/*-->*/This class is an introduction to the practice of fiction writing. We will be reading and discussing several short stories that illustrate basic conventions of fiction such as Point of View, Psychic Distance, Forms, Setting and Place, Characterization, Voice, Structure, and Dialogue. We will also be completing several writing exercises intended to engage with these conventions and to inspire new approaches to your writing. As an introduction to the creative writing workshop, these writing exercises will be read and discussed in small groups.
Vivid Workshop 121 Greek
In this class, we will explore poetry and the writing of poetry as the act of using language to convey thoughts and emotions, tell stories, teach, and experience the world. This course will focus on the creative freedom in poetry, providing a welcoming space for students to experiment and play with language, form, and content. The work we do will be guided by readings of a diverse variety of poets, writing exercises and constraints, discussions of craft, and workshops. We will read and discuss student work. This term, we will explore trusting your ability and experiences as a poet, having power over your work as an artist, what it means to translate experience to language, and seeing the world through the lens of a poet.
/*-->*/An introduction to writing creative nonfiction, with a focus on the informal essay. Students will complete two short essays, one long essay, and will practice giving and receiving peer feedback in small group workshops. Weekly readings selected from across the creative nonfiction genre will be provided in electronic and/or paper form. In-class discussions will examine craft techniques, establishing a productive writing process, and ethical issues inherent in nonfiction.
/*-->*/A writing course for upper-division students, which offers sophisticated approaches to writing and reading. Students enhance critical thinking abilities by reading and writing challenging material, refine their rhetorical strategies, practice writing processes with special attention to revision and style, and write and read in a variety of genres. Includes formal and informal writing, sharing writing with other students, and writing multiple revisions of their work.In this course, we will practice critical inquiry in personal, academic, and professional writing. This is a process-oriented class, which means we will be studying and practicing writing techniques to develop insight into how we function best as writers. We will develop skills in critical reading, thinking and writing. Students will be given some reign to choose their own topics within the assignment structures, so our work can encompass personal writing goals. There is no required textbook; all readings will be provided. Required course work will constitute multiple drafts of three essays, peer-review workshops, weekly low-stakes writing assignments, participation in class discussions, and a final self-reflective essay.
In this course, we will learn how to write a proposal, how to discern bias in research, and how to research, synthesize, and cite information in the process of writing a research paper. In addition, we will write and share personal narratives as well as learn how to analyze components of fiction in literary critique. To round out the course, we will focus on translating writing to the real world by writing Resumes and Cover Letters. Be ready to collaborate with others in workshops that involve critical peer reviews.
WR 399 (Intermediate Nonfiction Writing) continues the study of creative nonfiction and media writing introduced in WR 214 or WR 228. Students in this writing seminar will explore works by contemporary nonfiction authors and will draft, workshop, and revise original pieces of creative nonfiction.
This fall's core workshop in nonfiction will be themed around Locality. We'll develop and workshop writing that focuses on the use of setting and community, with readings that explore the interplay of residents and unusual and little-noticed urban, domestic, and wild spaces.
To the southeast of the precinct of Apollo lay the so-called Southeastern Mansion, a building with a 65-meter-long façade, spread over four levels, with four triclinia and private baths. Large storage jars kept the provisions, whereas other pottery vessels and luxury items were discovered in the rooms. Among the finds stands out a tiny leopard made of mother of pearl, possibly of Sassanian origin, on display in the ground floor gallery of the Delphi Archaeological Museum. The mansion dates to the beginning of the fifth century and functioned as a private house until 580, later however it was transformed into a potter workshop.[16] It is only then, in the beginning of the sixth century, that the city seems to decline: its size is reduced and its trade contacts seem to be drastically diminished. Local pottery production is produced in large quantities:[17] it is coarser and made of reddish clay, aiming at satisfying the needs of the inhabitants.
The Sacred Way remained the main street of the settlement, transformed, however, into a street with commercial and industrial use. Around the agora were built workshops as well as the only intra muros early Christian basilica. The domestic area spread mainly in the western part of the settlement. The houses were rather spacious and two large cisterns provided running water to them.[18]
During the empire, statues of the emperor and other notable benefactors were erected here as evidenced by the remaining pedestals.[36][35] In late, Antiquity workshops of artisans were also created within the agora.
In 1766, an English expedition funded by the Society of Dilettanti included the Oxford epigraphist Richard Chandler, the architect Nicholas Revett, and the painter William Pars. Their studies were published in 1769 under the title Ionian Antiquities,[83] followed by a collection of inscriptions,[84] and two travel books, one about Asia Minor (1775),[85] and one about Greece (1776).[86] Apart from the antiquities, they also related some vivid descriptions of daily life in Kastri, such as the crude behaviour of the Turco-Albanians who guarded the mountain passes.
What then was Lydian sculpture? Perhaps we have not as yet enough material to characterize it, and its very closeness to the Eastern Greek schools makes it difficult to discern sustained Lydian traits. We can see, however, that some Lydian pieces tend to be more linear than the Greek models, others seem softer and more massive. Among the stone sculpture preserved, we do not find an evocation of Lydian luxury as vivid and detailed as in the painted terracottas.36 Some un-Greek traits may be detected in the attire of the little priestesses and of the Manisa "kore" (Cat. nos. 4, 5, 8, Figs. 11, 12, 13, 14, 15, 51, 52, 53, 54). These maidens add to the repertoire of Sardian stone sculpture an Anatolian flavor that distinguishes it from the creations of the Samians or Milesians. Sardian stone sculpture cannot be considered merely a provincial offshoot of the Eastern Greek, characterized only negatively by a lack of skill.37
The South is more than the grotesque, Baptists and banjos. It is a dynamic place and the way Southern stories are told is likewise changing. Students will read classic texts (Faulkner, Welty, O'Connor to name a few) to understand the tradition current authors are navigating before moving on to the current literature of this region: told in traditional stories and novels, and through film and podcasts. We'll read Jesmyn Ward, watch episodes of "Atlanta" and listen to "S-Town." All the while, we will attempt to answer the questions: What are we talking about when we talk about the South? Who are Southern authors, anyway? And, what issues are these authors dealing with? This survey, coupled with a workshop, will provide students with the tools to create their own fiction of place that uses setting not just as backdrop, but with real thematic heft.
The West Kortright Centre strives to be vibrant, highly visible, well-attended arts center with high quality performers and exciting workshops that appeal to a broad audience and expand the donor base, increasing financial security for the future.
Set in a bucolic rural valley in the northwestern Catskill Mountains of New York State, The West Kortright Centre is a nonprofit organization dedicated to excellence in the arts, featuring a diverse blend of world-class concerts, workshops, art exhibits, and community events.
A dedicated staff and board provide only the finest cultural programming in our intimate, acoustically excellent auditorium space. Each season, we bring in gifted artists and performers from around the world, across the country, and throughout our local region. Since its founding in 1975, WKC has enticed hundreds of musicians, actors, writers and other performers from as far away as Cuba, Haiti, Jamaica, Mexico, Brazil, Peru, Ireland, Italy, Sweden, Ukraine, Iran, Palestine, Angola, Gambia, Mali, Morocco, South Africa, Uganda, Zaire, and Zimbabwe. Committed to enrichment for local young people, we showcase their talents each season with Opening Acts and Shakespeare in the Valley, and provide a variety of workshops for all ages. We also make The Centre available for public use and low-cost rentals.
White phosphorous is used as a shell and grenade filler in combination with a small high-explosive charge. It is both an incendiary and the best-known producer of vivid white smoke. Small bits of it burn even more intensely than Napalm when they strike personnel.
One recently discovered forgery is a small blue glass cow statuette (A68), found in the top corner of a case of antiquities in Room 16 (Fig. 1). You can easily spot this statuette because of its vivid cobalt blue color, which balances with the blues of nearby Navajo jewelry, medieval Christian and Islamic manuscripts, and paintings by Alfred Henry Maurer and Charles Prendergast. Leaning in closer, you can see that the standing cow has a squat sun disk between its curling horns (Fig. 2) and a kneeling figure that suckles from its udders, which is mirrored on the other side of the statuette. 2ff7e9595c
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