... LIBERTY UNIVERISTY Biblical World View 2 I want you to know as a new Christian I have learned more in Theology, Apologetics and Bible than the 30 years of going to my catalytic church and listening to the word of God. I feel the word of God coming in to my hart and I have no problem being vigilant about sinning. The Biblical world view I am going to talk to you about is Gods image from two sides. Frist I will share with you the view of the Old Testament and second I will share the view of the New Testament. The Theological world view on the Old Testament and the New Testament on Gods image there is no big contradictions if you understand how to read the narratives and understand the Bible. I will say that in the Old Testament narratives do talk more about man made from God image from flesh narratives then flesh and bone narratives except one passage. The characteristics of prophets in the Bible we will discover similar messages on the creation of man in Gods image. “After God had made all other creatures, he created man, male and female, with reasonable and immortal souls, endued with knowledge, righteousness, and true holiness, after his own image, having the law of God written in their hearts, and power to fulfill it; and yet under a possibility of...
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...Personal Narrative Essay Title: “For Sale” Everyone knows that phrase: “The grass is always greener on the other side”. But as a child it was a hollow statement for me. Until the day I perceived it as my philosophy of survival. This story is of my purest memories following my relentless battles. Simplistic flashbacks of virtuous kids. Full of laughter and play with nothing to be feared except for the day’s end. All before the moment where the innocence was dissolved away by the acidic misfortunes of life. [a series of sentence fragments] To illustrate, the first setting in this world was in the town called “Ocala”. It was in South-central Florida, a place where nature thrived and creatures of all walks of life roamed. The most business we had there was a prison thirty miles away, and a Wal-Mart 30 miles further down the same road. So one would say it was pretty rural. Just a quaint ole town, where the trees outnumbered the people. My best friend Samantha and I loved the fact that we had mother-nature as our playground. Spending most of our waking moments playing in the open forests, we’d sneak around concocting strategic methods on how to collect lizards and insects, then place them in small decorated cages. Once we obtained our new pets, we would examine and befriend each one, always setting them free later. However, our nights were different, pictures were taken, video games were played and even dress up was included from time to time. Videogames helped enable our...
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...[Indiana University Libraries] Date: 24 February 2016, At: 16:43 Journal of Postcolonial Writing Vol. 46, No. 1, February 2010, 65–75 “He does not understand our customs”: Narrating orality and empire in Chinua Achebe’s Things Fall Apart Jarica Linn Watts* University of Utah, Salt Lake City, USA Downloaded by [Indiana University Libraries] at 16:43 24 February 2016 jarica.watts@utah.edu Jarica 0 100000February 46 2010 &Article OriginalofFrancis 1744-9855 (print)/1744-9863 JournalandPostcolonial 10.1080/17449850903478189(online) RJPW_A_448194.sgm TaylorLinnWatts 2010 Writing Francis This article delineates different strains of Achebe’s narrative technique in Things Fall Apart, arguing that earlier critics have failed to account fully for two fundamental principles in Achebe’s narrative: the myriad phrases that are repeated throughout the first part of the work; and the formative shift, the poetic volta, that takes place between parts one and two of the novel. Drawing on Achebe’s assertion that “anyone seeking an...
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...Contrast Essay 5/12/2014 Ashford University English 121-AXC1415E Instructor: Jamie Cooper Student: Katherin Wheat When it comes to writing the compare and contrast essay style, it is one of the more difficult ones to achieve. The differences between these two essays “How to say nothing in 500 words” by: Paul McHenry Roberts and “caged bird” by: Maya Angelou is easy to pick out. As far as the similarities goes that proved to a little harder to give a lot of examples. In the following paragraphs there will be plenty of examples of compare and contrast, give summaries, a couple of quotes and a paraphrase will be included in this essay. While how to say nothing in 500 words and Caged Bird are both well-written essays, caged Bird was more visual than How to say nothing in 500 words because the author painted a more detailed picture which kept the reader’s attention, the attended audience was more overly open to more people than that of how to say nothing in 500 words essay, and the author of caged bird had a bigger and deeper impact on the readers then the author of how to say nothing in 500 words did. Caged Bird was more visual than How to say nothing in 500 words because the author painted a more detailed picture which kept the reader’s attention. Maya Angelou’s descriptive essay “Caged bird” tells a story of a caged bird and a free bird. The caged bird signifies a person with the skin color darker than that of a peach colored crayon, held down by the paralyzing darkness of repression...
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...Personal Narrative Essay Title: “For Sale” Everyone knows that phrase: “The grass is always greener on the other side”. But as a child it was a hollow statement for me. Until the day I perceived it as my philosophy of survival. This story is of my purest memories following my relentless battles. Simplistic flashbacks of virtuous kids. Full of laughter and play with nothing to be feared except for the day’s end. All before the moment where the innocence was dissolved away by the acidic misfortunes of life. [a series of sentence fragments] To illustrate, the first setting in this world was in the town called “Ocala”. It was in South-central Florida, a place where nature thrived and creatures of all walks of life roamed. The most business we had there was a prison thirty miles away, and a Wal-Mart 30 miles further down the same road. So one would say it was pretty rural. Just a quaint ole town, where the trees outnumbered the people. My best friend Samantha and I loved the fact that we had mother-nature as our playground. Spending most of our waking moments playing in the open forests, we’d sneak around concocting strategic methods on how to collect lizards and insects, then place them in small decorated cages. Once we obtained our new pets, we would examine and befriend each one, always setting them free later. However, our nights were different, pictures were taken, video games were played and even dress up was included from time to time. Videogames helped enable our...
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...This article was downloaded by: [University of Central Florida] On: 27 January 2014, At: 06:42 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Gender, Place & Culture: A Journal of Feminist Geography Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/cgpc20 'A Choice of Nightmares': Narration and desire in Heart of Darkness CLIVE BARNETT Published online: 14 Jul 2010. To cite this article: CLIVE BARNETT (1996) 'A Choice of Nightmares': Narration and desire in Heart of Darkness, Gender, Place & Culture: A Journal of Feminist Geography, 3:3, 277-292 To link to this article: http://dx.doi.org/10.1080/09663699625568 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable...
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...International Journal of Applied Linguistics & English Literature ISSN 2200-3592 (Print), ISSN 2200-3452 (Online) Vol. 2 No. 4; July 2013 Copyright © Australian International Academic Centre, Australia A Stylistic Analysis of D.H. Lawrence’s ‘Sons and Lovers’ Nozar Niazi English Department, Lorestan University, Khorramabad-Iran E-mail: nozar_2002@yahoo.co.in Received: 04-04-2013 doi:10.7575/aiac.ijalel.v.2n.4p.118 Abstract Accepted: 14-05-2013 Published: 01-07-2013 URL: http://dx.doi.org/10.7575/aiac.ijalel.v.2n.4p.118 This paper aims at analyzing D.H. Lawrence’s ‘Sons and Lover’ using a stylistic approach. Stylistics is a study of the amalgamation of form with content. The stylistic analysis of a novel goes beyond the traditional, intuitive interpretation, because it combines intuition and detailed linguistic analysis of the text. The defining elements of modern language are within the text itself, not prescribed from outside. With modernist texts, usually understanding comes from close study of the language system defined within the text itself. Form, technique and style are considered not as a mere vehicle of the content of the story, but an integral part of the work’s meaning and value. In our analysis of ‘Sons and Lovers’ the resources of language: lexis, syntax, phonology, figurative language, cohesion and coherence, are discussed in relation to the style of discourse in order to explore hidden meanings in the text. The resources of language are shown...
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...Historians often describe themselves as detectives, seeking out a kind of truth among the conflicting evidence of the past. There is, furthermore, a large and growing subgenre of historical crime fiction. From C.J. Sansom to Philip Pullman, from Orhan Pamuk to Walter Mosley, from Ellis Peters to Boris Akunin, novelists have been keen to use the past as a backdrop for their stories of detection and mystery. The most famous historical detective might be Brother William of Baskerville in Umberto Eco’s peerless The Name of the Rose (Il nome della rosa, 1980). Recently we have seen a flowering of historical crime fiction as the subgenre attains maturity and becomes increasingly popular and innovative. Jason Goodwin, Philip Kerr and Susan Hill were all shortlisted for the prestigious Crime Writers Association Dagger this year (recent historical winners include Arianna Franklin, Jake Arnott and Craig Russell). Clearly the combination of thriller, crime and historical detail is compelling. Anne Perry’s new Inspector Pitt novel, Betrayal at Lisson Grove (out in paperback from Headline this year) is a pacy, twisting thriller. It is 1895 and Pitt is up against a conspiracy in the Lisson Grove offices of Special Branch (in best le Carré tradition investigating the enemy within is more hazardous than looking outwards). The novel outlines a huge conspiracy and ranges from St Malo to Dublin. While it is often too lightly written and some of the relationships are awkwardly handled, the novel is compelling...
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...broadcast from 2008 to 2013. Over these 5 seasons, many blog personal pose the question that Breaking Bad doesn’t examine the extent to which American institutions are failing and the drug problems. That it is deceptive by only exploring Walter White’s (actor) problems rather than the drug problem as a whole, specifically the urban poor. The middle class focus left questioning if it is the greatest series of all time, as popularly reported. The show squarely represents the target audience; forty-something, middle class, good living, conservative, suburban white America in the midst of an economic downturn, where the equilibrium (Todorov) of health and fortunes are pulled away from under them. Walter’s response conforms exactly to the American Dream; he personalises responsibility for other’s (bankers/corporations) actions, looks to himself to seek out opportunity, he becomes the entrepreneur, a manufacturer of a commodity much in demand. The middle class however can relate to the problems as it almost mirrors them. I got thinking and decided this argument really excites me and can write a lot about this argument prompted from breaking bad. The wider drug problem isn’t explored, but it is interesting as there is a lot to argue, in the fact it narrates the story from the middle class perspective. While similar shows, the wire, solely focuses on the underclass being exploited by higher authoritative people in society. My research started by looking at academic reports scattered across...
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...Beginning theory An introduction to literary and cultural theory Second edition Peter Barry © Peter Barry 1995, 2002 ISBN: 0719062683 Contents Acknowledgements - page x Preface to the second edition - xii Introduction - 1 About this book - 1 Approaching theory - 6 Slop and think: reviewing your study of literature to date - 8 My own 'stock-taking' - 9 1 Theory before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? -...
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...Senior English Curriculum Map: 2010-2011 School Year English IV * Note: “Sacred Book List” Addendum is at the end of this document Quarter #1 August 23 to October 22 Essential Questions: 1. How do writers and artists organize or construct text to convey meaning? 2. What does it mean to be a stranger in the village? Unit Goals 1. To understand the relationship between perspective and critical theory. 2. To apply critical theories to various texts studied and created. 3. To control and manipulate textual elements in writing to clearly and effectively convey a controlling idea or thesis. Student Published Portfolios: For each of the first three quarters, students are required to complete three to four published writing portfolio products. Quarter 4 is devoted to completion of the Laureate Research Project. . Pacing: This map is one suggestion for pacing. Springboard pacing guides precede each unit in the “About the Unit” sections and offers pacing on a 45-minute class period length. Prentice Hall Literature – Use selections from Prentice Hall throughout the quarter to reinforce the standards being taught as well as the embedded assessments within the SpringBoard curriculum. QUARTER #1 SpringBoard Curriculum Pacing Guide August 23 – October 22 Standards and Benchmarks | Unit Pacing Guide | SpringBoard Unit/Activities | Assessments | SpringBoard Unit 1Literature * The students will analyze and compare significant works of...
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...the Raven. Balram's father is a struggling rickshaw driver, and his mother died when he is young. The alpha figure of his family was his pushy grandmother, Kusum. Balram was initially referred to simply as “Munna,” meaning “boy," since his family had not bothered to name him. He did not have another name until his schoolteacher dubbed him Balram. The boy proved himself intelligent and talented, and was praised one day as a rare “White Tiger” by a visiting school inspector. Unfortunately, Balram was removed from school after only a few years, to work in a tea shop with his brother, Kishan. There, he furthered his education by eavesdropping on the conversations of shop customers. Balram feels that there are two Indias: the impoverished “Darkness” of the rural inner continent, and the “Light” of urban coastal India. A mechanism that he dubs the “Rooster Coop” traps the Indian underclass in a perpetual state of servitude. It involves both deliberate methods used by the upper class and a mentality enforced by the underclass on itself. Balram’s father died from tuberculosis in a decrepit...
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...Lower East Side Memories : A Jewish Place in America By HASIA R. DINER The Lower East Side and American Jewish Memory I'm Jewish because love my family matzoh ball soup. I'm Jewish because my fathers mothers uncles grandmothers said "Jewish," all the way back to Vitebsk & Kaminetz-Podolska via Lvov. Jewish because reading Dostoyevsky at 13 I write poems at restaurant tables Lower East Side, perfect delicatessen intellectual. —Allen Ginsberg, "Yiddishe Kopf" The poet Allen Ginsberg, born and raised in Newark, New Jersey, returned in his later years to a narrative style of expression, shifting gears from the anger and fire of his early career. In this poem from 1991 he also touched down again, after a long hiatus spent exploring Buddhism and Eastern philosophy, upon some Jewish themes, as a way of remembering the world of his youth. He described that world in one poem, "Yiddishe Kopf," literally, a Jewish head, but more broadly, a highly distinctive Jewish way of thinking, based on insight, cleverness, and finesse. That world for him stood upon two zones of remembrance. The world of eastern Europe, of Vitebsk, Lvov, and Kamenets-Podolski gave him one anchor for his Jewishness. Thai space of memory gave him a focus for continuity and inherited identity, tied down by the weight of the past, by family in particular. The other, the Lower East Side, nurtured and...
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...recalled or kept in mind”. Thus history and memory interrelate as history can be seen as the contextual justification for memory. “The Fiftieth Gate” is a poignant interweaving of history and memory. The text follows protagonist, Mark Baker an historian, son of Holocaust survivors Genia and Yossl (Joe), on an historical journey through memory, to uncover the origins of his past and act as a catalyst for future generations to also connect with their history. Mark Baker’s journey through history and memory is also executed through his conventional ideas that memory is biased and less valid than history. There are numerous references to the discrepancies between the personal memories of his parents and the documented history Mark as an historian believes. In this way it is apparent that Mark is on a quest for verification, “my facts from the past are different”. This displays the flaw Mark traditionally notes in memory and his need for historical evidence. As responders accompany Mark on his journey, they also encounter the complexity of simultaneously being a son and an historian. This attested via the following when Mark collates his parent’s memories with documented historical evidence “His was a past written on a page…mother couldn’t point to anyone”. This quote represents the way Mark requires documented evidence, history. This is because he believed his father’s memories only when had had evidence and didn’t believe his mother as she was the sole survivor in the town...
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...Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?……………………………………...
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