So, these are the best posts I have according to people (there aren't very many of them).
1.) Allegory of the Cave Sonnet
2.) Drawing Thing
3.) Vocab Remix, Couplet Style
Thursday, May 23, 2013
Wednesday, May 8, 2013
MOAR STUFF! (UPDATES FROM MY SECOND BLOG!)
My second blog is now doing movie related material, in addition to video games and internet culture!
Here it is: toomuchhyper.blogspot.com
Links here for...
How Inception Actually Ended
Dr. Horrible Sequel Update!!!!
Underappreciated Movies #1 - Donnie Darko
ENJOY MOFOS.
Here it is: toomuchhyper.blogspot.com
Links here for...
How Inception Actually Ended
Dr. Horrible Sequel Update!!!!
Underappreciated Movies #1 - Donnie Darko
ENJOY MOFOS.
Saturday, May 4, 2013
Taking Inventory
1x Fear
1x Anxiety
1x Gaining smarts
1x Feeling kind of confident
1x "oh shit"
Total Items: 5
Ratings So Far: (based on a 0 min, 10 max scale)
Poetry: 7
Prose:8
Multiple Choice: 8
(Any quality I might have missed is probably at a 7)
1x Anxiety
1x Gaining smarts
1x Feeling kind of confident
1x "oh shit"
Total Items: 5
Ratings So Far: (based on a 0 min, 10 max scale)
Poetry: 7
Prose:8
Multiple Choice: 8
(Any quality I might have missed is probably at a 7)
Wednesday, May 1, 2013
Essay in Wednesday (It rhymes, that's all I've got to say)
Petry's piece demonstrates, mainly via through personification, of an abusive relationship between her character and the setting. The author's usage of figurative language and detailed description present a malicious and foreboding urban town.
Petry's character, Lutie Johnson, is constantly shown to be harassed by the urban weather, in personifications that left Johnson "naked" and "cold". The personification of wind is shown to be mischievous and a threat to the character's health by exposing her to the elements. In addition, the mischievous wind also twists the sign away from Lutie Johnson's vision constantly; something the character is plagued by towards the end of the piece.
The apparent personification of the wind in the urban town is seen as both invasive and abusive. When the wind lifts articles of clothing and hair from Lutie's body, she is left without protection. The wind also seems to be personified as a person throwing garbage towards the street dwellers. This rude and inconvenient act shows that the urban setting, mainly through personification of the weather, is abusive towards the author's characters.
Petry's character, Lutie Johnson, is constantly shown to be harassed by the urban weather, in personifications that left Johnson "naked" and "cold". The personification of wind is shown to be mischievous and a threat to the character's health by exposing her to the elements. In addition, the mischievous wind also twists the sign away from Lutie Johnson's vision constantly; something the character is plagued by towards the end of the piece.
The apparent personification of the wind in the urban town is seen as both invasive and abusive. When the wind lifts articles of clothing and hair from Lutie's body, she is left without protection. The wind also seems to be personified as a person throwing garbage towards the street dwellers. This rude and inconvenient act shows that the urban setting, mainly through personification of the weather, is abusive towards the author's characters.
Monday, April 29, 2013
Essay (Essay used Polish! --- It wasn't very effective...)
In Sartre's No Exit, three characters are shaped by the apparent name given to their location. As the plot progresses, the characters begin to become unnerved by the excessively mundane nature of hell. As Sartre's characters become emotionally unhinged, the geographical location of the scenes contribute the entirety of No Exit's message.
The characters are all inside hell. Sartre's ironic portrayal of hell contributes to the confusion for the characters. One of the women, initially believes that the room she was in is simply a waiting room for the "real" version of hell. When the other two people eventually come inside the room, chaos ensues. The three characters are all becoming extremely paranoid since hell was now what they imagined it to be, and this incongruity with their belief leads to high tensions.
The excessively mundane nature of the room serves to augment the meaning of the Sartre's piece. The author shows that "true hell" is found in the presence of other people, it is not found in any geographical place; as the mundane room shows. Suffering is received from those who are with you, and depending on who they are, can cause the deepest of infliction for eterinity. The mundane version of hell in No Exit gives the idea that despite where you are, any place can become hell if other people torment you.
The characters are all inside hell. Sartre's ironic portrayal of hell contributes to the confusion for the characters. One of the women, initially believes that the room she was in is simply a waiting room for the "real" version of hell. When the other two people eventually come inside the room, chaos ensues. The three characters are all becoming extremely paranoid since hell was now what they imagined it to be, and this incongruity with their belief leads to high tensions.
The excessively mundane nature of the room serves to augment the meaning of the Sartre's piece. The author shows that "true hell" is found in the presence of other people, it is not found in any geographical place; as the mundane room shows. Suffering is received from those who are with you, and depending on who they are, can cause the deepest of infliction for eterinity. The mundane version of hell in No Exit gives the idea that despite where you are, any place can become hell if other people torment you.
Saturday, April 27, 2013
Poetry Essay (Saturday, Part I)
1994 Prompt:
The speakers hold opposing views of Helen. Poe's poem celebrates the beauty of the maiden, while H.D. berates Helen's beauty as the source of tragedy for Greece. Extremely contrasting in views, both authors use figurative language to create a tone that helps to characterize Helen in their own perspectives.
Poe differs from H.D.'s poem, in that he celebrates the great beauty that marked Helen. In his poem, Poe compares Helen's presence as a tribute to Greece's pride and of the elegant grandeur of Rome. In this anecdote, Poe directly insinuates that Helen was something to be proud of. More specifically, he uses the words "hyacinth hair" and "classic face" in order to give more depth to the imagery of her beauty. In addition, Poe uses a simile to compare Helen's stature to that of a three-dimensional statue art. Poe's implication through this figurative language is that Helen's figure is refined and subtle, yet her beauty is already apparent at first glance. Quite unlike how H.D. views Helen's existence.
In H.D.'s poem, Helen is not a mark of pride; rather, she is to be marked with hatred. H.D. personifies the country Greece as resentful of Helen for bringing its downfall. Terms such as, "revile", "hate", and "ills" are used to describe how the country of Greece views Helen. Dichotomous to Poe's perspective, Greece remembers only folly and dread when Helen is remembered. Furthermore, Greece is better off with Helen dead rather than alive. H.D. makes this point explicit in the final stanza of the poem where he states that she should be buried "white ash amid funereal cypresses." The author's usage of diction clearly indicating a tone of cold, indifference towards Helen's death, and a speaker who abhors Helen for what she did to Greece.
2007 Prompt:
Wilbur and Collins' poems both attempt to explain a point. In their respective pieces, they use figurative languages and the speaker in order communicate their points to the children. Wilburs' poem explains the false message to a child that the world isn't dark and scary than it really is. To some extent, Collins' poem does the same, but with the intention of maintaining the students' innocence in the poem.
Wilbur's description of the owl is heavily laced with euphemisms. For example, the usual cry of the owl is reduced to an inanely childish rendition as, "who cooks for you?". The speaker implies to the child that the owl is merely a harmless creature that is inquisitive. In addition, the author's usage of a paradox is used to explain the nature of the message. Wilbur directly states that the false words told by the speaker both shows the terror of the child, yet somehow is able to calm the child.
Collins' poem uses the speaker and his gentle tone to directly send a message of historical euphemism. The author uses fallacious logic in order to send his message across to the students. He states that the "Ice Age" is actually the "Chilly Age", and the the Enola Gay only dropped one atom on Japan, as opposed to an atom bomb. These directly euphemise history, which also create a direct irony, since the title is, "The History Teacher". No matter how false, the teacher just wishes to keep the children's innocence.
The speakers hold opposing views of Helen. Poe's poem celebrates the beauty of the maiden, while H.D. berates Helen's beauty as the source of tragedy for Greece. Extremely contrasting in views, both authors use figurative language to create a tone that helps to characterize Helen in their own perspectives.
Poe differs from H.D.'s poem, in that he celebrates the great beauty that marked Helen. In his poem, Poe compares Helen's presence as a tribute to Greece's pride and of the elegant grandeur of Rome. In this anecdote, Poe directly insinuates that Helen was something to be proud of. More specifically, he uses the words "hyacinth hair" and "classic face" in order to give more depth to the imagery of her beauty. In addition, Poe uses a simile to compare Helen's stature to that of a three-dimensional statue art. Poe's implication through this figurative language is that Helen's figure is refined and subtle, yet her beauty is already apparent at first glance. Quite unlike how H.D. views Helen's existence.
In H.D.'s poem, Helen is not a mark of pride; rather, she is to be marked with hatred. H.D. personifies the country Greece as resentful of Helen for bringing its downfall. Terms such as, "revile", "hate", and "ills" are used to describe how the country of Greece views Helen. Dichotomous to Poe's perspective, Greece remembers only folly and dread when Helen is remembered. Furthermore, Greece is better off with Helen dead rather than alive. H.D. makes this point explicit in the final stanza of the poem where he states that she should be buried "white ash amid funereal cypresses." The author's usage of diction clearly indicating a tone of cold, indifference towards Helen's death, and a speaker who abhors Helen for what she did to Greece.
2007 Prompt:
Wilbur and Collins' poems both attempt to explain a point. In their respective pieces, they use figurative languages and the speaker in order communicate their points to the children. Wilburs' poem explains the false message to a child that the world isn't dark and scary than it really is. To some extent, Collins' poem does the same, but with the intention of maintaining the students' innocence in the poem.
Wilbur's description of the owl is heavily laced with euphemisms. For example, the usual cry of the owl is reduced to an inanely childish rendition as, "who cooks for you?". The speaker implies to the child that the owl is merely a harmless creature that is inquisitive. In addition, the author's usage of a paradox is used to explain the nature of the message. Wilbur directly states that the false words told by the speaker both shows the terror of the child, yet somehow is able to calm the child.
Collins' poem uses the speaker and his gentle tone to directly send a message of historical euphemism. The author uses fallacious logic in order to send his message across to the students. He states that the "Ice Age" is actually the "Chilly Age", and the the Enola Gay only dropped one atom on Japan, as opposed to an atom bomb. These directly euphemise history, which also create a direct irony, since the title is, "The History Teacher". No matter how false, the teacher just wishes to keep the children's innocence.
Thursday, April 25, 2013
Group Think (Act I Scenes I-II Parody)
Bonus: It's ironic because individual perspectives are used to culminate the entirety of the "group think". One person pitches in their ideas for the poem and the rest of the people take that into account with respect to their perspective. It's not really a group anymore, but separate ideas joining to crudely fit the definition of a group.
I don't have a group. If I did, I would've imagined it would go something like this (this is what went through my head):
Student 1: "So hey, man. Can I see your poems?"
Me: "Sure, why not?"
Student 1: "HOLY SHIT! *explodes*" Student 1 dies.
Enter Student 2
Student 2: "Hey, dude. I need a group, can I see your poems?"
Me: "Sure, why not?"
Student 2: "LAWD JESUS! SAVE US ALL! *combusts spontaneously*" Student 2 dies.
Me: "Fuck you, guys. If you didn't like the poems I had, you could've just said so."
End of Act I Scene I.
Scene II
Me: "Does having different taste make me weird?
To conform, or not to conform? Whether 'tis nobler in the mind to suffer the tweet
and updates of outrageous status quo, or to take arms against a sea of troubled teenagers.
And by nonconforming, change social structure. To work, to blog-- No more.
And by individuality to express our muddled conscience, and the thousand natural desires
that fallacy is heir to. 'Tis a wish devoutly to be sought. To work, to blog --to blog-- perchance
to receive success: ay, there's the vexation, for in that blog of expression what words may
fly when we have shuffled off our social inhibitions, Must give us vulnerability.
There's the perspective that makes calamity of so frail loyalty between peers.
For who would bear the marks of outcasts and freaks,
Th' oppressor's abuse, the proud douchebag's ego, The pangs of despised companionship,
the admin's procrastination, the insolence of idiots, and the bullshit of dealing with ignorant people.
When he himself might release pain by becoming a clone through social conformity?
Who would have the balls, to rebel and fight against unethical injustice, when the dread of the
unknown comes forth. The mysterious land, from whose bourn no quixotic pilgrim returns, beguiles
government statistics, and makes us rather bear our fallacy than fly off into that mysterious land we've
never been in? Thus our fear does make slaves of us all, and the native hue of fellowship
is sicklied o'er with the pale idea of expression, and the enterprise of great artistry and individuality.
With this regard their currents veer from the path, and lose the name of expression.
Soft you now Students 1 and 2! -- Monkeys of society, be all my faux pas be remembered!"
End of Act I Scene II
I don't have a group. If I did, I would've imagined it would go something like this (this is what went through my head):
Student 1: "So hey, man. Can I see your poems?"
Me: "Sure, why not?"
Student 1: "HOLY SHIT! *explodes*" Student 1 dies.
Enter Student 2
Student 2: "Hey, dude. I need a group, can I see your poems?"
Me: "Sure, why not?"
Student 2: "LAWD JESUS! SAVE US ALL! *combusts spontaneously*" Student 2 dies.
Me: "Fuck you, guys. If you didn't like the poems I had, you could've just said so."
End of Act I Scene I.
Scene II
Me: "Does having different taste make me weird?
To conform, or not to conform? Whether 'tis nobler in the mind to suffer the tweet
and updates of outrageous status quo, or to take arms against a sea of troubled teenagers.
And by nonconforming, change social structure. To work, to blog-- No more.
And by individuality to express our muddled conscience, and the thousand natural desires
that fallacy is heir to. 'Tis a wish devoutly to be sought. To work, to blog --to blog-- perchance
to receive success: ay, there's the vexation, for in that blog of expression what words may
fly when we have shuffled off our social inhibitions, Must give us vulnerability.
There's the perspective that makes calamity of so frail loyalty between peers.
For who would bear the marks of outcasts and freaks,
Th' oppressor's abuse, the proud douchebag's ego, The pangs of despised companionship,
the admin's procrastination, the insolence of idiots, and the bullshit of dealing with ignorant people.
When he himself might release pain by becoming a clone through social conformity?
Who would have the balls, to rebel and fight against unethical injustice, when the dread of the
unknown comes forth. The mysterious land, from whose bourn no quixotic pilgrim returns, beguiles
government statistics, and makes us rather bear our fallacy than fly off into that mysterious land we've
never been in? Thus our fear does make slaves of us all, and the native hue of fellowship
is sicklied o'er with the pale idea of expression, and the enterprise of great artistry and individuality.
With this regard their currents veer from the path, and lose the name of expression.
Soft you now Students 1 and 2! -- Monkeys of society, be all my faux pas be remembered!"
End of Act I Scene II
Subscribe to:
Posts (Atom)