...the difference between them physically. They would be seen away from each other severally, and they even looked different physically with Benji being skinny while Reggie looked chubby. Benji and Reggie are brought up in an upper middle class family, and their parents own a beach house in Sag harbor where they go to during the summers. In the summer of 1985, Benji was 15 years old, and Reggie was 14 years old. During the summer when the whole family left for their beach house, the boys would be left alone for some time when their parents went back to the city to work during the weekdays. Benji and Reggie are described, in the story, as Siamese twins when they were young, describing their inseparable nature. This is clearly brought out by the language used as quoted “Where is the surgeon, who is gifted enough to separate these conjoined twins? Paging Doctor Puberty, with arms scrubbed, smocked to the hilt, chasing the nurses and well versed in the latest means.” The story was set when Benji was 15 years of age, and until this time; they had grown inseparably with his brother. The drifted apart during high school, and it is even noted that during the summer, they hanged out with slightly different...
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...Personal Narrative I enjoy partaking in various activities including sports and clubs, as well as doing much community service. I am on the school swim team, in the Health Occupations of Students of America club, in and serve as the Public Relations Officer in the Business Professionals of America club, and in Student Congress. I volunteer for Volunteer North Dallas monthly by helping to make sandwiches for the homeless, for Special Olympics swimming training over the summer and track during the fall, for Lost Paws Rescue of Texas in the summer by helping rescued dogs get adopted in local areas. In addition, I help teach and tutor kids in math and reading. I will continue to participate in these for the remainder of high school, also. To...
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...published on April 10, 1925; however, did not sell many copies until his death. Before his death he was believed to be a failure, but is now considered one of the best American writers of the 20th century. The story takes place in New York City and on Long Island. More specifically, the West and East Egg during the roaring 20’s. Fitzgerald reflects on his own life making The Great Gatsby more of a personal narrative. F. Scott Fitzgerald was born Francis Scott Key Fitzgerald on September 24, 1896, in St. Paul, Minnesota. F. Scott Fitzgerald’s life has influenced his writing on the novel The Great Gatsby....
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...Journal of Health Communication, 13:667–680, 2008 Copyright # Taylor & Francis Group, LLC ISSN: 1081-0730 print/1087-0415 online DOI: 10.1080/10810730802412248 Interrupting a Narrative Transportation Experience: Program Placement Effects on Responses to Antismoking Advertising SARAH DURKIN AND MELANIE WAKEFIELD Centre for Behavioural Research in Cancer, The Cancer Council Victoria, Melbourne, Victoria, Australia It is thought that ‘‘transportation’’—absorption into the narrative flow of a story— may play a role in influencing resistance to persuasion. We hypothesized that advertising that disrupts the experience of narrative transportation may be adversely appraised by audiences. This study aimed to explore the influence of two types of television programs: narratives (dramas, comedies, and soap operas) versus nonnarratives (light entertainment, sports, documentaries, and news), on smokers’ reactions to antismoking advertisements. In preexposure interviews, daily smokers (n ¼ 779) were asked to watch a particular television program they usually watched. Postexposure interviews were conducted within 3 days of exposure. Results indicated that placing an antismoking ad within a program in which the viewer is focused on the narrative flow of a story may lead to reduced immediate cognitive and emotional impact of the ad and reduced intentions to quit, especially among those for whom the ad is most relevant, such as those preparing to quit smoking. Placing antismoking advertising...
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...“Compare how Vera Brittain and JG Ballad present the theme of ‘WAR’ in Testament of youth and Empire of the Sun” Both the novel and the memoir are set during a war that disrupts the main characters life in a way that allows the reader to experience the raw brutality of war, whether that is physical or emotional. Testament of Youth (ToY) is set in WWI and Empire of the Sun (EotS) in WWII, the 27 year gap between the wars meant there were technological differences such as communication, aircraft and weapon advances. These factors highlight that the later war would have been more sophisticated in both ground and air defence/fighting techniques. This could possibly be why both characters envision the war differently, although there are other factors such as gender, geographical location and political positioning to consider. Ballad writes in a 3rd person emotionally detached manner whereas Brittain’s first person perspective allows us to empathise with her situation. The extracts I will be using to explore the way in which war affects the thoughts and feelings of each protagonist are page 30-33 from EotS where on the eve of pearl harbour Jim investigates Hungjao aerodrome and comes across an old fighter plane. This is when we see his fascination with warfare technology. I will compare it to pages 67-72, chapter 8, in ToY when Vera sees her future fiancé, Roland, receive his awards on speech day at her brothers school and both Roland and her brother are appropriately attired in...
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...Scrappin’ with poetry By: Poetic Device: Alliteration Definition: The occurrence of the same letter or sound at the beginning of organized or closely connected words. Example: Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before. Poetic Device: Analogy Definition: a comparison between two things, typically on the basis of their structure and for the purpose of explanation or clarification. Example: Obeying is to a servant, like ordering is to a master. Poetic Device: Allusion Definition: an expression designed to call something to mind without mentioning it explicitly; an indirect or passing reference Example: When she lost her job, she acted like a Scrooge, and refused to buy anything that wasn’t necessary. Poetic Device: Diction Definion: the choice and use of words and phrases in speech or writing Example: Heard melodies are sweet, but those unheard are sweeter: therefore, ye soft pipes, play on Poetic Device: Metaphor Definition: a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable Example: Shall I Compare Thee to a Summer’s Day Poetic Device: Simile Definition: a figure of speech involving the comparison of one thing with another thing of a different kind, used to make a description more emphatic or vivid Example: as black as coal Poetic Device: Hyperbole Definition: exaggerated...
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...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 has been touched by Miriam’s story. Returning to her Berlin apartment, Julia, her landlord, is removing more of her possessions from the linoleum-floored rooms.Many buildings in this area are aging and clearly neglected. It seems self-evident that the current government are not clear about what they should do about them. Funder wonders: ‘To remember...
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...State University Syllabus World History Summer 2015 History 101 Dr. Mahdavi Student Learning Goals for Content and Skill Acquisition: This is a course in the history of the human community from approximately 1500 C.E. to the present. The course differs from the traditional Western Civilization class in that the entire world rather than Europe alone is the focus of study. The central questions the course will ask are these: What is Modernity, that is, what do we mean when we ask of "the modern world" in which we live? How have the political, social, cultural, and economic forces that we associate with modernity changed our world and its people during the past 500 years? Why has the intercommunication, interaction, and interdependence of the peoples of the world become so much more intense during the past 500 years than they were in earlier ages? How and why did western civilization rise to global domination in the eighteenth and nineteenth centuries, and how has the challenge of western power and cultural prestige affected the course of history of all the World's people? Finally a question that we should be asking throughout the semester: how have the patterns of world history over the past 500 years determined or affected 1) the way we now live and think, and 2) our prospects for peace, prosperity, and the "pursuit of happiness" in the coming decades? This course is NOT primarily a narrative survey of civilizations, dynasties, and nations. ...
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...year of high school, I have noticed a decisive pattern in my selection of models for my photographs, which lend their selves to fashion specifically, or at least attempt to. While I have not yet developed a particular favor for the aesthetic of one model over the next, it is my experience that the best models, the most responsive, self-aware, intelligent models, are the ones in which I was able to fall in love with. My models usually being women, I could not photograph her if I could not establish some relationship with her that transcended the superficial. I had to spend time with my models, grow with them in some way and understand them, and them myself, to the point where I only needed to provide them with the most minimal of direction during the shoot, and the rest they were able to guide independently. More generally speaking, the relationship between a photographer and those models who remain a distinctive presence in front of the camera amid the “make-up, hairstyling, and clothing being documented” (Koda and Kohle), is particularly fascinating in it’s ability to create additional layers of depth both within the assembled image and the ever-evolving idea of feminine beauty. Accordingly, photographers and designers have been able to portray their artistic visions within the framework of a model’s physical and mental intricacies, which, in practice, renders the model a muse. This title asserts the model as more than just a pretty face, and instead advances her as a creative...
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...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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...chaos. Dan’s dog dove deep in the dam, drinking dirty water as he dove. Eric’s eagle eats eggs, enjoying each episode of eating. Examples of Alliteration Allusion “I was surprised his nose was not growing like Pinocchio’s.” This refers to the story of Pinocchio, where his nose grew whenever he told a lie. It is from The Adventures of Pinocchio, written by Carlo Collodi. “When she lost her job, she acted like a Scrooge, and refused to buy anything that wasn’t necessary.” Scrooge was an extremely stingy character from Charles Dickens’, A Christmas Carol. “I thought the software would be useful, but it was a Trojan Horse.” This refers to the horse that the Greeks built that contained all the soldiers. It was given as a gift to the enemy during the Trojan War and, once inside the enemy's walls, the soldiers broke out. By using trickery, the Greeks won the war. “He was a real Romeo with the ladies.” Romeo was a character in Shakespeare’s play, Romeo and Juliet, and was very romantic in expressing his love for Juliet. “Chocolate was her Achilles’ heel.” This means that her weakness was her love of chocolate. Achilles is a character in Greek mythology who was invincible. His mother dipped him in magical water when he was a baby, and she held him by the heel. The magic protected him all over, except for his...
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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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...This article was downloaded by: [Lahore University of Management Sciences] On: 02 May 2015, At: 09:58 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Anatolia: An International Journal of Tourism and Hospitality Research Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rana20 Understanding the influence of interpersonal relationships on identity and tourism travel Julia F. Hibbert a b a , Janet E. Dickinson & Susanna Curtin a a School of Tourism, Bournemouth University , Fern Barrow, Poole , BH12 5BB , United Kingdom b School of Business and Economics, Linnaeus University , Kalmar , Sweden Published online: 25 Jan 2013. To cite this article: Julia F. Hibbert , Janet E. Dickinson & Susanna Curtin (2013) Understanding the influence of interpersonal relationships on identity and tourism travel, Anatolia: An International Journal of Tourism and Hospitality Research, 24:1, 30-39, DOI: 10.1080/13032917.2012.762313 To link to this article: http://dx.doi.org/10.1080/13032917.2012.762313 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...
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...Lawrence Henderson Response to Willis Personal Narratives Photography – Prof. Boddie Spring 1 2015 / April 2, 2015 Essay Response to Deborah Willis – Picturing Us Deborah Willis’ essay, Picturing Us, tackles the issues of self-representation of African-Americans in pictures. In 1955 when Debra Willis first saw the photographs in the book, The Sweetfly Paper of Life, it left an “indelible mark” on her youthful mind. (Pg. 3). It was her first time seeing “colored” people that she could relate to. Through the narratives of the photos Willis was reminded of her family and the universal pride of other African-American families. From that point onward her sense of self was positively awaken, which promoted her to pursued books and photographs that honestly depicted stories of Black people through the eyes of other Black people. Year prior to Willis’ revelation, in 1882, Samuel Cornish and John Russwurm wanted to tell stories of Black people through Black people’s eyes and decided to start the First African-American newspaper, the Freedom's Journal. Russworm said “We were truly invisible unless we committed a crime.” Thus, in its inaugural issue, the paper clearly stated “We wish to plead our own cause. Too long have others spoken for us.” With the start of this newspaper, and many newspapers following, Black people developed a sense of self. Their images were positive and commonplace, a far cry from being displayed...
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...Postmodernism is dead A new exhibition signals the end of postmodernism. But what was it? And what comes next? by Edward Docx / July 20, 2011 / Leave a comment Published in August 2011 issue of Prospect Magazine I have some good news—kick back, relax, enjoy the rest of the summer, stop worrying about where your life is and isn’t heading. What news? Well, on 24th September, we can officially and definitively declare that postmodernism is dead. Finished. History. A difficult period in human thought over and done with. How do I know this? Because that is the date when the Victoria and Albert Museum opens what it calls “the first comprehensive retrospective” in the world: “Postmodernism—Style and Subversion 1970-1990.” Wait, I hear you cry. How do they know? And what was it? Postmodernism—I didn’t understand it. I never understood it. How can it be over? You are not alone. If there’s one word that confuses, upsets, angers, beleaguers, exhausts and contaminates us all, then it is postmodernism. And yet, properly understood, postmodernism is playful, intelligent, funny and fascinating. From Grace Jones to Lady Gaga, from Andy Warhol to Gilbert and George, from Paul Auster to David Foster Wallace, its influence has been everywhere and continues. It has been the dominant idea of our age. So what was it? Well, the best way to begin to understand postmodernism is with reference to what went before: modernism. Unlike, say, the Enlightenment or Romanticism, postmodernism (even as...
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