clear sense of the word,
unseen.” My eyes alone can’t solve analogy tests using figures,
the ones which show, with increasing elaborations,
a big square, then a small square in a big square, then a big
triangle, and expect me to find a small triangle in a big
triangle. I have to say the words, describe what I’m seeing. If
Tinker Mountain erupted, I’d be likely to notice. But if
I want to notice the lesser cataclysms of valley life, I have to
maintain in my head a running description of the
present. It’s not that I’m observant; it’s just that I talk too
much. Otherwise, especially in a strange place, I’ll never
know what’s happening. Like a blind man at the ball game, I
need a radio.
When I see this way I analyze and pry. I hurl over logs and roll
away stones; I study the bank a square foot
at a time, probing and tilting my head. Some days when a mist
covers the mountains, when the muskrats won’t
show and the microscope’s mirror shatters, I want to climb up
the blank blue dome as a man would storm the
inside of a circus tent, wildly, dangling, and with a steel knife
claw a rent in the top, peep, and, if I must, fall.
But there is another kind of seeing that involves a letting go.
When I see this way I sway transfixed and
emptied. The difference between the two ways of seeing is the
difference between walking with and without a
camera. When I walk with a camera I walk from shot to shot,
reading the light on a calibrated meter. When I walk
without a camera, my own shutter opens, and the moment’s light
prints on my own silver gut. When I see this
second way, I am above all an unscrupulous observer.
59. It was sunny one evening last summer at Tinker Creek; the sun
was low in the sky, upstream. I was sitting
on the sycamore log bridge with the sunset at my back,
watching the shiners the size of minnows who were
feeding over the muddy sand in skittery schools. Again and
again, one fish, then another, turned for a split second
across the current and flash! The sun shot out from its silver
side. I couldn’t watch for it. It was always just
happening somewhere else, and it drew my vision just as it
disappeared: flash, like a sudden dazzle of the thinnest
blade, a sparking over a dun and olive ground at chance
intervals from every direction. Then I noticed white
specks, some sort of pale petals, small, floating from under my
feet on the creek’s surface, very slow and steady.
So I blurred my eyes and gazed towards the brim of my hat and
saw a new world. I saw the pale white circles roll
up, roll up, like the world’s tuning, mute and perfect, and I saw
the linear flashes, gleaming silver, like stars being
born at random down a rolling scroll of time. Something broke
and something opened. I filled up like a new
wineskin. I breathed an air like light; I saw a light like water. I
was the lip of a fountain the creek filled forever; I was
ether, the leaf in the zephyr; I was flesh-flake, feather, bone.
When I see this way I see truly. As Thoreau says, I return to my
senses. I am the man who watches the
baseball game in silence in an empty stadium. I see the game
purely; I’m abstracted and dazed. When it’s all over
and the white-suited players lope off the green field to their
shadowed dugouts, I leap to my feet; I cheer and
cheer.
But I can’t go out and try to see this way. I’ll fail, I’ll go mad.
60. All I can do is try to gag the commentator, to
hush the noise of useless interior babble that keeps me from
seeing just as surely as a newspaper dangled before
my eyes. The effort is really a discipline requiring a lifetime of
dedicated struggle; it makes the literature of saints
and monks of every order East and West, under every rule and
no rule, discalced and shod. The world’s spiritual
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geniuses seem to discover universally that the mind’s muddy
river, this ceaseless flow of trivia and trash, cannot be
dammed, and that trying to dam it is a waste of effort that might
lead to madness. Instead you must allow the
muddy river to flow unheeded in the dim channels of
consciousness; you raise your sights; you look along it,
mildly, acknowledging its presence without interest and gazing
beyond it into the realm of the real where subjects
and objects act and rest purely, without utterance. “Launch into
the deep,” says Jacques Ellul, “and you shall see.”
The secret of seeing is, then, the pearl of great price. If I
thought he could teach me to find it and keep it
forever I would stagger barefoot across a hundred deserts after
any lunatic at all. But although the pearl may be
found, it may not be sought. The literature of illumination
reveals this above all: although it comes to those who
wait for it, it is always, even to the most practiced and adept, a
gift and a total surprise. I return from one walk
knowing where the killdeer nests in the field by the creek and
the hour the laurel blooms. I return from the same
walk a day later scarcely knowing my own name. Litanies hum
61. in my ears; my tongue flaps in my mouth Ailinon,
alleluia! I cannot cause light; the most I can do is try to put
myself in the path of its beam. It is possible, in deep
space, to sail on solar wind. Light, be it particle or wave, has
force: you rig a giant sail and go. The secret of seeing
is to sail on solar wind. Hone and spread your spirit till you
yourself are a sail, whetted, translucent, broadside to
the merest puff.
When her doctor took her bandages off and led her into the
garden, the girl who was no longer blind saw
“the tree with the lights in it.” It was for this tree I searched
through the peach orchards of summer, in the forests
of fall and down winter and spring for years. Then one day I
was walking along Tinker Creek thinking of nothing at
all and I saw the tree with the lights in it. I saw the backyard
cedar where the mourning doves roost charged and
transfigured, each cell buzzing with flame. I stood on the grass
with the lights in it, grass that was wholly fire,
utterly focused and utterly dreamed. It was less like seeing than
like being for the first time seen, knocked
breathless by a powerful glance. The flood of fire abated, but
I’m still spending the power. Gradually the lights
went out in the cedar, the colors died, the cells unflamed and
disappeared. I was still ringing. I had been my whole
life a bell, and never knew it until at that moment I was lifted
and struck. I have since only very rarely seen the tree
with the lights in it. The vision comes and goes, mostly goes,
but I live for it, for the moment when the mountains
open and a new light roars in spate through the crack, and the
mountains slam.
62. 22 | P a g e
An Outline of the Essential Key Points of Dillard’s Essay
I. Story about Hiding the Penny
A. The value of encountering the surprise
B. The arrows and words that lead one to the surprise
II. She equates the value of the surprise of finding a penny to
the value of encountering the quick
glimpses of the things she encounters in nature
A. The value of encountering these quick glimpses is not a
monetary / material value
B. These quick glimpses are very much a “now-you-see-it,
now-you-don’t” experience
C. Nature reveals and conceals
1. Example of the blackbirds suddenly flying out of the Osage
Orange tree
D. Knowledge improves your chances of seeing these things that
are often hidden (you have a
better chance of finding where they are hidden if you have
knowledge)
E. Natural Obvious
1. How you biologically and neurologically see (the literal
sense of “seeing”)
F. Artificial Obvious
1. All the ways we see that lie beyond the biological and
neurological (the figurative
sense of “seeing”)
63. G. Misty fog covers the pines (example of conceal / reveal)
leads to next section about how
darkness light conceals
1. We edit what we see (in other words, we do not look at
everything so that we can
focus on specific things)
III. She stays too late at Tinker Creek (a section that looks at
our vision being blinded, obscured,
lessened, tricked)
A. Fading light as twilight transitions into dark
B. Seeing in the dark (even though she cannot “see,” her eyes
are still processing)
C. Too much light blinds / heavy glare confuses
D. How our vision can be confused
1. binoculars / observatory
E. Do we really see what we see (in other words, is our
knowledge of “what things are” and “how
they are what they are” accurate?)
IV. She writes about formerly blind people who struggle with
learning how to see?
A. They cannot, at first, discern shapes, space, distance, depth,
etc.
1. They had not learned how to as we have—so they must learn
to see
B. In general, they see the world in “color patches”
C. She is particularly fascinated by the image of the “tree with
64. the lights in it” (important later in
the essay)
V. She, imaginatively speaking, sees color patches (in other
words, she is trying to see in the way those
who had not yet learned how to see are seeing).
A. But you cannot undo how you have learned to see (you
cannot “unpeach a peach’).
VI. Seeing is a matter of verbalization
A. In other words, seeing, which is bound to experience and
knowledge, is bound to language.
B. When we see, we use language.
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VII. She suggests there is another kind of seeing, one in which
we attempt to “let go” of being bound to
verbalization.
A. She offers the example of seeing with a camera vs. seeing
without a camera
VIII. She describes seeing the minutiae at Tinker Creek as if
she becomes these things.
A. An example of “letting go”
B. An attempt to see in a way that is not bound to knowledge
and experience
C. She claims this is seeing more truly
65. 1. It is “more true” because it is not as edited and not as bound
to how we have learned
to understand the things we see
IX. One cannot sustain this for very long because we provide
ourselves a never-ending dialog in our head
that “narrates” everything we see (constant verbalization of
what we perceive and see and know and
ponder, etc.)
A. We, again, cannot cause things we wish to see to appear
1. Conceal / Reveal – Now you see it, now you don’t
2. The secret of “seeing” gives great reward (associated with
insight / spiritual
illumination) but it also cannot be demanded and called for –
you encounter it when you
encounter it)
B. She associates light with spiritual illumination (deep
understanding – a kind of understanding
that lies beyond “reason,” a moment of insight (deeper
“artificial obvious”
C. We cannot call for the light / illumination to appear; all we
can do is place ourselves in its path
when it is there.
1. See the “arrows” that lead to the “pennies” when they are
there.
2. Ride the solar wind (the continual flowing of particles from
the sun that permeate
the entire solar system).
66. X. She ends by describing a “vison-like” moment that is
manifested by her finally seeing “the tree with
the lights on it”
A. Vision = an experience that appears visibly to the mind, but
it is not present
B. She wanted to see it / had looked for it
C. When she encountered it, she was not thinking about it
D. What she describes lies outside of “reason,” outside of the
natural obvious (she had never
seen it before)
E. But she was aware of it / open to its possibility
F. It was a now you see it, now you don’t moment
G. It was a “precious penny” / it was a different kind of seeing
H. She compares herself to a bell that has finally been rung
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Sample Paragraphs for Writing about Annie Dillard’s “Seeing”
Note: This would not be an introduction— more likely the first
two body paragraphs of an essay
Dillard begins her exploration of seeing by offering a story
from her childhood, when she used to
hide pennies, among other places, in the nooks and crannies of
the street and a sycamore tree. To ensure