DOCSLIB.ORG

“I Teach Myself in Outline,” Notes, Journals, Syllabi & an Excerpt From

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“I Teach Myself in Outline,” Notes, Journals, Syllabi & an Excerpt From “I TEACH MYSELF IN OUTLINE,” NOTES, JOURNALS, SYLLABI & AN EXCERPT FROM DEOTHA s AUDRE LORDE “I TEACH MYSELF IN OUTLINE,” NOTES, JOURNALS, SYLLABI & AN EXCERPT FROM DEOTHA s AUDRE LORDE “I TEACH MYSELF IN OUTLINE,” NOTES, JOURNALS, SYLLABI & AN EXCERPT FROM DEOTHA s AUDRE LORDE Miriam Atkin, Iemanjá Brown, Editors SERIES 7, NUMBER 1, FALL 2017 GENERAL EDITOR Ammiel Alcalay TEXTUAL CONSULTANT EMERITUS David Greetham CONSULTING EDITOR Kate Tarlow Morgan MANAGING EDITOR Stephon Lawrence PUBLISHER Kendra Sullivan PUBLICITY COORDINATOR Sampson Starkweather DESIGN Megan Mangum (wordsthatwork.net) All materials listed below are from the Audre Lorde Papers; Spelman College Archives: “Classrooms,” Series 2.4 Box 24 Folder 13; “Race and the Urban Situation,” Series 2.5 Box 46; “Journals; History/lit 210,” Series 2.5 Box 46; “Journals; Hist/lit suggested readings,” Series 10 Box 82 Folder 25; “Racist Society,” Series 2.5 Box 46; “Journals” (All materials with month and day but no year), Series 2.5 Box 46; “Journals” (“In your daily life, etc.”), Series 10 Box 83 Folder 26; “Course Proposals,” Series 10 Box 82 Folder 5; “The other woman,” Series 10 Box 82 Folder 49; “Proposal for faculty seminar,” Series 2.1 Box 18 Folder 135; “Dream,” Series 2.5 Box 45; “Journals number 13,” “Deotha,” Series 2.1 Box 17 Folder 88. Copyright © by the Estate of Audre Lorde (2017); used herewith by permission of the Charlotte Sheedy Literary Agency, Inc. This project is supported in part by an award from the National Endowment for the Arts, The Leslie Scalapino–O Books Fund, Furthermore: a program of the J.M. Kaplan Fund, The Provost’s Office at the Graduate Center,CUNY , Early Research Initiative, the Sylvia Klatzkin Steinig Fund, André Spears, Margo & Anthony Viscusi, and Engaging the Senses Foundation. TABLE OF CONTENTS INTRODUCTION 1 A NOTE ON THE TEXTS 15 THE CLASSROOMS 17 SYLLABI, TEACHING JOURNALS, NOTES, AND COURSE PROPOSALS FROM JOHN JAY COLLEGE OF CRIMINAL JUSTICE Race & the Urban Situation [Undated] 18 History/Literature 210, (1971) 20 Teaching Journals, Notes, and Course Proposals 25 SYLLABI, OUTLINES, AND TEACHING NOTES FROM HUNTER COLLEGE The Other Woman: Lesbian Voices in 20th Century 35 American Literature (1985) Proposal for Faculty Seminar at Hunter on Race [Undated] 40 Dream Journal (1975) 42 EXCERPT FROM DEOTHA: “BATH/SCHOOL/PIA” 43 ACKNOWLEDGEMENTS 66 BIOGRAPHICAL NOTES 69 LOST & FOUND 72 INTRODUCTION I. IN 1968, AUDRE LORDE served as writer-in-residence at Tougaloo College, a historically Black liberal arts institution founded in 1869 outside of Jackson, Mississippi. Situated on a campus continually besieged by organized racist groups like the Ku Klux Klan and White Citizen’s Council, the students were politically active in the face of this violence. The experience proved transformative: “I came to realize that teaching and writing were inextricably combined, and it was there that I knew what I wanted to do for the rest of my life.”1 Upon returning to New York City, Lorde was invited to join a cadre of poet-teachers—including Toni Cade Bambara, Barbara Christian, Addison Gayle, David Henderson, June Jordan and Adrienne Rich—who were working in the SEEK program at City College in Harlem. SEEK (Search for Education, Elevation and Knowledge) promoted the matriculation of racially, economically and educationally marginalized high school graduates at CUNY colleges. In her second semester with SEEK, she saw the rise of student movements for equality and access, culminating in the 1969 Open Admissions strike, and demands that CUNY incorporate Ethnic Studies departments as well as open its doors to all New York City high school graduates. Lorde was one of a number of instructors who supported the strike. For the duration of the uprising, she held class offsite at a nearby middle school, re-named “Harlem University” by student activists.2 1 Audre Lorde, “My Words Will Be There” in I am Your Sister, ed. Rudolph P. Byrd, Johnnetta Betsch Cole, and Beverly Guy-Sheftall, (Oxford: Oxford UP, 2009), 161. 2 For a more in-depth account of the events leading up to the Open Admissions strike at CUNY, see Conor Tomás Reed’s essay, “‘Treasures that Prevail’: Adrienne Rich, The SEEK Program, and Social Movements at the City College of New York, 1968-1972” in “What We are Part Of”: Teaching at CUNY: 1968-1974 from Lost & Found: The CUNY Poetics Document Initiative Series IV (Fall 2013). 1 In the fall of 1969, Lorde began working in the Lehman College Education Department as an instructor of new teachers in the New York City public high school system. She taught a course called “Race and Education” to mostly white female students learning to teach the predominantly Black population of the local public schools. Though Lorde designed the course to help each student excavate her own internal prejudices, her work at Lehman was severely limited and she yearned to be teaching in a different environment. She pitched a course to the dean of another CUNY school, John Jay College of Criminal Justice in Manhattan, leading to her employment as the first Black member of the English Department. Under pressure from student movements, John Jay had recently redefined itself as not only a college for police science, but also a broadly inclusive liberal arts school. Energized by the tension in her classrooms comprised of white, Black and Puerto Rican humanities majors alongside police officers and officers-in-training, Lorde dove into the struggle to establish a Black and Puerto Rican Studies Department at John Jay. II. The teaching materials published here document Lorde’s daily engagement with the “mechanics of oppression” in the context of an institution established to train police officers. Endemic police corruption made headlines in this period, while whistleblowers like Frank Serpico risked being killed by going public. At the same time, a number of Black radical activists armed themselves against both drug dealers and the NYPD. In this climate, she wrote the poem “Power” which responds to the 1973 murder of a ten-year-old Black child named Clifford Glover at the hands of a white police officer, who was acquitted of his crime. The officer, Thomas J. Shea, was a John Jay College student during Lorde’s time there. In an interview 2 with friend and colleague Adrienne Rich, Lorde described her fury at knowing she might have seen Shea—or perhaps someone just like him—in the hallways or even in her classroom. In “Apartheid USA,” Lorde asks, in relation to the countless deaths at the hands of the police, “How does a system bent upon our ultimate destruction make the unacceptable gradually tolerable?”3 Lorde continues to ask herself, and others, about how to effectively stand up to oppressive structures. In the classroom, she teaches students how structural inequality over-determines the life of the individual. She helps them first explore their emotional lives and then work toward understanding themselves within those larger structures. By devoting significant attention to her students’ emotional lives, Lorde makes learning a process of individuation, which can build deep self-knowledge and understanding. She writes in her class notes that “if each of us is to survive, [we each need] acute self-awareness—definition—who am I?” She continues to carve out these opportunities by dismantling “myths that divide,” prompting students to consider the ways in which pervasive constructions like “the American dream” are divisive. As Lorde moves through the internalization of structures and stereotypes in her course outline, she asks, “who d’ya think you are?” and “who am I so who are you?” These questions do not prompt the kind of individualism that serves “the interest of a capitalist profit system”4 but rather bring people closer to collective liberation. Lorde’s insistence upon the importance of the “I” was felt in her relationship to her students. In summer 2017, we interviewed 3 Audre Lorde, “Apartheid USA,” in I am Your Sister, ed. Rudolph P. Byrd, Johnnetta Betsch Cole, and Beverly Guy-Sheftall, (Oxford: Oxford UP, 2009), 32. 4 Audre Lorde, “Sadomasochism: Not about Condemnation,” in A Burst of Light, (Ithaca, NY: Firebrand Books, 1988), 114. 3 some of Lorde’s Hunter students. Anthropologist and Hunter College professor Jacqueline Brown participated in a poetry course that Lorde taught in 1986 specifically for women of color. She recalls Lorde being “open to us expressing the full, complicated gamut of our experience. She was receptive to whatever we brought to the table, including erotica and our joys as women of color forming community with each other.” That class was featured in the documentary, Litany for Survival, where Lorde is seen teaching to enraptured students. Brown emphasized that Lorde wore comfortably the aura of power with which she is often associated, but was also such a present listener and teacher that “she made you feel, when you were talking to her, that there was no place she’d rather be.” The queer novelist, essayist and activist Sarah Schulman recalls a similar generosity in Lorde’s teaching, even as it unrelentingly pushed students to go deeper in their explorations. Schulman remembers Lorde organizing her packed class into one large circle and standing in the center to teach. By the second class, she had learned all the students’ names and as she taught, she would make eye contact with specific students, referencing an idea from their papers or from a previous class discussion. Though Lorde foregrounded individuality, her attention to structural racism undercuts a pervasive sociological tendency to diagnose all social, economic, and psychological issues as individual, personal, and familial failures. What we see in Lorde’s assigned and recommended readings of, for example, Franz Fanon’s Black Skin, White Masks, R.D.
Load more

Recommended publications
  • Addison Street Poetry Walk
    THE ADDISON STREET ANTHOLOGY BERKELEY'S POETRY WALK EDITED BY ROBERT HASS AND JESSICA FISHER HEYDAY BOOKS BERKELEY, CALIFORNIA CONTENTS Acknowledgments xi Introduction I NORTH SIDE of ADDISON STREET, from SHATTUCK to MILVIA Untitled, Ohlone song 18 Untitled, Yana song 20 Untitied, anonymous Chinese immigrant 22 Copa de oro (The California Poppy), Ina Coolbrith 24 Triolet, Jack London 26 The Black Vulture, George Sterling 28 Carmel Point, Robinson Jeffers 30 Lovers, Witter Bynner 32 Drinking Alone with the Moon, Li Po, translated by Witter Bynner and Kiang Kang-hu 34 Time Out, Genevieve Taggard 36 Moment, Hildegarde Flanner 38 Andree Rexroth, Kenneth Rexroth 40 Summer, the Sacramento, Muriel Rukeyser 42 Reason, Josephine Miles 44 There Are Many Pathways to the Garden, Philip Lamantia 46 Winter Ploughing, William Everson 48 The Structure of Rime II, Robert Duncan 50 A Textbook of Poetry, 21, Jack Spicer 52 Cups #5, Robin Blaser 54 Pre-Teen Trot, Helen Adam , 56 A Strange New Cottage in Berkeley, Allen Ginsberg 58 The Plum Blossom Poem, Gary Snyder 60 Song, Michael McClure 62 Parachutes, My Love, Could Carry Us Higher, Barbara Guest 64 from Cold Mountain Poems, Han Shan, translated by Gary Snyder 66 Untitled, Larry Eigner 68 from Notebook, Denise Levertov 70 Untitied, Osip Mandelstam, translated by Robert Tracy 72 Dying In, Peter Dale Scott 74 The Night Piece, Thorn Gunn 76 from The Tempest, William Shakespeare 78 Prologue to Epicoene, Ben Jonson 80 from Our Town, Thornton Wilder 82 Epilogue to The Good Woman of Szechwan, Bertolt Brecht, translated by Eric Bentley 84 from For Colored Girls Who Have Considered Suicide I When the Rainbow Is Enuf, Ntozake Shange 86 from Hydriotaphia, Tony Kushner 88 Spring Harvest of Snow Peas, Maxine Hong Kingston 90 Untitled, Sappho, translated by Jim Powell 92 The Child on the Shore, Ursula K.
    [Show full text]
  • Post Malone Announces North American Tour with 21 Savage and Special Guest Sob X Rbe
    POST MALONE ANNOUNCES NORTH AMERICAN TOUR WITH 21 SAVAGE AND SPECIAL GUEST SOB X RBE Tickets On Sale to General Public Starting Friday, February 23 at LiveNation.com LOS ANGELES, CA (February 20, 2018) – Today, multi-platinum artist Post Malone announced his upcoming North American tour with multi-platinum rapper 21 Savage and special guest SOB X RBE. Produced by Live Nation and sponsored by blu, the outing will kick off April 26 in Portland, OR and make stops in 28 cities across North America including Seattle, Nashville, Toronto, Atlanta, Austin, and more. The tour will wrap in San Francisco, CA on June 24. Tickets will go on sale to the general public starting Friday, February 23 at 10am local time at LiveNation.com. Citi® is the official presale credit card of the Post Malone tour. As such, Citi® cardmembers will have access to purchase presale tickets beginning today, February 20th at 2pm local time until Thursday, February 22nd at 10pm local time through Citi’s Private Pass® program. For complete presale details visit www.citiprivatepass.com. Every pair of online tickets purchased comes with one physical copy of Post Malone’s forthcoming album, Beerbongs & Bentleys. Ticket purchasers will receive an additional email with instructions on how to redeem their album and will be notified at a later date on when they can expect to receive their CD. (U.S. and Canadian residents only.) The history-making Dallas, Texas artist, Post Malone, will also release his new single “Psycho” [feat. Ty Dolla $ign] on Friday February 23, 2018 via Republic Records.
    [Show full text]
  • 9781940696928.Pdf
    Scenes philip whalen of edited and with an Life afterword by david brazil wave books at the seattle and new york Capital Published by Wave Books www.wavepoetry.com Copyright © 2020 by The Estate of Philip Whalen Afterword copyright © 2020 by David Brazil All rights reserved Wave Books titles are distributed to the trade by Consortium Book Sales and Distribution Phone: 800-283-3572 / san 631-760x Library of Congress Cataloging-in-Publication Data Names: Whalen, Philip, author. | Brazil, David (Poet), author of afterword. Title: Scenes of life at the capital / Philip Whalen ; afterword by David Brazil. Description: Seattle : Wave Books, [2020] Identifiers: lccn 2019030141 | isbn 9781940696928 (trade paperback) Classification: lcc ps3545.h117 s3 2020 | ddc 811/.54—dc23 LC record available at https://lccn.loc.gov/2019030141 Designed by Crisis Printed in the United States of America Scenes of Life at the Capital was originally published by Grey Fox Press, Bolinas, CA, 1971, and reprinted in The Collected Poems of Philip Whalen (Wesleyan University Press, 2007). Reprinted with permission of The Estate of Philip Whalen and Wesleyan University Press. Scans from Philip Whalen’s notebooks appear courtesy of The Bancroft Library, University of California, Berkeley. 9 8 7 6 5 4 3 2 1 Having returned at last and being carefully seated On the floor—somebody else’s floor, as usual— Far away across that ocean which looked Through Newport windows years ago—somebody else’s livingroom— Another messed-up weedy garden Tall floppy improbably red flowers All the leaves turned over in the rain Ridged furry scrotum veins Hedges glisten tile roof tin roof telephone pole Decoratively tormented black pine Slowly repeating its careful program Endlessly regretting but here is original done once Not to be reproduced nor electronically remembered Loosten up.
    [Show full text]
  • Women and Ecopoetics: an Introduction in Context
    Harriet Tarlo Women and ecopoetics: an introduction in context This introduction contextualises and introduces the material within the special feature on women and ecopoetics as well as exploring the contributors’ and, on occasion, my own thoughts on the subject. I shall identify some common creative practices and ideological threads whilst respecting the sheer diversity of practitioners and practice presented here. After all, this issue features essays, statements, images, open form poetry, performance pieces, prose poetry, site specific work and found poetry from writers with experience as poets, critics, artists, educators, librarians and media workers. I have organised this work into sections as follows: Poems (selections of work from seven women poets); Recycles (selections of work making use of found text from eight women poets); Essays (seven essays on women poets from an eco-poetical perspective) and Working Notes/Ecopoetical statements. In addition to the working notes from featured poets which take the form traditional in How2, this section contains a number of short statements from writers made in response to the women and ecopoetics theme. Those that stand well alone also appear as “postcards” which has had the added advantage of their acting as a provocative “trail” for the special feature, as well as being a part of it of course. Generic segregation and classification of contents is, in some ways, contrary to the spirit of How2 and perhaps to ecopoetics too, yet it is I think helpful to reading work online to have some method of navigating our way around it. However, I should like to draw attention to the particularly hybrid nature of many of the contributions here.
    [Show full text]
  • American Book Awards 2004
    BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre.
    [Show full text]
  • Philip Whalen Papers, Circa 1923-2002 (Bulk 1960-1997)
    http://oac.cdlib.org/findaid/ark:/13030/kt2199q0t9 Online items available Finding Aid to the Philip Whalen Papers, circa 1923-2002 (bulk 1960-1997) Processed by Dean Smith. The Bancroft Library University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu/ © 2003 The Regents of the University of California. All rights reserved. Finding Aid to the Philip Whalen BANC MSS 2000/93 p 1 Papers, circa 1923-2002 (bulk 1960-1997) Finding Aid to the Philip Whalen Papers, circa 1923-2002 (bulk 1960-1997) Collection number: BANC MSS 2000/93 p The Bancroft Library University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu/ Finding Aid Author(s): Processed by Dean Smith. Date Completed: 2002 June Finding Aid Encoded By: GenX © 2014 The Regents of the University of California. All rights reserved. Collection Summary Collection Title: Philip Whalen papers Date (inclusive): circa 1923-2002 Date (bulk): 1960-1997 Collection Number: BANC MSS 2000/93 p Creator: Whalen, Philip Extent: 2 cartons, 36 boxes, 11 oversize folders, 3 oversize boxes, and 1 tubecirca 30 linear feet4 digital objects (5 images) Repository: The Bancroft Library. University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu/ Abstract: The Philip Whalen Papers, circa 1940-2001, consist of the writings (notebooks, poems, prose works), correspondence, professional papers, artwork and personal papers that detail Whalen’s dual life as poet (coming to prominence during San Francisco’s Beat era of the 50’s and often associated with his fellow Reed graduates, Gary Snyder and Lew Welch), and later, Buddhist monk.
    [Show full text]
  • Kanye West Albums in Order
    Kanye West Albums In Order Kalil remains phanerogamous after Broderick debilitate ethically or wilders any Livingstone. Undisclosed and superstitious Winifield deviates numbly and spotlights his locules potently and thereof. Matching and favourite Ferinand immortalises his insults trivialize wangled but. Tag ids set to all in order, west albums in order now more. Kanye West Jesus Is King Yandhi Album Release Date. Kanye West's Albums Ranked Arts The Harvard Crimson. New Kanye West Albums 201 Review over New Kanye. Note Orders are payable in U GetoBoys-TheGetoBoysFULLALBUM. All Kanye West Albums Ranked Best To Worst By Fans Ranker. Also assist a Limited Time town will receive other Free Gift but every page only at www. The order information is in part, and harsh electronics behind them. Mp3 albums gssmantovait. American rapper musician and record producer Kanye West has released nine studio albums two collaborative studio albums one compilation album two live. Kim Kardashian teases possible new Kanye West album. For bass is in order, west has set. Common labels applied only to swallow for the concept: remixed and she could to. 'The College Dropout' is still Kanye's best selling album to. Kanye West's 'Yeezus' Sales Drop 0 In even Week. What does Kanye produce? Listen and music by Kanye West on Apple Music this top songs and albums by Kanye West including Father change My Hands Pt 1 Mixed Personalities feat. Transcending pastiche or dismiss a professional sports news in order from. Best Akai MPC in 2021 Buyer's Guide and Reviews. Kanye West singles discography Wikipedia. Something in order no need to push down arrows to hold up sales later.
    [Show full text]
  • Media – History
    Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder.
    [Show full text]
  • Scribe, Not Many (The Remix) (Feat
    Scribe, Not Many (The Remix) (feat. Savage of Deceptikonz & Con Psy of Frontline) [Intro: Savage] Pito Saute Aukilagi!!! It ain't good, it ain't good 'cos you'll get jumped in my hood Pito Saute Aukilagi!!! It ain't good, it ain't good 'cos you'll get jumped in my hood, ah! [Adlibs] It's the remix! yeah, uh, yeah, c'mon...ah, savage [1st Verse: Savage] I'm hearin' you still talking that shit but none of your actions here are speakin' to me I'm talkin' it, walkin' it, my stompin' style will stop your movement' Hold up who's this? (aarrah!) Still leavin' you with cuts and bruises So cut the bullshit before I rrrrock your face with a pool stick Dirty, Dawnraid and Frontline, P-Money, Scribe, Savage and Con Psy Everybody is feelin' that shit, I'm out your speakers like Ill Semantics On stage for the crowd reaction, Everyone just bounce your asses Keep it movin', uh-huh, New Zealand music South Auckland raise your arms!! Let me see you throw it up!! And I will always represent my crew decep-deceptikonz! What!! [Chorus: Scribe] How many dudes you know roll like this? How many dudes you know flow like this? Not many, if any Not many, if any How many dudes you know got the skills to go and rock a show like this? Uh-uh, uh-uh, I don't know anybody... [Savage ad libs] cha-hoo, yeah, yeah, c'mon, Savage!...aaaarrock a show like this! I don't know anybody [2nd Verse: Con Psy] You know who this is, act right It's the kid comin' up that's flow is untapped Wrote enough drafts, know enough raps, off the head skill that'll crush cats But it's hard
    [Show full text]
  • Download Free Zip Inner Monologue Part 1 Download Free Zip Inner Monologue Part 1
    download free zip inner monologue part 1 Download free zip inner monologue part 1. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67a1ee67bbc116f0 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Inner monologue examples: Characters’ hidden lives. Internal or inner monologue is a useful literary device. Dialogue reveals character relationships, their converging or competing goals. Inner monologue gives readers more private feelings and dilemmas. Learn more on how to use inner monologue effectively: First, what is ‘inner monologue’? A ‘monologue’ literally means ‘speaking alone’, if we go back to the word’s roots. In a play, especially in Shakespeare, a monologue (such as when the villain Iago in Othello expresses his wicked plans) is often used to reveal a character’s secret thoughts or intentions. In prose, inner monologue typically reveals a character’s private impressions, desires, frustrations or dilemmas. How and why might you use internal monologue? How to use inner monologue in stories: Use inner monologue to reveal unspoken thoughts Describe others from a specific POV Show private dilemmas Reveal self-perception and mentality Show personal associations.
    [Show full text]
  • The Sonic Bildungsroman: Coming-Of-Age Narratives in Album Form
    The Sonic Bildungsroman: Coming-of-Age Narratives in Album Form Dallas Killeen TC 660H Plan II Honors Program The University of Texas at Austin May 2019 __________________________________________ Hannah Wojciehowski Department of English Supervising Professor __________________________________________ Chad Bennett Department of English Second Reader Abstract Author: Dallas Killeen Title: The Sonic Bildungsroman: Coming-of-Age Narratives in Album Form Supervising Professors: Hannah Wojciehowski, Ph.D. Chad Bennett, Ph.D. The Bildungsroman, or coming-of-age story, deals with the transitional period of adolescence. Although initially conceived in the novel form, the Bildungsroman has since found expression in various media. This thesis expands the scope of the genre by describing the “sonic Bildungsroman,” or coming-of-age album, and exploring a few key examples of this previously undefined concept. Furthermore, the record as a medium affords musicians narrative agency critical to their identity development, so this project positions the coming- of-age album squarely in the tradition of the Bildungsroman as a tool for self-cultivation. This thesis examines two albums in great detail: Pure Heroine by Lorde and Channel Orange by Frank Ocean. In these records, Lorde and Ocean lyrically, musically, and visually portray their journeys toward self-actualization. While the works show thematic similarities in their respective presentations of the adolescent experience, Lorde and Ocean craft stories colored by their unique identities. In this way, the two albums capture distinct approaches to constructing coming-of-age narratives in album form, yet both represent foundational examples of the genre due to their subject matter, narrative trajectory, and careful composition. From this basis, this project offers a framework for understanding how popular musicians construct coming-of-age stories in their albums—and for understanding how these stories affect us as listeners.
    [Show full text]
  • Recorded Music NZ Annual Report 2013
    ANNUAL REPORT 2020 RECORDED MUSIC NEW ZEALAND LIMITED Annual Report for the year ended 31 December 2020 CONTENTS 4 Chairman’s Report 6 Chief Executive’s Report 9 Revenue Summary 2020 10 SoundCheck Aotearoa 11 MusicHelpsLive 14 The Official NZ Music Charts 2020 15 NZ Music Hall of Fame Aotearoa Music Awards 16 Redefining out identity 17 Reintroducing mana reo 18 Winners & Finalists 20 Artisan Awards 21 Previously awarded 22 Aotearoa Music Producer Series Financial Statements 24 Approval of Annual Report & Directory 25 Statement of profit and loss 26 Statement of financial position 27 Statement of cash flows 28 Notes to the financial statements 30 Auditor’s Report Cover image: Co-host Sharyn Casey and artist Rob Ruha hongi at AMA 2020. Inside front cover image: Ibanez Maeva and Stan Walker at AMA 2020. © Topic Photography. © 2021 Recorded Music New Zealand Limited. This Annual Report contains proprietary information and is provided for informational purposes only. Please do not use any information contained in it unless expressly authorised to do so by Recorded Music New Zealand Limited. ‘Recorded Music NZ’; the Tui device; ‘The Official NZ Music Charts’; ‘ProMusic’; and ‘NZ Music Hall of Fame’ are registered trademarks. Designed by Mark Roach. 3 CHAIRMAN’S REPORT Like many other organisations worldwide Recorded Music New Zealand’s activities and financial performance were severely affected by Covid 19. At the onset of the pandemic our first priority was the health and wellbeing of our staff, with rapid arrangements put in place for all staff to work from home for as long as necessary.
    [Show full text]