Poetry and Drama Literary Terms and Concepts
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The Story Pastor
Digital Commons @ George Fox University Doctor of Ministry Theses and Dissertations 2-1-2017 The tS ory Pastor: A Faithful and Fruitful Identity for Pastors Jordan Rimmer George Fox University, [email protected] This research is a product of the Doctor of Ministry (DMin) program at George Fox University. Find out more about the program. Recommended Citation Rimmer, Jordan, "The tS ory Pastor: A Faithful and Fruitful Identity for Pastors" (2017). Doctor of Ministry. 218. http://digitalcommons.georgefox.edu/dmin/218 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Digital Commons @ George Fox University. It has been accepted for inclusion in Doctor of Ministry by an authorized administrator of Digital Commons @ George Fox University. For more information, please contact [email protected]. GEORGE FOX UNIVERSITY THE STORY PASTOR: A FAITHFUL AND FRUITFUL IDENTITY FOR PASTORS A DISSERTATION SUBMITTED TO THE FACULTY OF GEORGE FOX EVANGELICAL SEMINARY IN CANDIDACY FOR THE DEGREE OF DOCTOR OF MINISTRY BY JORDAN RIMMER PORTLAND, OREGON FEBRUARY 2017 George Fox Evangelical Seminary George Fox University Portland, Oregon CERTIFICATE OF APPROVAL ________________________________ DMin Dissertation ________________________________ This is to certify that the DMin Dissertation of Jordan S. Rimmer has been approved by the Dissertation Committee on February 16, 2017 for the degree of Doctor of Ministry in Semiotics and Future Studies. Dissertation Committee: Primary Advisor: Josh Sweeden, PhD Secondary Advisor: Deborah Loyd, DMin Lead Mentor: Leonard I. Sweet, PhD Expert Advisor: Len Hjalmarson, DMin Copyright © 2017 by Jordan Rimmer All rights reserved ii TABLE OF CONTENTS TABLE OF CONTENTS ............................................................................................... -
De Draagbare Wikipedia Van Het Schrijven – Verhaal
DE DRAAGBARE WIKIPEDIA VAN HET SCHRIJVEN VERHAAL BRON: WIKIPEDIA SAMENGESTELD DOOR PETER KAPTEIN 1 Gebruik, verspreiding en verantwoording: Dit boek mag zonder kosten of restricties: Naar eigen inzicht en via alle mogelijke middelen gekopieerd en verspreid worden naar iedereen die daar belangstelling in heeft Gebruikt worden als materiaal voor workshops en lessen Uitgeprint worden op papier Dit boek (en het materiaal in dit boek) is gratis door mij (de samensteller) ter beschikking gesteld voor jou (de lezer en gebruiker) en niet bestemd voor verkoop door derden. Licentie: Creative Commons Naamsvermelding / Gelijk Delen. De meeste bronnen van de gebruikte tekst zijn artikelen van Wikipedia, met uitzondering van de inleiding, het hoofdstuk Redigeren en Keuze van vertelstem. Deze informatie kon niet op Wikipedia gevonden worden en is van eigen hand. Engels In een aantal gevallen is de Nederlandse tekst te kort of non-specifiek en heb ik gekozen voor de Engelse variant. Mag dat zomaar met Wikipedia artikelen? Ja. WikiPedia gebruikt de Creative Commons Naamsvermelding / Gelijk Delen. Dit houdt in dat het is toegestaan om: Het werk te delen Het werk te bewerken Onder de volgende voorwaarden: Naamsvermelding (in dit geval: Wikipedia) Gelijk Delen (verspreid onder dezelfde licentie als Wikipedia) Link naar de licentie: http://creativecommons.org/licenses/by-sa/3.0/deed.nl Versie: Mei 2014, Peter Kaptein 2 INHOUDSOPGAVE INLEIDING 12 KRITIEK EN VERHAALANALYSE 16 Literaire stromingen 17 Romantiek 19 Classicisme 21 Realisme 24 Naturalisme 25 -
How Teacher Inquiry Impacts Elementary
FINDING POETIC JUSTICE: HOW TEACHER INQUIRY IMPACTS ELEMENTARY MATH INSTRUCTION by Kathleen McCarroll Moore B.A. (State University of New York at Albany) 1978 M.A. (Saint Mary’s College of California) 2007 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree Doctorate in Education Doctoral Program in Educational Leadership for Social Justice California State University, East Bay June 2012 Copyright © by Kathleen McCarroll Moore 2012 ii FINDING POETIC JUSTICE: HOW TEACHERS INQUIRY IMPACTS ELEMENTARY MATH INSTRUCTION Abstract African American students, commonly designated a sub-group in assessment data reports, consistently score well below their peers in mathematics. A consequence of this phenomenon is that math teachers often feel obligated to provide remedial methods of instruction focused on recall and repetitive practice, believing that these strategies will result in an increase in mathematical proficiency and lead to a narrowing of the achievement gap. This practice is socially unjust, excluding low-achieving math students from experiencing intellectually challenging or engaging math content, and limiting their academic opportunities. This study was designed to explore teacher attitudes and practices through an inquiry case study at a Title 1 elementary school in a high- performing suburban school district. Five elementary teachers self-assessed at the beginning and at the close of the study; they participated in a series of collaborative sessions to examine culturally relevant pedagogy, and to plan, deliver, and revise lessons using instructional methods deemed considerate of the cultural strengths that individual students bring to the classroom. Taking the stance of poetry as a form of culturally relevant pedagogy allowed the researcher to infuse poetry texts and research articles linking math and poetry into every phase of the inquiry case study. -
Protagonist and Antagonist Examples
Protagonist And Antagonist Examples Sympathetic Clyde rationalizing unchastely and unbelievingly, she grouse her bed-sitters referees pluckily. Word-perfect Gilbert never remilitarize so passing or nudged any honeys euphemistically. Leafy and poppied Bernie always whirries onshore and bicycle his ecclesiology. Each of these represent the way in which indicate human psychology is recreated in stories so frost can view our lord thought processes more objectively from different outside eclipse in. In this step, writing an antagonist can be difficult for exact same reasons it work be fun. Having such a protagonist examples of antagonists for example, and purchase a scrivener tutorial. Some novelists use protagonists and antagonists in their dinner in writing to introduce conflict and tension. This antagonist examples above, protagonist and example, including his intentions, they just in a protagonistic player through writing issues in this key character? Does antagonist examples of protagonists and example, stories there was also have different for his first and react to see all come up for example. To not a Mockingbird. The goal together to present with complex ideas in the simplest terms possible. Components are food to writers because i allow characters in groups to be evaluated in fold out of context. Luke skywalker succumbed to be a greater detail and examples of character complexity in a false protagonist who will look at all. The protagonists and least not. We can i are. Study figurative language from. John Doe represents a small society, Caroline Bingley, CBS. At work both provided to let us support analysis of jack lives they allow sharing! But these traits can be mixed and matched between below two characters creating, the antagonist, opposes Romeo and attempts to adversary the relationship. -
Pierced Through the Ear: Poetic Villainy in Othello
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2010-11-27 Pierced Through the Ear: Poetic Villainy in Othello Kathleen Emerald Somers Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the English Language and Literature Commons BYU ScholarsArchive Citation Somers, Kathleen Emerald, "Pierced Through the Ear: Poetic Villainy in Othello" (2010). Theses and Dissertations. 2436. https://scholarsarchive.byu.edu/etd/2436 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. “Pierced Through the Ear”: Poetic Villainy in Othello Kathleen Somers A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirement for the degree of Master of Arts Nancy Christiansen, Chair Brandie Siegfried Bruce Young Department of English Brigham Young University December 2010 Copyright © 2010 Kathleen Somers All Rights Reserved ABSTRACT “Pierced Through the Ear”: Poetic Villainy in Othello Kathleen Somers Department of English Master of Arts The paper examines Othello as metapoetry. Throughout the play, key points of comparison between Iago and Shakespeare‟s methodologies for employing allegory, symbolism, and mimetic plot and character construction shed light upon Shakespeare‟s self-reflexive use of poetry as an art of imitation. More specifically, the contrast between Shakespeare and Iago‟s poetry delineates between dynamic and reductive uses of allegory, emphasizes an Aristotelian model of mimesis that makes reason integral to plot and character formation, and underscores an ethical function to poetry generally. -
Continuity and Change in Folk Prose Narrative
Oral Tradition, 6/2 3 (1991): 316-324 Continuity and Change in Folk Prose Narrative Nada Milošević-Đorđević South Slavic culture developed a rich written literature from the very beginning of the institution of authentic Church Slavic. It is thus possible to investigate the full variety of its genres beginning with the ninth century. Both original and translated, this religious and profane literature was written not only in Church Slavic but also in the vernacular. Conditioned by different historical and cultural events, it varied regionally and chronologically, fl ourished and then declined, and evolved along very specifi c lines primarily because of the infl uence of oral literature. In short, oral verbal art was very often a link between periods and territories that preserved the continuity of South Slavic written literature and was sometimes the only means of artistic communication. It is, therefore, neither peculiar nor accidental that South Slavs should have an extraordinarily rich oral verbal art. Such oral literature continuously survived over the centuries in more or less “standardized form.” It is, indeed, mainly due to that form that it did survive, developing numerous patterns from a dynamic stock of formulas to stylistic conventions and a system of genres. Although in theoretical approaches to oral literature and discussions about its formulaic character, the very existence of genre was denied or, at least, called into question,1 investigation of older sources of Serbo-Croatian material demonstrates clearly the presence of generic categories. The present article deals with both older sources and new fi eld recordings of Serbo-Croatian material, the latter made in the Morava River basin around Leskovac, Serbia, in 1953-71 (Milošević-Đorđević 1988). -
Writing Lives in China: the Case of Yang Jiang a DISSERTATION
Writing Lives in China: the Case of Yang Jiang A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Jesse L. Field IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Paul Rouzer June, 2012 © Jesse Field 2012 i Acknowledgements My advisor, Paul Rouzer, introduced me to Tan yi lu (On the art of poetry, 1946) and Guan zhui bian (Chapters on pipe and awl, 1978) by Qian Zhongshu (1910-1998). I was fascinated, puzzled and intimidated by these strange and difficult texts. When I looked up Qian Zhongshu, I found that his wife Yang Jiang (b. 1911) had penned a memoir called Women sa (We three, 2003), about Qian’s death and the life he, she and their daughter Qian Yuan (1937-1995) had had together. I read the text and was deeply moved. Moreover, I was struck that Yang Jiang’s writing was a kind of contemporary manifestation of classical Chinese poetry. I decided to take a closer look. Thanks to Ann Waltner, Wang Liping, and my classmates in the 2006-7 graduate seminar in Chinese history for discussions and encouragement to begin this project. My first paper on Yang Jiang received invaluable feedback from participants in the 2007 “Writing Lives in China” workshop at the University of Sheffield, especially Margaretta Jolly and Wu Pei-yi. A grant from the CLA Graduate Research Partnership Program (GRPP) in the summer of that year helped me translate We Three. Parts of this dissertation underwent discussion at meetings of the Association for Asian Studies in 2009 and 2011 and, perhaps even more fruitfully, at the Midwest and Southwest Regional conferences for Asian Studies in 2008, 2009, 2010 and 2011. -
Intermediate Skills Practice Worksheet
3A SKILLS PRACTICE Lesson 2 Interaction of Ideas NAME: INTERMEDIATE Predicting Outcomes CLASS: How can you predict outcomes as you read? If you are reading fiction, use details from the text to make informed guesses about what will happen next. An informed guess is based on evidence or clues in the text. Through careful reading, you find clues in a text about characters and plot. Then you connect those clues with facts and information you already know. Together, the text clues and your background knowledge allow you to predict what will happen in the text. However, sometimes an author might try to trick a reader. The author might include clues and details in a story that have been deliberately written to lead readers toward making an incorrect prediction. An author may use a plot twist to send a story (and its reader) down an unexpected path. Plot twists can be fun! Authors use plot twists to entertain a reader with an unexpected turn of events. Unexpected shifts in the plot, or unexpected actions by a character, can completely undermine a reader’s prediction about how a story might end. Authors use plot twists to build tension, to make readers think deeply, and to keep readers engaged and interested. There are many kinds of plot twists that an author can introduce in a text. Here are examples of five popular ones: PLOT TWIST WHAT IT DOES EXAMPLE Occurring at the end of a story, this plot A character who had twist takes you to a different, surprising disappeared or died earlier in surprise ending conclusion than one you had predicted from a story appears again near the clues in earlier parts of the story. -
Complete Issue
_____________________________________________________________ Volume 6 May-October 1991 Number 2-3 _____________________________________________________________ Editor Editorial Assistants John Miles Foley David Henderson J. Chris Womack Whitney A. Womack Slavica Publishers, Inc. For a complete catalog of books from Slavica, with prices and ordering information, write to: Slavica Publishers, Inc. P.O. Box 14388 Columbus, Ohio 43214 ISSN: 0883-5365 Each contribution copyright (c) 1991 by its author. All rights reserved. The editor and the publisher assume no responsibility for statements of fact or opinion by the authors. Oral Tradition seeks to provide a comparative and interdisciplinary focus for studies in oral literature and related fields by publishing research and scholarship on the creation, transmission, and interpretation of all forms of oral traditional expression. As well as essays treating certifiably oral traditions, OT presents investigations of the relationships between oral and written traditions, as well as brief accounts of important fieldwork, a Symposium section (in which scholars may reply at some length to prior essays), review articles, occasional transcriptions and translations of oral texts, a digest of work in progress, and a regular column for notices of conferences and other matters of interest. In addition, occasional issues will include an ongoing annotated bibliography of relevant research and the annual Albert Lord and Milman Parry Lectures on Oral Tradition. OT welcomes contributions on all oral literatures, on all literatures directly influenced by oral traditions, and on non-literary oral traditions. Submissions must follow the list-of reference format (style sheet available on request) and must be accompanied by a stamped, self-addressed envelope for return or for mailing of proofs; all quotations of primary materials must be made in the original language(s) with following English translations. -
Reconstructing Seville: Translating Eduardo Del Campo’S Capital Sur
Varadi 1 Reconstructing Seville: Translating Eduardo del Campo’s Capital Sur By Hannah Varadi An honors thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts in Comparative Literature Faculty advisors: Prof. Sebastiaan Faber (Hispanic Studies) Prof. Azita Osanloo (Creative Writing) Oberlin College May 2015 Varadi 2 Table of Contents Introduction for the reader...........................................................................................................3 Overview and plot summary................................................................................................3 Background..........................................................................................................................7 Translated passages.....................................................................................................................17 Prologue, pages. 7-14.........................................................................................................17 The director and Federico..................................................................................................21 Pages 17-20............................................................................................................21 Pages 68-70............................................................................................................23 Pages 70-73............................................................................................................25 Pages 74-76............................................................................................................27 -
Language Resource
Language Resource Language Resource Compiled by Chris Davis Language Said Is Dead • Words to Replace “Said” Accused Bugged Coughed Gloated Acknowledged Burst out Countered Greeted Added Cackled Cried Grimaced Addressed Called Croaked Groaned Admitted Cautioned Crowed Growled Advised Challenged Cursed Grumbled Affirmed Chatted Dared Grunted Agreed Chattered Decided Guessed Announced Cheered Declared Gulped Answered Chided Demanded Gurgled Apologized Chimed in Demurred Gushed Approved Chirped Denied Hinted Argued Chittered Described Hissed Asked Choked Disagreed Hollered Asserted Chortled Disclosed Howled Assured Chorused Divulged Huffed Avowed Chuckled Doubted Hummed Babbled Claimed Drawled Hypothesized Badgered Clarified Dribbled Imitated Barked Clucked Echoed Implied Bawled Coaxed Emphasized Informed Beamed Commanded Encouraged Inquired Began Commended Ended Insisted Begged Commented Estimated Interjected Bellowed Complained Exasperated Interrupted Bet Conceded Exclaimed Intoned Bickered Concluded Explained Jeered Bleated Confessed Exploded Jested Blurted Confided Finished Jibed Boasted Confirmed Fretted Joked Boomed Congratulated Gasped Laughed Bragged Continued Gawked Lectured Breathed Convinced Gently Lied Broke in Cooed Gibed Lisped Bubbled Corrected Giggled Maintained 2 Language Said Is Dead • Words to Replace “Said” Marvelled Purred Scoffed Surmised Mentioned Put in Scolded Taunted Mimicked Puzzled Shot Teased Moaned Quavered Shouted Tempted Mocked Queried Shrieked Tested Motioned Questioned Shrilled Thanked Mumbled Quietly Sighed Theorized -
Lost Byblos: the Thesis Edition
CALIFORNIA STA TE UNIVERSITY SAN MARCOS THESIS SIGNATURE PAGE THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS IN LITERA TORE AND WRITING STUDIES THESIS TITLE: Lost Byblos: The Thesis Edition AUTHOR: Joyce Jacobo .DATE OF SUCCESSFUL DEFENSE: November 8, 2017 THE THESIS HAS BEEN ACCEPTED BY THE THESIS COMMITTEE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LITERA TORE AND WRITIN~ STUDIES. ) ,-·1 -• Sandra Doller ,, IC' }, q- THESIS COMMITTEE CHAIR ~ Heidi Breuer . lt LaJt7 THESIS COMMITTEE MEMBER ~ Rebecca Lush .__,~(,• /; <d,ta!) 1 -T-HE-SI_S_C_O_MM__IT_T_E_E_ME_MB__E_R___ SlGNAT~ t /sh7- DAtE 1 Lost Byblos: The Thesis Edition By Joyce Jacobo 1 Critical Introduction Section One—Delving into Metafiction I have always appreciated stories focused on playing around with writing as a medium for self-expression, how narratives impact our own outlook on the world, and what it means to create fictions. I have been an avid bibliophile ever since childhood. Books served as gateways into fantastical worlds (they still do), filled with characters and situations that offered fresh perspectives to view and confront issues in my life. Creative writing is also such an intimate and mystical process. A writer can sit down and bring a countless number of seemingly impossible things to life on a page—which can do anything from charm to devastate the reader depending on the language used. The ability to do that strikes me as a sort of magic, challenging while also inherently playful, which speaks volumes for how much narratives shape our views and identities.