...to be When you read something on the surface, without really digging into it, you may not see the true meaning of what the author is trying to tell you. When looking at Mein Kampf (My Struggle) by Art Spiegleman, Resurrection by Frederick Douglas and What Sacagawea Means to Me by Sherman Alexie, it is very easy to miss the point that each author is trying to get across. Although each of these stories was written for a different audience the stories being told are very similar in nature. One purpose of each story is to tell a story, which is why both authors used narration in which to do so. Narratives are usually very sequential in nature. Using narration when telling a story helps to draw people...
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...doi.org/10.1108/00012531111135646 Brian Matthews, Catherine Jones, Bartlomiej Puzon, Jim Moon, Douglas Tudhope, Koraljka Golub, Marianne Lykke Nielsen, (2010),"An evaluation of enhancing social tagging with a knowledge organization system", Aslib Proceedings, Vol. 62 Iss: 4 pp. 447 - 465 http://dx.doi.org/10.1108/00012531011074690 Paul Clough, Jiayu Tang, Mark M. Hall, Amy Warner, (2011),"Linking archival data to location: a case study at the UK National Archives", Aslib Proceedings, Vol. 63 Iss: 2 pp. 127 - 147 http://dx.doi.org/10.1108/00012531111135628 Access to this document was granted through an Emerald subscription provided by UNIVERSITY OF SYDNEY For Authors: If you would like to write for this, or any other Emerald publication, then please use our Emerald for Authors service. Information about how to...
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...How to Write an "Accomplishment Essay" What are your three most substantial accomplishments, and why do you view them as such? — Harvard http://www.free-essay-writing-topics.com/index.php?page=mba-application-accomplishment-questions What is the most significant change or improvement you have made to an organization with which you have recently been affiliated? Describe the process you went through to identify the need for change and manage the process of implementing change. What were the results? — Kelley Describe your greatest professional achievement and how you were able to add value to your organization. — Johnson The goal in answering this kind of question is to analyze, rather than summarize, an achievement. This advice is particularly true if you're discussing an accomplishment that is listed elsewhere on the application. Your readers want to gain insight into your character, not read a factual summary of what occurred. Here are some guiding principles to use in constructing your answer: (1) Choose something that's meaningful to you. Some applicants feel obligated to choose the most objectively impressive accomplishments. You should write about something that has personal significance, even if you weren't formally recognized for it. What matters is that you write passionately and insightfully about your subject. Unless otherwise specified, you should feel free to draw on academic, personal, or professional successes. (2) Focus on details about the process. Show...
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...Mothertongue Transforming Spaces Occupied by Women in South Africa through Theatre This paper sets out to explore how processes of theatre making employed by The Mothertongue project, provide spaces for women to remap their personal narratives. Mothertongue works from the premise that the development and subsequent performance of stories in theatrical processes affords women the opportunity to re-write and remap their personal narratives and in so doing insert their voices into the landscape of South African Theatre. In an attempt to redress the gender imbalances and androcentricism prevalent in post-apartheid theatre, this paper speaks to the relationship between theatre, liminality and communitas. I am interested in unpacking how collaborative processes of theatre-making provide spaces for women to remap their personal narratives. Remapping in this instance refers to processes of transforming lived experience through story. I address how, through engaging in ritual activities that are central to the stories performed, actors, audiences and the owners of the source stories are invited to physically participate in remapping and transforming lived experience. Linked to this is the choice of form(s) and how this affects or impacts on the performed stories as well as on the construction of performed rituals and ultimately on the processes of remapping personal narratives. I focus specifically on Mothertongue’s 2004 production, Uhambo: pieces of a dream. The production was an...
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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...
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...It is a vehicle for insight by which one may better comprehend what it means to be someone, but even still, I have a hard time defining specifically what is and what is not literature. Having grown up behind the screen of a computer, I feel as though I have had an opportunity to discover perspectives that were at one time available exclusively through writing, now through various media, but could I call them literature? I doubt any scholarly article would suggest that a video game could ever be considered literature, but what exactly is it that is lost by including images and interactivity with the same old words that have defined literature in English? Video games nowadays often contain narratives which are quite complex and fraught with emotional weight, but is it the forced perspective? Is it that writing alone leaves so much to the reader’s own view that any additional nudging in a particular direction of thought by the creator robs the audience of the ability to perceive freely? These may seem like absurd questions to you, but I do hope to better define the term while I study in your...
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...journeys: A narrative approach to successful organisational change INTRODUCTION Early on in Anecdote, we did a trainingneeds assessment for part of the Australian Defence Force. Our discovery phase involved two teams; one team adopted a structured interview technique and the other used anecdote circles to collect stories. After our first day in the field we met with the structured interview guys to compare notes. “On first blush,” they said, “it seems like most things are in order. They are adhering to OH&S processes. Sure, there are some areas for improvement but generally things are OK.” As they were providing this assessment, those of us on the anecdotes team just looked at each other in astonishment and replied, “So, you didn’t hear about the soldiers who are showering in their own urine because their recycling system is broken or hear about the workshop where everyone wears protective footwear because some poor fellow lost his toes in an accident but no one wears protective eyewear because they have never had an eye accident?”. We had heard story upon story of major transgressions that weren’t picked up in the structured interview approach. This experience confirmed our assessment that a narrative approach is great for yielding new, and otherwise hidden, insights. A number of years and many clients later, we have seen that there is something even more important narrative techniques provide: a resolve among people to do something about the situation and a frame for mapping how to do...
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...call his name. In this poem, identity is not seen as something that is solid and concrete but as something that is situated and constructed by others, a glimpse of poststructuralist view on identity. Recently, language learning has been seen as participation and negotiation of self (see Higgins, forthcoming; Kinginger, 2004; Lam, 2000; Morita, 2004; Ohara, 2001; Pavlenko & Lantolf, 2000; and Solé, 2007 among others). The trend is resonated in the growing interest in language learner identity and the studies in narratives. In this paper, a case of heritage language learner will be investigated upon the theoretical frame of poststructuralism. Narrative inquiry will be used to analyze how she negotiates her learner identity. The purpose of this paper is two-fold: First, by looking at the struggle a language learner makes to acquire her heritage language, I reclaim the centrality of identity in defining heritage language learners. Second, to widen the horizons of narrative studies to the cyber space as it provides an ample source of easily accessible data and it has become one of the commonplace media of daily communication. Heritage Language Learners and Identity To refer to the Heritage Language Learners (HLLs), various terms have been implemented such as ‘native speakers,’ ‘quasi native speakers,’ ‘bilingual speakers,’ or, from the dissatisfaction with the prior terms, ‘home background speakers,’ and ‘heritage language speakers’ (Valés, 2005: p. 412). There has not yet been...
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...The Pillars Of Persuasive Power Rhetoric is the arts of using language to inform and advocate for the truth, to connect ideas, and to develop arguments in particular situations. Aristotle, a well-respected Greek philosopher, considers rhetoric as a means of persuasion. He defines ethos, logos, and pathos as the three essential ingredients to a successful appeal. These three interconnected components are the backbone for the persuasive power inside the TED Talk titled “What Really Happens When You Mix Medications?”. Russ Altman, the speaker of this TED Talk, harnesses different dimensions of each persuasive power to explain to the audience that taking two or more medications can lead to a drug–drug interaction that can either amplify or block...
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...design. Based on the work of John Dewey, Mihalyi Csikszentmihalyi, and Richard Carlson, I identify two types of experience in user–product interactions: satisfying experiences and rich experiences. A satisfying experience is a process–driven act that is performed in a successful manner. A rich experience has a sense of immersive continuity and interaction, which may be made up of a series of satisfying experiences. Based on this definition, I identify a set of design principles with which to create products that evoke rich experiences. These principles are intended to encourage designers to think about how to create user–product interactions that suggest values and communicate meanings that enrich the quality of life. Narrative plays a key role in these design principles. Our series of life experiences form a narrative; the values that designers impart in an object form a narrative which is elaborated...
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...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 us. How? It wounds us —...
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...that?” I replied that I thought it was in the Hollywood Hills, and he returned to his search engine. Yes, we agreed, there are too many films, too much history, for today’s student to master. “Someone should write a film version of Harold Bloom’s The Western Canon,” a writer from The Independent suggested, and “the person who should write it,” he said, looking at me, “is you.” I looked to Walter, who replied, “If you write it, I’ll publish it.” And the die was cast. Faber offered a contract, and I set to work. Following the Bloom model I decided it should be an elitist canon, not populist, raising the bar so high that only a handful of films would pass over. I proceeded to compile a list of essential films, attempting, as best I could, to separate personal favorites from those movies that artistically defined film history. Compiling was the easy part—then came the first dilemma: why was I selecting these films? What were my criteria? What is a canon? It is, by definition, based on criteria that transcend taste, personal and popular. The more I pondered this, the more I realized how ignorant I was. How could I formulate a film...
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...Anthony Luchs Professor Ryan Pierson ENGFLM0200 12/3/13 Blade Runner: Proves Neo-Noir is Not a Genre Comparable films fall into the same genre if they include comparable traits. The qualities of the film have to be recognizable, distinct, clustered and transferable. A genre is when the films that are a part of it have these sortable qualities. When films have similar recognizable qualities it means that they have identifiably parallel traits with other films of the same genre. If a film has distinct qualities it means that it cannot include definable traits from other genres. A film with clustered traits has a bunch of associated things that would go on in the same genre. Transferable traits in a film mean that the traits can interchange between film varieties and styles. Neo-noir is a type of movie in which critics often argue whether it is more of a style than a genre because as Paul Schrader says it is, “not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood” (Schrader). Neo-noir movies are known for their dream/nightmare like worlds in which authority is chasing crime. In these dark, unknowing worlds the complex characters endure violence and eroticism in life or death situation (Silver). In Ridley Scott’s Blade Runner (1982) he has shown that neo-noir can be translated through any genre. He did this by proving it is more of a style because it is limited to technical elements...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Very Short Introductions are for anyone wanting a stimulating and accessible way in to a new subject. They are written by experts, and have been published in 15 languages worldwide. Very Short Introductions available from Oxford Paperbacks: ANCIENT PHILOSOPHY Julia Annas THE ANGLO-SAXON AGE John Blair ARCHAEOLOGY Paul Bahn ARISTOTLE Jonathan Barnes Augustine Henry Chadwick THE BIBLE John Riches Buddha Michael Carrithers BUDDHISM Damien Keown CLASSICS Mary Beard and John Henderson Continental Philosophy Simon Critchley Darwin Jonathan Howard DESCARTES Tom Sorell EIGHTEENTH-CENTURY BRITAIN Paul Langford The European Union John Pinder Freud Anthony Storr Galileo Stillman Drake Gandhi Bhikhu Parekh HEIDEGGER Michael Inwood HINDUISM Kim Knott HISTORY John H. Arnold HUME A. J...
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...DISTINGUISHES the members of one group tor category of people from another" (Hofstede 2001) Is both a process and a product; is confining (imitates groups) and facilitating (gives us a way to better understand what is happening) Cultural Symbol = physical indicators of organizational life (Rafaeli & Worline 2000) ARTIFACTS: visible/tangible, are also part of them norms, standards, customs and social convention. Norms: pattern of behaviors or communication, indicating what people should do in a specific scenario. Also expected behavior. VALUES: "a broad tendency to prefer certain states of affair over others" (Hofstede 2001) they emerge in behavior and are shared ASSUMPTION: are belief taken for granted, hard to define and to trace. They guide behavior by how members should perceive think feel and act. Section 2 An organization's culture is,...
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