Art of Literature Eng 262 Karlis Journal Assignment # 1 Point of Vie.docx

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Art of Literature Eng 262 Karlis Journal Assignment # 1 Point of View: refers to perspective, position, or the vantage point from which a story is told First Person: “I,” “me,” “we,” or “us” Second person: “you” Third person: “he,” “she,” “it,” or “they” First person narrator: when the person telling the story (the narrator) is a character who witnesses or is involved in the action and uses “I”-e.g. Tim O’Brien’s Stockings. We see everything in the story through the narrator’s eyes, and rely only on the narrator’s perceptions. An unreliable first-person narrator is a character who tells the story but whose version makes interpretations of what is happening; a reader can sometimes see more than such narrators do. Third person narrator: Omniscient: a narrator who seems to know everything, including what every character is thinking. The narrator in Story of an Hour knows what Mrs. Mallard and all the other characters are thinking. Limited point of view: a narrator who takes only a single person’s perspective and does not claim to know the thoughts of the other characters. Objective or fly-on-the wall narrator: reports only on the outward action of the story and does not know what any of the characters are thinking. How do you think that the point of view that each author (Chopin’s Story of an Hour and O’Brien’s Stockings) uses helps to tell the story? Are these merely character revelations, or are there larger themes that each author is telling through the actions of, or reactions to, the primary character addressed? Is the reader able to make any assumptions/judgements/conclusions about either the narrator(s) or other characters in each story? Please write a 2(full) -3 page paper, double-spaced, with one-inch margins, in a “traditional” 12-point font (Times New Roman, Arial, or Garamond.) Please use a “header” with the following information: name, course #, my name, date, journal assignment #. .

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1. Identify the point of view in all three stories assigned this week and explain why you think the author chose that pov. Be specific. 2. Answer these "Reading and Reacting" questions: # 1, 5, 9, following Chopin's "The Storm" on p. 204. 2. Do you consider "Greasy Lake" an initiation, loss-of-innocence story? Do any of the characters change? Explain. (Unsupported responses not accepted.) 4. Look again at Faulkner's "A Rose for Emily," and answer these questions: Who tells the story in "A Rose for Emily?" How would you characterize the narrator--an outside observer or an important character(s) in the story? We will study point of view and setting this week and will read these three short stories: "New York Day Women" (273) by Edwidge Dandicat "The Storm" by Kate Chopin (199) and "Greasy Lake" by T. C. Boyle (425) So far we have read, discussed, and interpreted several short stories without using highly technical language. Such language is not always necessary to find meaning in a story; however, using literary terms often helps to uncover deeper layers of meaning, to consider the author's intent, and to study the author's craft. POINT OF VIEW This week we will look at point of view (pov). Point of view refers to the narrator of the story, who is telling the story whether a character in the story or an outside observer. In first person point of view, the narrator, who may be a major or minor character, uses I or we to tell the story. The narrator may be limited (his or her view alone) or omniscient (all of the characters' experiences). In third person point of view an outsider who may but does not participate in the action tells the story using he, she, it, or they. Story tellers choose from several types of third-person point of view, as listed below. Participant and non-participant points of view, along with innocent eye, neutral omniscient, editorial omniscience, selective omniscience, stream-of-consciousness and objective point of view, all of which are defined on these pages, are terms to become familiar with. 1. Read pp. 226-236 in your book for an explanation of the different points of view fiction writers assume to narrate their stories. participant non-participant innocent eye neutral omniscient editorial omniscience selective omniscience stream-of-consciousness objective point of view Read "New York Day Women" (273) by Edwidge Dandicat to focus on pov. SETTING First, read pp. 195 to 199 about setting--historical, geographical, and physical. We will look closely at how the setting plays an important role in these two stories: "The Storm" by Kate Chopin (199) "Greasy Lake" by T. C. Boyle (425) .

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As a clinical social worker it is important to understand group typology in order to choose the appropriate group method for a specific population or problem. Each type of group has its own approach and purpose. Two of the more frequently used types of groups are task groups and intervention groups. For this Assignment, review the “Cortez Multimedia” case study, and identify a target behavior or issue that needs to be ameliorated, decreased, or increased. In a 2- to 4-page report, complete the following: Choose either a treatment group or task group as your intervention for Paula Cortez. Identify the model of treatment group (i.e., support, education, teams, or treatment conferences). Using the typologies described in the Toseland & Rivas (2017) piece, describe the characteristics of your group. For instance, if you choose a treatment group that is a support group, what would be the purpose, leadership, focus, bond, composition, and communication? Include the advantages and disadvantages of using this type of group as an intervention. REQUIRED resource for assignment A Meeting of an Interdisciplinary Team Paula has just been involuntarily hospitalized and placed on the psychiatric unit, for a minimum of 72 hours, for observation. Paula was deemed a suicidal risk after an assessment was completed by the social worker. The social worker observed that Paula appeared to be rapidly decompensating, potentially placing herself and her pregnancy at risk. Paula just recently announced to the social worker that she is pregnant. She has been unsure whether she wanted to continue the pregnancy or terminate. Paula also told the social worker she is fearful of the father of the baby, and she is convinced he will try to hurt her. He has started to harass, stalk, and threaten her at all hours of the day. Paula began to exhibit increased paranoia and reported she started smoking again to calm her nerves. She also stated she stopped taking her psychiatric medications and has been skipping some of her HIV medications. The following is an interdisciplinary team meeting being held in a conference room at the hospital. Several members of Paula’s team (HIV doctor, psychiatrist, social worker, and OB nurse) have gathered to discuss the precipitating factors to this hospitalization. The intent is to craft a plan of action to address Paula's noncompliance with her medications, increased paranoia, and the pregnancy. Click one the above images to begin the conversation. Physician Dialogue 1 Paula is a complicated patient, and she presents with a complicated situation. She is HIV positive, has Hepatitis C, and multiple foot ulcers that can be debilitating at times. Paula has always been inconsistent with her HIV meds—no matter how often I explain the need for consistent compliance in order to maintain her health. Paula has exhibited a lack of insight into her medical conditions and the need to follow instructions. Frankly, I was astonished an.

As a clinical social worker it is important to understand group .docx

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arts Article Circling Round Vitruvius, Linear Perspective, and the Design of Roman Wall Painting Jocelyn Penny Small † Department of Art History, Rutgers University, New Brunswick, NJ 08901, USA; [email protected] † Mail: 890 West End Avenue, Apartment 4C, New York, NY 10025-3520, USA. Received: 1 April 2019; Accepted: 2 September 2019; Published: 14 September 2019 �� Abstract: Many scholars believe that linear perspective existed in classical antiquity, but a fresh examination of two key texts in Vitruvius shows that 1.2.2 is about modularity and symmetria, while 7.Pr.11 describes shading (skiagraphia). Moreover, these new interpretations are firmly based on the classical understanding of optics and the history of painting (e.g., Pliny the Elder). A third text (Philostratus, Imagines 1.4.2) suggests that the design of Roman wall painting depends on concentric circles. Philostratus’ system is then used to successfully make facsimiles of five walls, representing Styles II, III, and IV of Roman wall painting. Hence, linear perspective and its relatives, such as Panofsky’s vanishing vertical axis, should not be imposed retrospectively where they never existed. Keywords: linear perspective; skenographia; skiagraphia; Greek and Roman painting; Roman fresco; Vitruvius; Philostratus Two systems for designing Pompeian wall paintings have dominated modern scholarship: a one- or center-point perspective and a vanishing vertical axis.1 Neither method works for all the variations seen on the walls of Styles II–IV. The vanishing vertical axis is considered a precursor of linear perspective, whereas center-point construction is a form of linear perspective. Many scholars believe that linear perspective was invented by the Greeks, only to be forgotten during the Middle Ages and “reinvented” in the Renaissance.2 In contrast, I propose that linear perspective was not known in any form in antiquity but, rather, was an invention of the Renaissance, which also created its putative ancient pedigree. 1. Background 1.1. Definitions First, it is important to define four key terms. “Perspective” applies loosely to a wide range of systems that convert a three-dimensional scene to two dimensions. Most scholars, however, mean “linear perspective” when they use the unqualified term “perspective”. No standard definition exists for linear perspective, but only linear perspective obeys the rules of projective geometry. Formal definitions refer to “station points” (the point or place for the “eye” of the “viewer” and/or “artist”), vanishing points, horizon lines, and picture planes, among other aspects. Horizontal lines converge to the “center point” or, in the case of 1 This topic is remarkably complex with a massive bibliography. Small (2013) provides a reasonable summary of the scholarship to its date of publication. Since then, I have realized that the standard interpretations of key texts and objects needs to be totally rethought. This artic.

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Artists are often involved in national social movements that result .docx

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