Discussions Replies Education Coursework Example | Topics and Well Written Essays - 750 words

Conversations Replies Education - Coursework Example Guard your decision. 1. Posted: by: Margarett  Both workmanship and culture have been the critical pieces of prior hundreds of years. On the off chance that we investigate the relationship among expressions and culture that existed in the 20thâ century, we come to realize that there had been a nearby association between them. For instance, craftsmen of the 20thâ century spoke to the general culture of that century through their works of art. 20thâ century is known as the start of today’s period of innovation. The specialists of the 20thâ century incredibly uncovered the components of innovation, expressionism, and deliberations in their craftsmanships. Besides, the specialists of the late 20thcentury likewise uncovered through their fine arts the requirement for change and harmony that individuals needed after the two major occasions of war that happened in the principal half of the century. In my view, the craftsman who best spoke to the social and social patterns of his timeframe through his works of art was Pablo Picasso. He was a Spanish painter and stone worker who reevaluated the establishments of craftsmanship in the 20thâ century through including the shadow of progressing developments and generally speaking condition in his fine arts. My Response: Taking it above and beyond, I can't help suspecting that the specialists of the mid twentieth century were progressively mindful of the movement of workmanship. What I mean is, the specialists, albeit some of the time isolated by mainlands seemed, by all accounts, to be progressively mindful and discerning of what different craftsmen were dealing with, what propelled them, the advancement of workmanship during this time made substantially more quick strides than state craftsmanship a hundred years prior. Clearly the modern age and the start of the mechanical upset had something to do with that †however one can’t help yet wonder if craftsmanship and culture were not much more firml y associated with the specialists of the twentieth century than it had ever been previously. 2. Posted by: Andrea  Picasso is an extraordinary model. His specialty is so totally different than the craft of his predecessors.â one might say, craftsmen like him were facing huge challenges, withdrawing from the standard! Class, what do you think it was that gave individuals the driving force to start facing greater challenges as far as craftsmanship and music during this time?â My Response: Andrea, valid statement - Picasso unquestionably left from the standard! Be that as it may, workmanship in the mid twentieth century was tied in with digressing from the standard and making better approaches for articulation. While workmanship in past hundreds of years had been increasingly about step by step embracing new styles and emulating the experts, specialty of the twentieth century developed at such a fast and break neck pace that craftsmen appeared to do all conceivable to communic ate their own preferences and separate themselves. This aggregate mentality is the thing that demonstrated twentieth century workmanship to be so various and differed in such a brief timeframe scale. 3. Posted: by: Dawna The other century guided another perspective into the workmanship world.â With the world despite everything recouping from theâ atrocities of WWI, numerous craftsmen mirrored this in their style.â another type of craftsmanship was beginning, the ism movement.â Fauvism, Cubism, Futurism, and German Expressionism.â Pablo Picasso obviously, was a tremendous figure in this development, with his outrageous style and utilization of colors.â Many individuals that were utilized to increasingly customary craftsmanship discovered his style and kind of craftsmanship upsetting and confusing.â I feel the one craftsman that exemplifies the time however would need to be Ernest Hemingway.â His perspective composing styles of WWI and help express the emotions after the war and the sentiment of misfortune that many felt.

An Analysis of Robert Francis’ Poem The Hound Essay

In Robert Francis’ sonnet â€Å"The Hound,† the author makes a feeling of dread by looking at how strange and erratic pooches are to life utilizing an all-inclusive analogy to show life as dubious and one needs to stand by to perceive what it brings at them. In lines 1-5, the essayist states: â€Å"Life the dog/Equivocal/Comes at a bound/Either to sever me/Or to become friends with me.† The speaker looks at the propensities for a dog to life to show despite the fact that they are not the same, they are comparable in the method of not knowing the following thing that can occur. They are both flawed and dubious in light of the fact that nobody comprehends what will occur straightaway and there is a chance of it destroying one. Moreover, it tends to be a companion to one and everything will work out in a good way. This authorizes how questionable life is towards individuals. In the mean time, the speaker proceeds in lines 6-11 by saying: â€Å"I can't tell/The hound’s aim/Till he has sprung/At my uncovered hand/With teeth or tongue.† There is a feeling of strain that is made in these lines by the utilization of symbolism so as to show how nobody makes certain of what will follow. There is a likelihood that life won’t be inviting and will come at one â€Å"with teeth or tongue.† This can appear to be a negative thing since it could come and chomp you or that expression could mean it is accompanying bliss and satisfaction in this manner promising beneficial what might be on the horizon. At long last, the speaker says in the last two lines â€Å"Meanwhile I stand/And hold up the event.† This recommends the speaker is latent and trusting that something will occur. This is on the grounds that one doesn’t realize what will happen subsequently won't effectively partake. Throughout everyday life, one may not generally take an interest since life is questionable and it can either be a companion or demolish the individual.

So, You Want to Write a Short Story 10 Tips from the Experts

So, You Want to Write a Short Story 10 Tips from the Experts In its simplest definition, a short story is fiction that can be read in one sitting. But beyond that simple definition, there is so much more to a short story than meets the eye â€" and even more to writing one!Many writers make the common mistake of assuming that writing a short story will be easier than writing a novel. On the surface, this may be true, since short stories are obviously shorter than a novel, and, therefore, less time-consuming. Deeper than the surface, however, is the fact that short stories use the same literary techniques of a novel and the same methods of characterization, but the author has far fewer words to achieve the same effect. In other words, despite the significantly lower word count, a short story can be as complicated â€" if not more so â€" as writing a novel. As a writer, you should include within your short story much of what a novelist would include in his or her novel â€" you just have a lot fewer words to do it in!But if you are up for the task, and you want to write a short story, lets go over some tips from the experts on how to do it. Well start with the advice of Kurt Vonnegut, Jr, one of the most famous American short story writers, who enjoyed a long writing career that lasted for over 50 years. Within that timeframe, he published three short story collections, five plays, five nonfiction works, and 14 novels, the most famous of which is Slaughterhouse Five (1969).Before we look at his tips for writing a short story, however, keep in mind that even Vonnegut suggested breaking his own rules. The greatest American short story writer of my generation was Flannery OConnor, Vonnegut wrote. She broke practically every one of my rules but the first. Great writers tend to do that.So why am I reading rules if they are meant to be broken, you might ask. Well, the answer to that is complicated, and we suggest using the following as tips rather than as rules, per se. In short â€" some rules are made to be broken, particularly in writing, but a general guideline is always helpful as you set out to write.Tip 1 â€" Use the time of a total stranger in such a way that he or she will not feel the time was wasted.Lets start with Vonneguts advice, which begins with a reminder of focusing on writing a story that is important. While this seems obvious, many writers begin the process of writing a short story without considering their reader. However, your reader is the very first consideration you should make, and you should assume that he or she is a stranger to you. What is it that you have to say â€" what story do you have to tell â€" that would appeal to a complete stranger? How do you, as a writer, appeal to someone whom youve never met or with whom youve never spoken?One way to do this is to write about something that is a common experience or feeling. The more compelling your story is to a broad audience, the greater your chances of finding success in publishing it. While there are certainly great short storie s that have been published dealing with unique circumstances, those which focus on common human experiences and emotions are the ones that are most memorable in the minds of audiences.Tip 2 â€" Give the reader at least one character he or she can root for.Heres the second piece of advice Vonnegut gives us. And, it calls to mind Eudora Welty, another prolific and famous American short story writer, who is best known for her short stories which depict life in the American South. In them, she broached topics that are heavy and ugly, such as racism and poverty, and created many characters who were as unlikeable as they were realistic. One aspect of her writing that attracted large audiences was her ability to show dark, complex themes interwoven into everyday characters and events â€" making small towns and small-minded people a central focus of her work.However, in most cases, we like her characters, despite how fallible and tragically human they are. We root for them despite the circu mstances and see their heroic qualities interwoven into their faults. It is this attraction, this desire for the characters to be happy despite their miserable surroundings, that makes Weltys readers love her work.Tip 3 â€" Every character should want something, even if it is only a glass of water.Vonneguts third suggestion involves character motivation, and it is arguably THE most important question a writer should ask when creating a character that readers find memorable. That question is simple: What motivates this person? Why are they doing what they are doing in the story? What is it that they want and are hoping to achieve?Character motivation is a key part of how readers will identify with the characters you create in writing a short story. For example, a twenty-something male reader might have a difficult time identifying with a middle-aged female character. However, if that female character is motivated by the lure of fame, and the many dangers that go along with the tempta tion of it, its a desire that the reader knows personally. Its this motivation that connects the reader to the character, making differences in gender, sociocultural status, and age nothing more than trivial details.Tip 4 â€" Every sentence must do one of two things â€" reveal character or advance the action.This part of Vonneguts advice reiterates the importance of making every word count when writing a short story. One of the great things about short stories, as a genre, is the way that they are able to make use of the same literary devices as full-length books. However, in a short story, there is intensity in their use, simply because reading in one sitting is a more intense experience than reading in multiple sittings. When a reader is exposed to a story all at once, without real life having an opportunity to creep in and pull his or her attention away from a book, it is truly an experience that could become quite memorable rather than just a passive activity.The same is true fo r characterization in short stories. Characters who leave a lasting impression on the reader do it because:They are deep and complicatedThey go through a set of complicated circumstancesThrough this complication in their lives, even if they are the type of person a reader would never encounter in his or her real life, this motivation â€" a common human trait â€" will connect the reader to what is happening in the story. Readers will be concerned about the outcome of the story simply because they are concerned about the welfare of the character. This ability to create memorable, human characters a reader can root for (or root against) is what separates great short story writers from mediocre ones.Tip 5 â€" Start as close to the end as possible.Vonneguts fifth tip has as much to do with the pacing of a story as it does with the short storys plot. Weve been comparing short stories to novels, but unlike novels, short stories should start as close to the end as possible. While it may see m counterproductive to skip out on setting up the story from the beginning, there simply is not enough time in the span of a short story to tell a story from beginning to end. Rather, if you need to visualize it in your mind in comparison with a novel, think of a short story in one of two ways:As the very end of a novel or its climaxAs a snapshot of an important moment taken right in the middle of a story that stands on its own, without a lot of expositionThere are many details youll feel the need to include to clue your reader in on what has happened before this moment in your short story. However, you should always ask yourself…does this detail advance the action or identify something important about my character(s)? If the answer to any of these is no, then dont include it. Your reader doesnt have to know everything about your characters past to understand who they are in the present.Tip 6 â€" Be a sadist. No matter how sweet and innocent your leading characters, make awful thi ngs happen to them â€" in order that the reader may see what they are made of.This one is somewhat indicative of Kurt Vonneguts worldview, and not necessarily a view shared by other short story writers, but you should know about it either way. Its also important to note that in Vonneguts most well-known short story, Harrison Bergeron, the main characters 14-year-old son is killed on-air with a double-barreled shot gun, while taking over a television station in a futile attempt to overthrow an oppressive government. In this case, Vonneguts advice certainly paid off well for him, so it is worth considering.The takeaway from this tip is that when readers experience shocking events through a short story, it is a sort of cathartic experience for them. The best short story writers in American literature enjoyed this element of shocking the reader (for example, Edgar Allan Poe, Flannery OConner, etc.) While it certainly isnt necessary to do this, its important to know that the greats have done it â€" and have found success in doing so.Tip 7 â€" Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.This comment from the famous writer is classic Vonnegut, but it brings up an important point: Your story should be written for one person. In many cases, that person should be you.Tip 8 â€" Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.This advice goes along with Vonneguts fifth tip, which is to start as close to the end as possible. In doing so, youll need to let your reader know the exposition and the details of what led your characters to the point where they are in the short story. Again, as we mentioned previously: Be careful here, though, and make sure you dont crowd too much exposit ion into the beginning. Only give your reader what they need to know to understand your characters and what led them to this place.Tip 9 â€" Separate the writing and the editing process.This isnt Vonneguts advice, but it is a suggestion youll find throughout our blog on various writing topics, and it is worth repeating regarding writing short stories. It is important that you understand that writing and editing are two very different processes, and they should be completed separately. This means that when you sit down to write, dont second guess yourself by writing, reading what you wrote, and then changing it. Rather, most experts agree that it is better to write without making changes â€" just continue writing without revision â€" and save those changes for a different time when you are editing the story.Tip 10 â€" Read, and then read some more.Stephen King, arguably the most prolific writer of our times, has this advice: If you dont have time to read, you dont have the time or th e tools to write. Simple as that. Reading short stories written by others â€" particularly the greats â€" will help you more than reading this blog post ever could. While reading, youll subconsciously pick up on writing practices used by other writers, as well as learn what publishers look for when they consider a short story (or short story collections) to publish.