Tag: Academic writing

Based on the book “True Biz” by Sara Novic, answer the following questions:
– What do you think about the term “oral failure” that Charlie was labeled as?
– Charlie is suffering from Language deprivation and disfluency because she missed the critical period for learning a language. What do you think this means for her ability to effectively communicate and understand the world around her?

Summarize one of the student essays in the chapter: Performing a Doctor’s Duty by Iris Lee (pages 390-393) or For heaven’s Sake by Isabella Wright (pages 396).

1. Define, not list,  what an essential question and/or driving question is and how they can help students.
2. True or False Standards are not the curriculum?
Explain
why

Hi may you please assist me..
Question 1: POETRY Study the poem “I Am” by John Ctare (1848), below, and write a carefully worded essay of approximately 1 000 — 1200 words (approximately 2 — 3 typed pages) in which you critically analyse how the poet has used diction, poetic techniques, andior any other features of language to express his feelings of alienation and assert his individuality. Use relevant examples from the poem to substantiate your arguments. IAm! | am-yet what I am none cares or knows; My friends forsake me like a memory lost: I am the self-consumer of my woes- They rise and vanish in oblivious host, Like shadows in love’s frenzied sti?ed throes And yet I am, and live-like vapours tossed Into the nothingness of scorn and noise, Into the living sea of waking dreams, Where there is neither sense of life orjoys, But the vast shipwreck of my life’s esteems; Even the dearest that I loved the best Are strange-nay, rather, stranger than the rest. I long for scenes where man hath never trod A place where woman never smiled or wept There to abide with my Creator, God, And sleep as l in childhood sweetly slept, Untroubling and untroubled where I lie The grass below-above the vaulted sky. Clare, John. “I Am.” Poetry Foundation, 2022, httgsn’lwww.goetmfoundation.0rg/poems/43948/i-am. Accessed 14 July 2022. John Clare was a British poet that produced a large body of poetry between 1820 and 1864, when he died of a stroke at the age of 71. Due to the con?ict between his background as a lower-class agricultural labourer and his desire to write romantic poetry, Clare suffered from terribie bouts of depression and alienation from his neighbours through much of his adult Eife, ?nally resulting in him being permanently institutionalised at Northampton General Lunatic Asylum, where he continued to write poetry until his death. During his time at Northampton, John Ciare wrote arguably his most famous and wet!- regarded poem, “I Am” (1848). This poem is generally held to be a powerful exploration of Clare’s feelings of alienation and an assertion of his individuality, thus illustrating how exploration of questions surrounding identity and the self transcend borders and time periods. Please note: – You must quote directly from the poem to substantiate your arguments and explain how each quotation supports your statements. DO NOT reference lines by number but DO include the full quote relevant to your argument. – Do not discuss anything in your essay that you cannot relate to the themes of alienation and individuality in the poem. – Do not only provide de?nitions of literary devices used in the poem. Instead, discuss HOW the poet has used these devices to convey meaning and express his feelings about himself.
18:12’6)’ B> 1:: .. “3..” — Assignment Guidance Reading for Pre-writing To answer this question, you should read the contextual information about the poet provided prior to the question. You also need to read the title and the poem. Ideally, you should read the poem aloud to yourself two or three times to get a sense of the rhythm and rhyme of the poem. 0 Try to identify the form and structure of this older, more formal type of poem, as the formal nature of the poem affects how the poet uses language. Once you have read the poem aloud to yourself a few times and you feel comfortable with how it sounds, you can read through it stowly, annotating it as you go. – Remember to make use of the techniques provided in your study guide and try to follow the process that has been outlined for you. Make notes on the margin of the poem, or in your notebook, about the following: – The poet’s use of punctuation and how it alters the meaning of the poet’s words and affects the pacing of the poem. 0 Ask yourself how the pacing of the poem emphasises the poet’s statements and affects how you consider what he says as a reader. 0 Consider whether the poet’s use of punctuation could create alternative interpretations of his statements and whether this could result in the creation of double meanings in the poem. o Any words and phrases the poet uses to express his feelings of alienation and to assert his individuality. 0 Identify the specific literary devices that are being employed to convey the poet’s feelings. 0 Carefully consider the poet’s choice of words and how diction is used to evoke specific responses in the reader. – Carefully read the poem and your notes again to identify and explain how the poet uses diction and other relevant literary devices to convey the meaning of the poem and to express his feelings. 0 Consider how the use of poetic devices such as similes and metaphors affect your understanding of the poem and your feelings about the poet’s experience, as a reader. 0 Try to identify patterns in the imagery and poetic devices used and consider how and why they are related and how they affect the reader’s engagement with the poem’s message. Preparing your essay In your consideration of the assignment question, focus on the following keywords: 0 “Essay” Your response to this question should be formulated in a well—structured essay consisting of an introduction, body, and conclusion. In this modute, you are not allowed to use sub-headings for your essay. The different sub-sections ofyourdiscussion (introduction, body, conclusion) should be clearly distinguishable through your phrasing and the content of your essay. – “Carefully worded” This indicates that you are not going to be assessed on content and stmcture alone; you will also be marked on the cohesion of your thought and on your overall use of language. (Please refer to the Assessment Criteria and the Module Outcomes in your Tutorial Letter 101 for further information.) o “Critically analyse” We expect you “to examine critically, so as to bring out the essential elements” (Dictionarycom, 2017) of the text. This means that you are not expected simply to list poetic and linguistic techniques and devices found in the poem, but to give an in-depth discussion that shows your understanding of the text, and of how the techniques relate to the meaning and themes of the poem. – “Identify and discuss” Finally, we expect you to identify some of the poetic devices that have been used in the poem, and to discuss how each is used to convey the meaning of the poem.

Miss Bell talks briefly with a fellow teacher, Mr. Corbin, and notices a distinct odor associated with marijuana coming from Mr. Corbin. Is Miss Bell obligated to report this observation? Yes. Miss Bell is obligated to report this apparent violation of school policy. No. Since there were no other witnesses, Miss Bell has no obligation to report. No. Miss Bell is not obligated to report because she has no evidence that Mr. Corbin used marijuana on school grounds.

Take a look at the two images presented here. You probably recognize the first one: it’s the “Vitruvian Man,” by Leonardo da Vinci, regarded as a representation of “ideal man,” and as the perfect expression of Renaissance Humanism. Is there a “Vitruvian Woman,” also by da Vinci? Nope. Now, take a look at the second image, “Red Breasts Clemente,” by contemporary visual artist Dianna Cohen.
In this posting, compare these two images, and write about what their similarities and differences might tell us in terms of form, line, subject, coloration, technique, etc. Answer the questions:
What does da Vinci’s the Vitruvian Man tell us both about what “the male ideal” has been throughout Western history?
What does Cohen’s figure, which is suggestive of the Vitruvian Man, but obviously very different, tell us about one feminist’s representation of Woman?
If you are feeling a little stumped, then think about this quotation:
“Writing about art has traditionally been concerned with that which is interior to the frame, whereas feminism has focused primarily on what lies outside the frame…”
. How does this quotation relate to the da Vinci and Cohen images?
Find a third image that you would like to relate to the da Vinci and Cohen images. You might want to use the following online resources to locate an image: ArtStor, Wikimedia, Flickr. Please attach your image to your post and tell us why you chose this image. How does your selected image relate to the da Vinci and the Cohen images?

I remained a backyard snob to most of my class girls until the end of term. But I did not worry too much about that because I carried a bigger load—the worry of making sure I came first this term. It was like balancing a sack of gravel on my head every day at school and not being allowed to steady it with my hand. I still saw the print in my textbooks as a red blur, still saw my baby brother’s spirit strung together by narrow lines of blood. I memorized what the teachers said because I knew my textbooks would not make sense if I tried to study later. After every test, a tough lump like poorly made fufu formed in my throat and stayed there until our exercise books came back. School closed for Christmas break in early December. I peered into my report card while Kevin was driving me home and saw 1/25, written in a hand so slanted I had to study it to make sure it was not 7/25. That night, I fell asleep hugging close the image of Papa’s face lit up, the sound of Papa’s voice telling me how proud of me he was, how I had fulfilled God’s purpose for me.
DUST-LADEN WINDS of harmattan came with December. They brought the scent of the Sahara and Christmas, and yanked the slender, ovate leaves down from the frangipani and the needlelike leaves from the whistling pines, covering everything in a film of brown. We spent every Christmas in our hometown. Sister Veronica called it the yearly migration of the Igbo. She did not understand, she said in that Irish accent that rolled her words across her tongue, why many Igbo people built huge houses in their hometowns, where they spent only a week or two in December, yet were content to live in cramped quarters in the city the rest of the year. I often wondered why Sister Veronica needed to understand it, when it was simply the way things were done.
The morning winds were swift on the day we left, pulling and pushing the whistling pine trees so that they bent and twisted, as if bowing to a dusty god, their leaves and branches making the same sound as a football referee’s whistle. The cars were parked in the driveway, doors and boots open, waiting to be loaded. Papa would drive the Mercedes, with Mama in the front seat and Jaja and me in the back. Kevin would drive the factory car with Sisi, and the factory driver, Sunday, who usually stood in when Kevin took his yearly one-week leave, would drive the Volvo. Papa stood by the hibiscuses, giving directions, one hand sunk in the pocket of his white tunic while the other pointed from item to car. “The suitcases go in the Mercedes, and those vegetables also. The yams will go in the Peugeot 505, with the cases of Remy Martin and cartons of juice. See if the stacks of okporoko will fit in, too. The bags of rice and garri and beans and the plantains go in the Volvo.” There was a lot to pack, and Adamu came over from the gate to help Sunday and Kevin.
The yams alone, wide tubers the size of young puppies, filled the boot of the Peugeot 505, and even the front seat of the Volvo had a bag of beans slanting across it, like a passenger who had fallen asleep. Kevin and Sunday drove off first, and we followed, so that if the soldiers at the roadblocks stopped them, he would see and stop, too. Papa started the rosary before we drove out of our gated street. He stopped at the end of the first decade so Mama could continue with the next set of ten Hail Marys. Jaja led the next decade; then it was my turn. Papa took his time driving. The expressway was a single lane, and when we got behind a lorry he stayed put, muttering that the roads were unsafe, that the people in Abuja had stolen all the money meant for making the expressways dual-carriage.
Many cars horned and overtook us; some were so full of Christmas yams and bags of rice and crates of soft drinks that their boots almost grazed the road. At Ninth Mile, Papa stopped to buy bread and okpa. Hawkers descended on our car, pushing boiled eggs, roasted cashew nuts, bottled water, bread, okpa, agidi into every window of the car, chanting: “Buy from me, oh, I will sell well to you.” Or “Look at me, I am the one you are looking for.” Although Papa bought only bread and okpa wrapped in hot banana leaves, he gave a twenty-naira note to each of the other hawkers, and their “Thank sir, God bless you” chants echoed in my ear as we drove off and approached Abba.
The green WELCOME TO ABBA TOWN sign that led off the expressway would have been easy to miss because it was so small. Papa turned onto the dirt road, and soon I heard the screech-screech-screech of the low underbelly of the Mercedes scraping the bumpy, sun-baked dirt road. As we drove past, people waved and called out Papa’s title: “Omelora!” Mudandthatch huts stood close to three-story houses that nestled behind ornate metal gates. Naked and seminaked children played with limp footballs. Men sat on benches beneath trees, drinking palm wine from cow horns and cloudy glass mugs. The car was coated in dust by the time we got to the wide black gates of our country home.
Three elderly men standing under the lone ukwa tree near our gates waved and shouted, “Nno nu! Nno nu! Have you come back? We will come in soon to say welcome!” Our gateman threw the gates open. “Thank you, Lord, for journey mercies,” Papa said as he drove into the compound, crossing himself. “Amen,” we said. Our house still took my breath away, the four-story white majesty of it, with the spurting fountain in front and the coconut trees flanking it on both sides and the orange trees dotting the front yard.
Three little boys rushed into the compound to greet Papa. They had been chasing our cars down the dirt road. “Omelora! Good afun, sah!” they chorused. They wore only shorts, and each one’s belly button was the size of a small balloon. “Kedu nu?” Papa gave them each ten naira from a wad of notes he pulled out of his hold-all. “Greet your parents, make sure you show them this money.” “Yes sah! Tank sah!” They dashed out of the compound, laughing loudly.

If you were a performance studies major at Northwestern University, which of the following class assignments might you have? to write a scholarly essay on some topic of performance history to adapt and perform a work of poetry or fiction for your class to research a non-Western culture and draft a research report for a scholarly journal 6 6

1. Does John Proctor Suffer?
Topic sentence: John Proctor suffers greatly when…(finish the sentence)
Context of Quote
Concrete detail:
Analysis:
Analysis:
Concluding sentence:

CommonLit PM3 Question Types 23/2. Due: Tue Sep 5, 2023 11:59pm Attempt 1 V In Progress NEXT UP: Submit Assignment
Which line from the poem best reveals the nature of the relationship between the speaker and Bellinglise?
How does the poem’s division into two parts affect its development?
Which lines from the poem use alliteration to emphasize the enduring positive qualities of the scene?
Which statement best describes the line breaks in lines 5-14 of the poem?
How does the setting of “the beautiful chateau” relate to the theme of this poem?
How does the poem’s first-person point of view reveal the poet’s relationship to his subject?