Tuesday, May 22, 2012
So far...
So far I've began collaborating with other students (Ian) with site building for the firm.
By the end of the two weeks I plan to have a fully functioning website ready for business.
This will benefit me in the personal satisfaction coming from completing what at least in my mind is a really cool and unique goal as well as becoming viable step in a career direction. I think the service this provides as a mode of publication for fledgling authors.
Wednesday, May 16, 2012
DigiPublishing Plan
Goal: Create a business model for the firm. gather a team to collaborate on the firm. Recruit writers
Materials: A team: Me, web design, art design? ... Writers upon writers upon writers
Timeline: Getting the business model down by the end of the weekend, then Monday, hit the ground running gathering a team and getting the word out to potential authors
I'm still working on the the finished project...
Wednesday, May 2, 2012
Wednesday 5/2 AP Prep
Today I continued to catch up on blog work from my absent days all of which in my opinion contributes towards the AP exam. The responses to Miss Williams essay exercise many tools needed for the essay portions while the synecdoche vs metonymy article was informative. I took a gander at the lit term list to get a feel for the words for Friday; they seem to be fairly easy however some words like scansion I had no recollection to their meaning. I'm yet to actually right to a past AP prompt being that its hard to conjure the motivation for something like that
Tuesday, May 1, 2012
Monday: AP preparation
Monday I was actually out of town visiting my future home at San Francisco. Forgive me if I didn't use the time to study, but I do think it was still important. I toured the campus at SFSU which is where Im going by the way, and got to ask all the questions I was wondering while getting a feel for the place. I know you would have liked me to prepare for the test but please take satisfaction in that I was preparing for something.
A Reflection on Unstructured Learning
I believe that multiple, yet still interconnected themes can be found within the text. One being the act of preparing your self for your goal ahead. Alan Moore focuses on the long process it took Nite Owl to even become the masked hero he is presently. He had to prepare both mentally and physically (not to mention make a cool costume which required a cool name)for his long term goal ahead. This is something that should be universal, most people do in fact have goals set out ahead of them. You could connect this with each of our long term goals of passing the AP test coming in a couple short weeks. We might not all need a costume or have to wade through a bog of self-doubt to get there but certainly some amount of mental preparation (perhaps even physical preparation)is needed to meet our goal.
The tale of how Nite Owl got his name can be taken to represent how learning can be taken from anywhere and even the most unexpected places. This is something that will reoccur throughout life, not only in the realm of academics or in the case of Alan Moore the world of the Watchmen
Tuesday, April 24, 2012
Relevant AP questions
1974 Choose a work of literature written before 1900. Write an essay in which
you present arguments for and against the work's relevance for person in 1997.
Your own position should emerge in the course of the essay. You
may refer to works of literature written after 1900 for the purpose of
contrast or comparison. *update: relevance for person in 2012
1979 Choose a complex and important character in a novel or a play of
recognizedliterary merit who might, on the basis of the character’s actions alone,
beconsidered evil or immoral. In a well-organized essay, explain both how and
whythe full presentation of the character in the work makes us react more
sympathetically than we otherwise might. Avoid plot summary.
1982 In great literature, no scene of violence exists for its own sake. Choose a
work of literary merit that confronts the reader or audience with a scene or
scenes of violence. In a well-organized essay, explain how the scene or scenes
contribute to the meaning of the complete work. Avoid plot summary.
Tuesday, April 3, 2012
Top Three LA Remixes
Nick Lycan: His analysis of Macbeth is both helpful and indepth
http://nlrhsenglitcomp.blogspot.com/
Mari Kagawa: Appreciate the production value
http://www.youtube.com/watch?feature=player_embedded&v=N5q3_EPuQ2Q
Dania: Good enthusiam
http://www.youtube.com/watch?v=pcsKxEGavjk&feature=player_embedded
http://nlrhsenglitcomp.blogspot.com/
Mari Kagawa: Appreciate the production value
http://www.youtube.com/watch?feature=player_embedded&v=N5q3_EPuQ2Q
Dania: Good enthusiam
http://www.youtube.com/watch?v=pcsKxEGavjk&feature=player_embedded
Friday, March 30, 2012
Monday, March 5, 2012
9 elements of Poetry
Dramatic Situation- Describe the narrator, setting , time.
Structure - How is the poem put together? Sonnet? Free Verse? Ect
Theme- Central message
Grammar and Meaning
Important Images Figures of Speech
Diction
Tone
Rhetorical Devices:
Prosidy: How does it flow??
Structure - How is the poem put together? Sonnet? Free Verse? Ect
Theme- Central message
Grammar and Meaning
Important Images Figures of Speech
Diction
Tone
Rhetorical Devices:
Prosidy: How does it flow??
Tuesday, February 14, 2012
Lecture Notes
Triangle of Charles Darnay, Lucey Darnette, Sydney Carton.
Lucie is based on Lucie whom he had an affair with.
Parallelism plays a major part between Sydney and Charles.
1858- Charles leaves wife.
Charles knew Paris from being there as a 10 year old kid. He describes it as both a vile place and his “magic lantern”
Dickens creates a darker and darker view of London as his career goes on
Dickens makes it clear that Paris and London are very similar
Uses a historical setting for a modern message
Was a great fear of revolution in Britain because of the French revolution
Dickens published tale of Two Cities in monthly installments
Tuesday, January 31, 2012
Tale of Two Cities: First impressions
The main concept taken from today's lecture for me at least being the emphasis on Dickens authenticity, this quality in his writing was blatantly evident in his opening to Tale of Two Cities as he spits out an exposition like it was homework. Being the voice of the people in his writing, Dickens depicted the England and France of his story as he saw it in his own life, two nations filled with violence and paranoia over crime, the paranormal, and their rebellious cousins across the Atlantic. Immediately beginning with a highway robbery scare, Dickens shows just how real the problem of crime was during his time.
Sunday, January 22, 2012
From Pent-Up Aching Rivers - Walt Whitman
Walt Whitman (1819–1892). Leaves of Grass. 1900.
18. From Pent-up Aching Rivers
FROM pent-up, aching rivers;
From that of myself, without which I were nothing;
From what I am determin’d to make illustrious, even if I stand sole among men;
From my own voice resonant—singing the phallus,
Singing the song of procreation, 5
Singing the need of superb children, and therein superb grown people,
Singing the muscular urge and the blending,
Singing the bedfellow’s song, (O resistless yearning!
O for any and each, the body correlative attracting!
O for you, whoever you are, your correlative body! O it, more than all else, you delighting!) 10
—From the hungry gnaw that eats me night and day;
From native moments—from bashful pains—singing them;
Singing something yet unfound, though I have diligently sought it, many a long year;
Singing the true song of the Soul, fitful, at random;
Singing what, to the Soul, entirely redeem’d her, the faithful one, even the prostitute, who detain’d me when I went to the city; 15
Singing the song of prostitutes;
Renascent with grossest Nature, or among animals;
Of that—of them, and what goes with them, my poems informing;
Of the smell of apples and lemons—of the pairing of birds,
Of the wet of woods—of the lapping of waves, 20
Of the mad pushes of waves upon the land—I them chanting;
The overture lightly sounding—the strain anticipating;
The welcome nearness—the sight of the perfect body;
The swimmer swimming naked in the bath, or motionless on his back lying and floating;
The female form approaching—I, pensive, love-flesh tremulous, aching; 25
The divine list, for myself or you, or for any one, making;
The face—the limbs—the index from head to foot, and what it arouses;
The mystic deliria—the madness amorous—the utter abandonment;
(Hark close, and still, what I now whisper to you,
I love you—-O you entirely possess me, 30
O I wish that you and I escape from the rest, and go utterly off—O free and lawless,
Two hawks in the air—two fishes swimming in the sea not more lawless than we;)
—The furious storm through me careering—I passionately trembling;
The oath of the inseparableness of two together—of the woman that loves me, and whom I love more than my life—that oath swearing;
(O I willingly stake all, for you! 35
O let me be lost, if it must be so!
O you and I—what is it to us what the rest do or think?
What is all else to us? only that we enjoy each other, and exhaust each other, if it must be so:)
—From the master—the pilot I yield the vessel to;
The general commanding me, commanding all—from him permission taking; 40
From time the programme hastening, (I have loiter’d too long, as it is;)
From sex—From the warp and from the woof;
(To talk to the perfect girl who understands me,
To waft to her these from my own lips—to effuse them from my own body;)
From privacy—from frequent repinings alone; 45
From plenty of persons near, and yet the right person not near;
From the soft sliding of hands over me, and thrusting of fingers through my hair and beard;
From the long sustain’d kiss upon the mouth or bosom;
From the close pressure that makes me or any man drunk, fainting with excess;
From what the divine husband knows—from the work of fatherhood; 50
From exultation, victory, and relief—from the bedfellow’s embrace in the night;
From the act-poems of eyes, hands, hips, and bosoms,
From the cling of the trembling arm,
From the bending curve and the clinch,
From side by side, the pliant coverlid off-throwing, 55
From the one so unwilling to have me leave—and me just as unwilling to leave,
(Yet a moment, O tender waiter, and I return;)
—From the hour of shining stars and dropping dews,
From the night, a moment, I, emerging, flitting out,
Celebrate you, act divine—and you, children prepared for, 60
And you, stalwart loins.
18. From Pent-up Aching Rivers
FROM pent-up, aching rivers;
From that of myself, without which I were nothing;
From what I am determin’d to make illustrious, even if I stand sole among men;
From my own voice resonant—singing the phallus,
Singing the song of procreation, 5
Singing the need of superb children, and therein superb grown people,
Singing the muscular urge and the blending,
Singing the bedfellow’s song, (O resistless yearning!
O for any and each, the body correlative attracting!
O for you, whoever you are, your correlative body! O it, more than all else, you delighting!) 10
—From the hungry gnaw that eats me night and day;
From native moments—from bashful pains—singing them;
Singing something yet unfound, though I have diligently sought it, many a long year;
Singing the true song of the Soul, fitful, at random;
Singing what, to the Soul, entirely redeem’d her, the faithful one, even the prostitute, who detain’d me when I went to the city; 15
Singing the song of prostitutes;
Renascent with grossest Nature, or among animals;
Of that—of them, and what goes with them, my poems informing;
Of the smell of apples and lemons—of the pairing of birds,
Of the wet of woods—of the lapping of waves, 20
Of the mad pushes of waves upon the land—I them chanting;
The overture lightly sounding—the strain anticipating;
The welcome nearness—the sight of the perfect body;
The swimmer swimming naked in the bath, or motionless on his back lying and floating;
The female form approaching—I, pensive, love-flesh tremulous, aching; 25
The divine list, for myself or you, or for any one, making;
The face—the limbs—the index from head to foot, and what it arouses;
The mystic deliria—the madness amorous—the utter abandonment;
(Hark close, and still, what I now whisper to you,
I love you—-O you entirely possess me, 30
O I wish that you and I escape from the rest, and go utterly off—O free and lawless,
Two hawks in the air—two fishes swimming in the sea not more lawless than we;)
—The furious storm through me careering—I passionately trembling;
The oath of the inseparableness of two together—of the woman that loves me, and whom I love more than my life—that oath swearing;
(O I willingly stake all, for you! 35
O let me be lost, if it must be so!
O you and I—what is it to us what the rest do or think?
What is all else to us? only that we enjoy each other, and exhaust each other, if it must be so:)
—From the master—the pilot I yield the vessel to;
The general commanding me, commanding all—from him permission taking; 40
From time the programme hastening, (I have loiter’d too long, as it is;)
From sex—From the warp and from the woof;
(To talk to the perfect girl who understands me,
To waft to her these from my own lips—to effuse them from my own body;)
From privacy—from frequent repinings alone; 45
From plenty of persons near, and yet the right person not near;
From the soft sliding of hands over me, and thrusting of fingers through my hair and beard;
From the long sustain’d kiss upon the mouth or bosom;
From the close pressure that makes me or any man drunk, fainting with excess;
From what the divine husband knows—from the work of fatherhood; 50
From exultation, victory, and relief—from the bedfellow’s embrace in the night;
From the act-poems of eyes, hands, hips, and bosoms,
From the cling of the trembling arm,
From the bending curve and the clinch,
From side by side, the pliant coverlid off-throwing, 55
From the one so unwilling to have me leave—and me just as unwilling to leave,
(Yet a moment, O tender waiter, and I return;)
—From the hour of shining stars and dropping dews,
From the night, a moment, I, emerging, flitting out,
Celebrate you, act divine—and you, children prepared for, 60
And you, stalwart loins.
Monday, January 16, 2012
AP English essay response
Ken Kesey in One Flew Over the Cukoos Nest manages to create a character with such appeal, that the audience is able to overlook his negative features that society at least in the novel would deem condemnable or amoral. A hero even Randle P. McMurphy is portrayed as by the eyes of not only the patients of ward but the reader as well. Kesey is able to suspend our judgments on what would normally be seen as negative character traits by implementing universal values that not only rang true during the time of Cukoos publishing, but also today for any reader. Through the power of fiction, Kesey is able to weave together a story where a lazy, drinking gambler can be put at odds with a tyrannical Nurse to make McMurphy look like the favorable.
McMurphy certainly has his contemptible traits. He drinks heavily, associates with prostitutes, gambles regularly, and the reason he was in the ward to begin with was to get out of work. All these, which from a Western Judeo-Christian societal standpoint ( or most cultures really) could be looked at with disdain. Kesey , however through circumstance thrusts the established sinner into the role of leader of men against the authoritative reign of the head nurse. Audience and characters alike are to suspend their view of McMurphy as an unruly social outcast to look upon him with the more relevant view of freedom fighter. The fact that he takes a stance against the tyranny of the head nurse (and of course the incredible charisma of gambling conmen) creates such appeal in him that he wins over the allegiance of both the patients and the reader. The struggle between oppressed and oppressor is so universally appealing that McMurphy became not only a beloved character of fiction in the 60’s when the novel was published in the midst of a growing counter-culture movement, but remains to be today.
The fact that the point of view is of McMurphy or at least heavily focused on McMurphy is a device used in literature to create some sort of investment of trust by the reader into believing that there is some sound reason for our protagonist to be in fact worthy of the role. Point of view can play heavily in the manipulating of a readers view on a particular character whether that be the belief of a drunk conman being a noble hero or a nurse attempting to keep control of a psych ward being a dictator. Kesey is not alone in wielding the power of point of view, point of view is how readers are able to read through a whole story believing a whiny brat like Mr. Holden Caulfield wasn’t just a whiny brat.
Literature has a way of making the most seemingly unworthy figures into beloved protagonists with hearts of gold; however that’s just the reason, its literature. In fiction an author has countless tools in his disposal to create a story where the one who logically just simply shouldn’t be a protagonist into a hero. It’s almost the irony of it which makes these characters so appealing. Kesey through the circumstance created by him was able make the amoral yet lovable (also contrived for reader appeal) McMurphy into the hero of a classic tale of struggle between the oppressed and the oppressor.
McMurphy certainly has his contemptible traits. He drinks heavily, associates with prostitutes, gambles regularly, and the reason he was in the ward to begin with was to get out of work. All these, which from a Western Judeo-Christian societal standpoint ( or most cultures really) could be looked at with disdain. Kesey , however through circumstance thrusts the established sinner into the role of leader of men against the authoritative reign of the head nurse. Audience and characters alike are to suspend their view of McMurphy as an unruly social outcast to look upon him with the more relevant view of freedom fighter. The fact that he takes a stance against the tyranny of the head nurse (and of course the incredible charisma of gambling conmen) creates such appeal in him that he wins over the allegiance of both the patients and the reader. The struggle between oppressed and oppressor is so universally appealing that McMurphy became not only a beloved character of fiction in the 60’s when the novel was published in the midst of a growing counter-culture movement, but remains to be today.
The fact that the point of view is of McMurphy or at least heavily focused on McMurphy is a device used in literature to create some sort of investment of trust by the reader into believing that there is some sound reason for our protagonist to be in fact worthy of the role. Point of view can play heavily in the manipulating of a readers view on a particular character whether that be the belief of a drunk conman being a noble hero or a nurse attempting to keep control of a psych ward being a dictator. Kesey is not alone in wielding the power of point of view, point of view is how readers are able to read through a whole story believing a whiny brat like Mr. Holden Caulfield wasn’t just a whiny brat.
Literature has a way of making the most seemingly unworthy figures into beloved protagonists with hearts of gold; however that’s just the reason, its literature. In fiction an author has countless tools in his disposal to create a story where the one who logically just simply shouldn’t be a protagonist into a hero. It’s almost the irony of it which makes these characters so appealing. Kesey through the circumstance created by him was able make the amoral yet lovable (also contrived for reader appeal) McMurphy into the hero of a classic tale of struggle between the oppressed and the oppressor.
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