...new struggle, a struggle to find their identity. "Identity- who we are, where we come from, what we are- is difficult to maintain in exile. Most other people take their identity for granted. Not the Palestinian, who is required to show proofs of identity more or less constantly." (Page 546) Said, being Palestinian himself, tells us this story in what was called a "hybrid" type of writing. He does this by letting the pictures take precedence in telling his story but then describes each picture by going back and forth from a history point of view, to his own recollections of his childhood. The way he describes each picture makes you feel as if you were at one time in that picture and can feel an emotional connection to it. Through each photo, we get a really sense of what it is like to be Palestinian, to have it all taken away and how they started new. The way Said puts the story together without any time frame, is an example of why his writing style was described as a hybrid. He will start with describing a picture by telling us facts about his country and then interrupt himself, like he's actually have a conversation with the reader and tell us a memory, or how that particular photo makes him feel. By writing like this, he makes the reader able to feel comfortable enough and be able to really relate to what Said feels and thinks. It's almost as if he chose all of the photographs first, photographs that really portray his country, and write his story from there. Most stories...
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...N I N G O B J E C T I V E S 10 1. Identify the purpose and structure of narrative writing. 2. Recognize how to write a narrative essay. Rhetorical modes simply mean the ways in which we can effectively communicate through language. This chapter covers nine common rhetorical modes. As you read about these nine modes, keep in mind that the rhetorical mode a writer chooses depends on his or her purpose for writing. Sometimes writers incorporate a variety of modes in one essay. In covering the nine rhetorical modes, this chapter also emphasizes these as a set of tools that will allow you greater flexibility and effectiveness in communicating with your audience and expressing your ideas. rhetorical modes The ways in which we effectively communicate through language. 1.1 The Purpose of Narrative Writing Narration means the art of storytelling, and the purpose of narrative writing is to tell stories. Any time you tell a story to a friend or family member about an event or incident in your day, you engage in a form of narration. In addition, a narrative can be factual or fictional. A factual story is one that is based on, and tries to be faithful to, actual events as they unfolded in real life. A fictional story is a made-up, or imagined, story; the writer of a fictional story can create characters and events as he or she sees fit. However, the big distinction between factual and fictional narratives is based on a writer’s purpose. The writers of factual stories try to recount...
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...Professor Beth Riley October 23, 2013 Homelessness is More Appealing Many of us will never be homeless, and not everyone understands the benefit of having a wife, but after reading the essays’, Homeless (Quindlen, A. n.d.) and I Want a Wife (Brady, J. 1971), one can gain a better understanding of both. I am a wife. Therefore, I can certainly connect with the narrator’s story of I Want a Wife. This is a narrative essay, in which the narrator reflects on why she too would like to have a wife after a visit with a recently divorced male friend, who is looking for a new wife. The narrator gives a list of duties and activities she will and will not do if she had a wife, and she can visualize the benefits a wife could afford her with less responsibilities and more time for school or friends. My other essay of choice is quite different in theme, but it is still relatable. Anne Quindlen’s essay, Homeless (n.d.) is a short descriptive essay with the narrator retelling of an account when she met a woman, who she believes is homeless, at the bus terminal. It is during the encounter that the narrator reflects on homeless people in general, the homeless individual and about herself. Both of these essays’ are well written, however, I feel that Homeless (Quindlen, A. n.d.), is a more appealing essay than I Want a Wife (Brady, J. 1971), as it allows the reader to become more engaged in the descriptions and reflect on the details of the story. Whenever I first start reading any type of literature...
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...Living with the past? Should we forget or remember? A dilemma - to remember or to forget? To perhaps gain "closure" from some past physical or emotional trauma by confronting it or by letting it go? Which between "remembering" or "forgetting" creates more private or social well-being? Or is there a third option? Forgiving - and is this even considered? Which provides "health"? What is "health" - freedom from trauma, management of pain? Can a "country" be seen as suffering "ill health"? Can a nation be diagnosed "healthy" or in "ill-health"? Does a "collective memory" embody collective guilt or collective innocence or collective amnesia? Funder's “Stasiland” provides a relatively balanced but personalised analysis of the rise and then demise of East Germany after 1945 and from Communist occupation to re-unification and democracy. Most potently, Funder "records" the personal testimonies (memories) of how both the victims and perpetrators she interviews were affected by such sweeping changes. As a journalist, while she may bias our interpretation towards the victims of the "Stasi" she does not glibly provide simple answers, but she does perhaps re-emphasise both the dangers of forgetting and the dread of remembering the past – the tyranny and fascism of Nazi Germany and the East German totalitarian regime which supplanted it - "to remember or forget— which is healthier? To demolish or fence it off? To dig it up or leave it in the ground?” Chapter 5: The Linoleum Palace: Funder...
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...Unit 1 Journal 1: Personal Narrative 4 Unit 1 Journal 1: Personal Narrative Handout 6 Unit 1 Journal 2: Civic Narrative 9 Unit 1 Journal 2: Civic Narrative Handout 11 Unit 1 Assignment 1: What Would You Do? 12 Unit 2 Journal 1: Personal Narrative 13 Unit 2 Journal 1: Personal Narrative Handout 15 Unit 2 Journal 2: Civic Narrative 19 Unit 2 Journal 2: Civic Narrative Handout 20 Unit 2 Journal 3: Article Response 22 Unit 2 Assignment 1: What Would You Do? 23 Unit 2 Assignment 2: Declaration of Independence and Public Safety 25 Unit 3 Journal 1: Car Commercials 26 Unit 3 Journal 2: Personal Narrative 27 Unit 3 Journal 2: Personal Narrative Handout 28 Unit 3 Journal 3: Civic Narrative 31 Unit 3 Journal 3: Civic Narrative Handout 32 Unit 3 Journal 4: Taste vs. Judgment 34 Unit 3 Presentation 1: What Would You Do? 35 Unit 3 Assignment 1: Habits That Hinder Thinking 36 Unit 4 Journal 1: Invention Exercise 37 Unit 4 Journal 1: SWOT Analysis Template 38 Unit 4 Journal 2: Personal Narrative 39 Unit 4 Journal 2: Personal Narrative Handout 41 Unit 4 Journal 3: Civic Narrative 43 Unit 4 Journal 3: Civic Narrative Handout 44 Unit 4 Assignment 1: What Would You Do? 46 Unit 4 Assignment 2: Invention White Paper 47 Unit 5 Journal 1: Personal Narrative 48 Unit 5 Journal 1: Personal Narrative Handout 49 Unit 5 Journal 2: Civic Narrative 51 Unit 5 Journal 2: Civic Narrative Handout 53 Unit 5 Assignment 1: What Would You Do? 55 Unit 6 Journal...
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...invention Commercial Break!!: Creative Play With Media Influence Purpose: Works well to introduce a personal visual media paper, or other media analysis paper, because it encourages students to think critically about their childhood experiences with TV, etc in a personal, creative way. The exercise may become an early paper draft, or simply stimulate their thinking about the programs and commercials they have watched, and how these media affected them. Description: Students will write creative narratives about a childhood TV experience, then trade papers with another classmate, who will assess the program, the narrator, and then complete the narrative with a commercial break description suited to the program and audience. You may want to have your own example written up to read to them before each step, just to get them thinking about what’s possible. Suggested Time: 20 minutes to a full class period Procedure: Ask the class what their favorite shows were as kids: cartoons, sitcoms, even documentaries. You may want to bring in a few stills or uTube clips to project (in a tech class), as a memory jogger (ex. The Cosby Show, Ren & Stimpy, etc). Once you’ve discussed a nice variety of TV programs, ask the class to freewrite for 5-10 minutes (however long you wish to tell them) in first-person P.O.V. about their experience watching a show like these as a kid. They should be specific and detailed, writing whatever comes to memory about what’s going on in the program and their thoughts/reactions/and...
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...Professor Matthew McEver English Composition 1101 September 20, 2015 A World Divided The crystal blue waterfalls and crystalized sand shimmered as it fell through our hands. Beautiful people came from around the world to glimpse famous people visiting the island, or to get away from the hardship and stress of their everyday lives. As for me, I saw the poverty of Nassau, Bahamas. Desperate people crowded the straw market and stared across the bridge at Atlantis where vacationers slept in Mahogany furnished rooms with luxurious bedding. Why did the residents have to live the way they do, sleeping on dirt floors? Into the night, the brilliant lights of Atlantis became a world miles away, but out of grasp. We approached the market eager to do some local shopping. Hundreds of vendors brought everything they created to start their marketing line. We live in the U.S., where items are ready-made and disposable, and, if something breaks, we buy a new one. I began thinking about my Michael Kors sunglasses that I had broken on the boat and how I was going to order a new pair when I arrived home. This venue, this world I walked into, was a world that required thought and imagination, of taking the very least commodity they had and turning it into a marketable item to sell, not for the latest technological device or new shoes, but to put food on the table. It humbled me immensely. Louis 2 I approached an elderly man, who looked to be about eighty years old. He dressed in modest...
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...DESCRIPTION is one of four rhetorical modes (also known as modes of discourse), along with exposition, argumentation, and narration. Each of the rhetorical modes is present in a variety of forms and each has its own purpose and conventions. Description is also the fiction-writing mode for transmitting a mental image of the particulars of a story. Description as a fiction-writing mode Fiction is a form of narrative, one of the four rhetorical modes of discourse. Fiction-writing also has distinct forms of expression, or modes, each with its own purposes and conventions. Agent and author Evan Marshall (agent) identifies five fiction-writing modes: action, summary, dialogue, feelings/thoughts, and background (Marshall 1988, pp. 143–165). Author and writing-instructor Jessica Page Morrell lists six delivery modes for fiction-writing: action, exposition, description, dialogue, summary, and transition (Morrell 2006, p. 127). Author Peter Selgin refers to methods, including action, dialogue, thoughts, summary, scene, and description (Selgin 2007, p. 38). Currently, there is no consensus within the writing community regarding the number and composition of fiction-writing modes and their uses. Description is the fiction-writing mode for transmitting a mental image of the particulars of a story. Together with dialogue, narration, exposition, and summarization, description is one of the most widely recognized of the fiction-writing modes. As stated in Writing from A to Z, edited by Kirk...
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...Christianshavns Gymnasium November 2012 Analytical Essay Jean Kwok: Where The Gods Fly Imagine permanently moving to a country where the language, the culture... everything is foreign to you. This is the reality of most immigrant parents, who try to raise their children safely in a foreign country, where strong influences can strip a person of their cultural identity. This is the exact situation we are dragged into, in the short story 'Where The Gods Fly' written by Jean Kwok. Here we meet a Chinese mother's unwelcoming approach, towards her daughter's passion for the arts of ballet. The story is told by a first person narrator, from a mothers perspective. Her, her husband and her daughter migrated from China when her daughter, Pearl, was still a child. We notice - while reading the story - that the narrator shifts in the grammatical tense, which is what structures the plot of the story. In the present narrative tense, we find the mother in some sort of religious state of mind where she prays to certain gods and spirits, for example: “Ah, Amitabha, Buddha of great compassion, I whisper...” (P. 1, L. 24). While she finds herself in this state, she is reminded of their, her family's, life since they moved from China to America, these parts of the story are, obviously, told in the past tense. The story begins in the present tense, as a sort of exposition. We are introduced to the narrator's situation, the main conflict of the story: she wants to take her daughter out of ballet school...
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...write: Bedford/St. Martin’s, 75 Arlington Street, Boston, MA 02116 (617-399-4000) ISBN-10: 0–312–44705–1 ISBN-13: 978–0–312–44705–2 Instructors who have adopted Rereading America, Seventh Edition, as a textbook for a course are authorized to duplicate portions of this manual for their students. Preface This isn’t really a teacher’s manual, not, at least, in the sense of a catechism of questions and correct answers and interpretations. Because the questions provided after each selection in Rereading America are meant to stimulate dialogue and debate — to generate rather than terminate discourse — they rarely lend themselves to a single appropriate response. So, while we’ll try to clarify what we had in mind when framing a few of the knottier questions, we won’t be offering you a list of “right” answers. Instead, regard this manual as your personal support group. Since the publication of the first edition, we’ve had the chance to learn from the experiences of hundreds of instructors nationwide, and we’d like to use this manual as a forum where we can share some of their concerns, suggestions, experiments, and hints. We’ll begin with a roundtable on issues you’ll probably want to address before you meet your class. In the first section of this manual, we’ll discuss approaches to Rereading America and help you to think through your class goals. We’ll examine some options for tailoring the book to fit your interests and the time constraints of your term. We’ll also take up some pedagogical...
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...Which is a nice way of saying it’s whatever you want it to be. But I don’t believe that. Photo credit: Mark Heard (Creative Commons) Although I don’t have an objective perspective (nobody does), and mine is but one opinion, I believe there is such a thing as good and bad art. Maybe that’s asking too much, for us to label art “good” or “bad,” or maybe that feels too restrictive. That’s fine, I suppose; I don’t want to impose my artistic standards on someone else, nor would I appreciate having it the other way around. But what is not okay is calling something “art” when it’s not — when it is, in fact, something else. Art versus entertainment My friend Stephen pointed out recently, quoting Makoto Fujimura I think, that the difference between art and entertainment is subtle, but important: Entertainment gives you a predictable pleasure… Art leads to transformation. If that’s true, then we may have a problem, because what a lot of people call “art” isn’t changing us. At best, it’s entertaining us, dulling our senses and inebriating us to the realities of the world. Which is not the point. Art is supposed to transform: * It surprises. * It wounds. * It changes. Entertainment makes us feel good. It doesn’t surprise us; it meets our expectations. And that’s why we like entertainment: it coddles us. But the problem with entertainment is it leaves us unchanged. And we so desperately need to be changed, whether we realize it or not. Art, on the other hand, transforms...
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...to try to create a comfortable learning environment, primarily because I need you to participate in order for this class to work. This is a participatory-based class where we will all work together to help each other improve our communication skills. Consequently, you will play an active role in your own learning as well as active role in the learning of the other students in this class. Research has shown that when you are an active participant in a class you increase how much you remember as well as how much you can recall after the semester has ended. However, I have found that when you are an active participant in my class you will look forward to coming to each class session and your fears of public speaking will soon decrease. Since this class is participatory, you will find that you will put a lot of thought and effort into this class. Much learning will occur both in class and out side of class. However, while this class is demanding, I hope that you will both enjoy this experience and learn a great deal about communication, how you communicate, and how to be a better communicator. So, look around at your colleagues next class session, and start to remember some of their names because they will help you this semester. I also encourage each of you to stop by my office to chat. We can work together to help you achieve your educational goals. Sincerely, Dr. Lisa Table of Contents: Library Resources …… ………………………………………………… pages 4 Grading...
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...between the main characters and how it becomes a lifelong walk together in this life but also a journey into a fantasy world of their own. The short story is written in the first person. This means that the story is told by the main-character Barn, or Anita as she is really called. It is characterised by a heavily use of dialogue and direct speech. This dialogue is almost entirely between Barn and Tawny (Tawny’s real name is Marion). This literary device is a way to illustrate that it is only about the two of them, Barn and Tawny – the rest of the world does not really matter: The fact that we only get an insight and hear about the two women life for example their childhood, creates a closer relation with the two of them and at the same time we as readers gets distanced from everyone else. This is also why that the narrator makes heavily use of the personal pronoun ‘we’. It forms an affiliation between the reader and the main-characters, which is Barn and Tawny. The close relation between the two of them is also seen in the following quote: “”It’s only scary because we all want to be perfect. It’s not scary if we just don’t care,” Tawn said. “But it is the feeling of things slipping out of you control, the idea that we might suddenly just lose it, lose our minds.” I could feel a note of hysteria creeping into my voice.” This is a very warm-hearted and deep conversation they have – the characters are very open and it creates an intimate and close atmosphere. This makes it easy to...
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...A Passage to India E. M. Forster Online Information For the online version of BookRags' A Passage to India Premium Study Guide, including complete copyright information, please visit: http://www.bookrags.com/studyguide−passageindia/ Copyright Information ©2000−2007 BookRags, Inc. ALL RIGHTS RESERVED. The following sections of this BookRags Premium Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare &Contrast, What Do I Read Next?, For Further Study, and Sources. ©1998−2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. The following sections, if they exist, are offprint from Beacham's Encyclopedia of Popular Fiction: "Social Concerns", "Thematic Overview", "Techniques", "Literary Precedents", "Key Questions", "Related Titles", "Adaptations", "Related Web Sites". © 1994−2005, by Walton Beacham. The following sections, if they exist, are offprint from Beacham's Guide to Literature for Young Adults: "About the Author", "Overview", "Setting", "Literary Qualities", "Social Sensitivity", "Topics for Discussion", "Ideas for Reports and Papers". © 1994−2005, by Walton Beacham. All other...
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...Designed and produced by the Department of External Relations DER: 2308HCB/6/00J Contents Project mission statement Introduction The nature and scope of the project i) The self-assessment sheet ii) Student guide to self-assessment iii) ‘Writing essays: A guide for literary studies students’ (sample) 5 7 8 10 13 23 Ways of using the materials i) How the self-assessment sheet can be used ii) Workshop using the self-assessment sheet 34 34 34 iii) How ‘Writing essays: A guide for literary studies students’ can be used 35 iv) Workshop using the essay guide 35 Impact on staff and students i) Student response to the self-assessment sheet ii) Student response to workshops using the materials iii) Staff response to the materials 37 37 37 37 Further references About the authors Acknowledgements Appendices i) Example of completed self-assessment sheet with essay 39 39 39 41 3 4 Project mission statement T he Assessment and the Expanded Text Consortium is a project directed by the English division at the University of Northumbria. It involves collaborating with colleagues who teach English courses at Sheffield Hallam University, Staffordshire University and the University of East Anglia. We came together three years ago to build on existing relations between our various institutions, relations which often developed from the role of the external examiner and as a result of the Teaching Quality Assessment visits...
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