North American civilizations Assignment Example | Topics and Well Written Essays - 250 words

North American civilizations - Assignment Example Mississippi culture was actually a mound-building culture of Native Americans and it originated and flourished in the areas presently known as mid-western, eastern and southeastern United States around 800 CE to 1500 CE. The life at Mississippi began to flourish in the river valleys of Mississippi and Tennessee. Mississippian started rich food exchange thereby introducing the barter system which started impacting a lot in their society through networking and it is through the process of food exchange that they introduced in their culture, they flourished and made contacts with other cultures and provinces too. Maize-based agriculture was also an important attribute of the period and it supported a large population and craft specialization. The earthwork of the Mississippian culture was significant consisting of pyramid mounds or platform mounds and were generally square, rectangular and sometimes circular in shape. Domestic houses, temples or burial buildings were constructed on those mounds. Trade was widespread during this period and extended to far west to the Rockies, in north till the Great Lakes and to the Gulf of Mexico in the South and to the Atlantic Ocean in the East. The leadership of the Mississippian culture was great and influential. Within the culture, the leadership was hierarchy based and where one major centre with Mounds gives clear indication of control and influence over other lesser communities, it also clearly portrays a clear centralization of controlled combination of political or religious power in the hands of single Supreme or few others (US National Park Service, â€Å"The Mississippian and Late Prehistoric

Analysis of The Lost Children of Wilder by Nina Bernstein Essay

Analysis of The Lost Children of Wilder by Nina Bernstein â€Å"The Lost Children of Wilder† is a book about how the foster care system failed to give children of color the facilities that would help them lead a somewhat normal and protected life. The story of Shirley Wilder is a sad one once you find out what kind of life she had to live when she was a young girl. Having no mother and rejected by her father she has become a troubled girl. Shirley Wilder was rejected from foster care because she was black. The system failed to place children of color into these homes because they weren’t white, Catholic, or Jewish. I cannot even believe that this went on years ago. Just because you are of a different race meant that you could not benefit from the system. This is absolutely ridiculous that children could not get the proper care and supervision that they needed. One example of race discrimination is of a girl from my town. She was not able to go to our local swim club because she was black. I know this has nothing to do with foster care but both of her parents died and she was adopted by a white family whom she babysat for. They wanted to take her to the swim club but she was rejected because she was black. She sued the club and was awarded $200,000. I think she was lucky to have gotten the money but nothing can undo what it feels like to be discriminated against. â€Å"Under New York’s Family Court Act, treatment was the legal justification for taking troubled children in...

List of Poetry Group

List of poetry groups and movements From Wikipedia, the free encyclopedia Jump to: navigation, search | The examples and perspective in this article may not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (November 2011) | Poetry groups and movements or schools may be self-identified by the poets that form them or defined by critics who see unifying characteristics of a body of work by more than one poet. To be a ‘school' a group of poets must share a common style or a common ethos.A commonality of form is not in itself sufficient to define a school; for example, Edward Lear, George du Maurier and Ogden Nash do not form a school simply because they all wrote limericks. There are many different ‘schools' of poetry. Some of them are described below in approximate chronological sequence. The subheadings indicate broadly the century in which a style arose. Contents * 1 Prehistoric * 2 Sixteenth century * 3 Sevente enth century * 4 Eighteenth century * 5 Nineteenth century * 6 Twentieth century * 7 Alphabetic list * 8 References| PrehistoricThe Oral tradition is too broad to be a strict school but it is a useful grouping of works whose origins either predate writing, or belong to cultures without writing. Sixteenth century The Castalian Band. Seventeenth century The Metaphysical poets The Cavalier poets The Danrin school Eighteenth century Classical poetry echoes the forms and values of classical antiquity. Favouring formal, restrained forms, it has recurred in various Neoclassical schools since the eighteenth century Augustan poets such as Alexander Pope.The most recent resurgence of Neoclassicism is religious and politically reactionary work of the likes of T. S. Eliot. Romanticism started in late 18th century Western Europe. Wordsworth's and Coleridge's 1798 publication of Lyrical Ballads is considered by some as the first important publication in the movement. Romanticism stressed strong e motion, imagination, freedom within or even from classical notions of form in art, and the rejection of established social conventions. It stressed the importance of â€Å"nature† in language and celebrated the achievements of those perceived as heroic individuals and artists.Romantic poets include William Blake, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy Bysshe Shelley, and John Keats (those previous six sometimes referred to as the Big Six, or the Big Five without Blake); other Romantic poets include James Macpherson,Robert Southey, and Emily Bronte. Nineteenth century Pastoralism was originally a Hellenistic form, that romanticized rural subjects to the point of unreality. Later pastoral poets, such as Edmund Spenser, Christopher Marlowe, and William Wordsworth, were inspired by the classical pastoral poets.The Parnassians were a group of late 19th-century French poets, named after their journal, the Parnasse contemporain. They included Charles Leconte de Lisle, Theodore de Banville, Sully-Prudhomme, Paul Verlaine, Francois Coppee, and Jose Maria de Heredia. In reaction to the looser forms of romantic poetry, they strove for exact and faultless workmanship, selecting exotic and classical subjects, which they treated with rigidity of form and emotional detachment. Symbolism started in the late nineteenth century in France and Belgium.It included Paul Verlaine, Tristan Corbiere, Arthur Rimbaud, and Stephane Mallarme. Symbolists believed that art should aim to capture more absolute truths which could be accessed only by indirect methods. They used extensive metaphor, endowing particular images or objects with symbolic meaning. They were hostile to â€Å"plain meanings, declamations, false sentimentality and matter-of-fact description†. Modernist poetry is a broad term for poetry written between 1890 and 1970 in the tradition of Modernism. Schools within it include Imagism and the British Poetry Revival.The Fireside Poets (also known as the Schoolroom or Household Poets) were a group of 19th-century American poets from New England. The group is usually described as comprising Henry Wadsworth Longfellow, William Cullen Bryant, John Greenleaf Whittier, James Russell Lowell, and Oliver Wendell Holmes, Sr.. Twentieth century The Imagists were (predominantly young) poets working in England and America in the early 20th century, including F. S. Flint, T. E. Hulme, and Hilda Doolittle (known primarily by her initials, H. D. ).They rejected Romantic and Victorian conventions, favoring precise imagery and clear, non-elevated language. Ezra Pound formulated and promoted many precepts and ideas of Imagism. His â€Å"In a Station of the Metro† (Roberts & Jacobs, 717), written in 1916, is often used as an example of Imagist poetry: The apparition of these faces in the crowd; Petals on a wet, black bough. The Objectivists were a loose-knit group of second-generation Modernists from the 1930s. They include Louis Zukofsky, Lorine Niedecker, Charles Reznikoff, George Oppen, Carl Rakosi, and Basil Bunting.Objectivists treated the poem as an object; they emphasised sincerity, intelligence, and the clarity of the poet's vision. The Harlem Renaissance was a cultural movement in the 1920s involving many African-American writers from the New York Neighbourhood of Harlem. The Beat generation poets met in New York in the 1940s. The core group were Jack Kerouac, Allen Ginsberg, and William S. Burroughs, who were joined later by Gregory Corso. The Confessionalists were American poets that emerged in the 1950s. They drew on personal history for their artistic inspiration.Poets in this group include Sylvia Plath, Anne Sexton, John Berryman, and Robert Lowell. The New York School was an informal group of poets active in 1950s New York City whose work was said to be a reaction to the Confessionalists. Some major figures include John Ashbery, Frank O'Hara, James Schuyler, Kenneth Koch, Barbara Guest, Joe Br ainard, Ron Padgett, Ted Berrigan and Bill Berkson. The Black Mountain poets (also known as the Projectivists) were a group of mid 20th century postmodern poets associated with Black Mountain College in the United States.The San Francisco Renaissance was initiated by Kenneth Rexroth and Madeline Gleason in Berkeley in the late 1940s. It included Robert Duncan, Jack Spicer, and Robin Blaser. They were consciously experimental and had close links to the Black Mountain and Beat poets. The Movement was a group of English writers including Kingsley Amis, Philip Larkin, Donald Alfred Davie, D. J. Enright, John Wain, Elizabeth Jennings and Robert Conquest. Their tone is anti-romantic and rational. The connection between the poets was described as â€Å"little more than a negative determination to avoid bad principles. The British Poetry Revival was a loose movement during the 1960s and 1970s. It was a Modernist reaction to the conservative Movement. The Hungry generation was a group of ab out 40 poets in West Bengal, India during 1961–1965 who revolted against the colonial canons in Bengali poetry and wanted to go back to their roots. The movement was spearheaded by Shakti Chattopadhyay, Malay Roy Choudhury, Samir Roychoudhury, and Subimal Basak. The Martian poets were English poets of the 1970s and early 1980s, including Craig Raine and Christopher Reid.Through the heavy use of curious, exotic, and humorous metaphors, Martian poetry aimed to break the grip of â€Å"the familiar† in English poetry, by describing ordinary things as if through the eyes of a Martian. The Language poets were avant garde poets from the last quarter of the 20th century. Their approach started with the modernist emphasis on method. They were reacting to the poetry of the Black Mountain and Beat poets. The poets included: Leslie Scalapino, Bruce Andrews, Charles Bernstein, Ron Silliman, Barrett Watten, Lyn Hejinian, Bob Perelman, Rae Armantrout, Carla Harryman, Clark Coolidge, Hannah Weiner, Susan Howe, and Tina Darragh.The New Formalism is a late-twentieth and early twenty-first century movement in American poetry that promotes a return to metrical and rhymed verse. Rather than looking to the Confessionalists, they look to Robert Frost, Richard Wilbur, James Merrill, Anthony Hecht, and Donald Justice for poetic influence. These poets are associated with the West Chester University Poetry Conference, and with literary journals like The New Criterion and The Hudson Review. Associated poets include Dana Gioia, Timothy Steele, Mark Jarman, Rachel Hadas, R. S.Gwynn, Charles Martin, Phillis Levin, Kay Ryan, Brad Leithauser. Alphabetic list This is a list of poetry groups and movements. * Absurdism * Aestheticism * Black Arts Movement * Cairo poets * Chhayavaad * Classical Chinese poetry * Crescent Moon Society * Cyclic Poets * Dadaism * Danrin school * Deep image * Della Cruscans * Dymock poets * Fugitives (poets) * Generation of '27| * Georgian poets * Goliar d * Graveyard poets * The Group (literature) * Harlem Renaissance * Harvard Aesthetes * Heptanese School (literature) * LakePoets * La Pleiade * Los Contemporaneos * Misty Poets * Modern Chinese poetry * Negritude * Net-poetry * New Apocalyptics| * Nijo poetic school * Others (art group) * Oulipo * Poetic transrealism * Rhymers' Club * Rochester Poets * Scottish Renaissance * Sicilian School * Poetry Slam * Sons of Ben * Southern Agrarians * Spasmodic poets * Spectrism * Surrealist poets * The poets of Elan * Uranian poetry| References This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2010) | [hide] * v * t * eSchools of poetry| | | Akhmatova's Orphans * Auden Group * The Beats * Black Arts Movement * Black Mountain poets * British Poetry Revival * Cairo poets * Castalian Band * Cavalier poets * Chhayavaad * Churchyard poets * Confessionalists * Creoli te * Cyclic poets * Dadaism * Deep image * Della Cruscans * Dolce Stil Novo * Dymock poets * Ecopoetry * The poets of Elan * Flarf * Fugitives * Garip * Gay Saber * Generation of '98 * Generation of '27 * Georgian poets * Goliard * The Group * Harlem Renaissance * Harvard Aesthetes * Hungry generation * Imagism * Informationist poetry * Jindyworobak * Lake Poets * Language poets * Martian poetry * Metaphysical poets * Misty Poets * Modernist poetry * The Movement * Negritude * New American Poetry * New Apocalyptics * New Formalism * New York School * Objectivists * Others group of artists * Parnassian poets * La Pleiade * Rhymers' Club * San Francisco Renaissance * Scottish Renaissance * Sicilian School * Sons of Ben * Southern Agrarians * Spasmodic poets * Sung poetry * Surrealism * Symbolism * Uranian poetry| | Categories: * Poetry movements Navigation menu * Create account * Log in * Article * Talk * Read * Edit * View history ——————†”————————— Top of Form Bottom of Form * Main page * Contents * Featured content * Current events * Random article * Donate to Wikipedia Interaction * Help * About Wikipedia * Community portal * Recent changes * Contact Wikipedia Toolbox Print/export Languages * Deutsch * Edit links * This page was last modified on 21 February 2013 at 05:54. * Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. 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Commonplace Books and Their Uses

A commonplace book is a writers personal collection of quotations, observations, and topic ideas. Also known as topos koinos (Greek) and locus communis (Latin). Called florilegia (flowers of reading) in the Middle Ages, commonplace books were especially popular during the Renaissance and well into the 18th century. For some writers, blogs serve as contemporary versions of commonplace books. Examples and Observations It was none other than the foremost Humanist of his day, Erasmus, in his De copia of 1512, who set the mold for making commonplace books, in a passage advising how to store collections of illustrative examples in retrievable form. One should make oneself a notebook divided by place-headings, then subdivided into sections. The headings should relate to things of particular note in human affairs or to the main types and subdivisions of vices and virtues.-(Ann Moss, Commonplace Books. Encyclopedia of Rhetoric, ed. by T.O. Sloane. Oxford University Press, 2001)Cobbled together by literate people, commonplace books served as repositories for whatever someone thought fit to record: medical recipes, jokes, verse, prayers, mathematical tables, aphorisms, and especially passages from letters, poems, or books.(Arthur Krystal, Too True: The Art of the Aphorism. Except When I Write. Oxford University Press, 2011)Clarissa Harlowe. Have read 1/3 of. Long books, when read, are usually overpraised, because the reader wants to convince others and himself that he has not wasted his time.(E.M. Forster in 1926, excerpt from Commonplace Book, ed. by Philip Gardner. Stanford University Press, 1988) Reasons to Keep a Commonplace Book Professional writers still carry notebooks that resemble commonplace books. In keeping with this practice, we suggest that aspiring rhetors carry a notebook with them so that they can write down ideas that occur to them while they are engaged in doing other things. And when you are reading, or talking, or listening to others, you can use the notebook as a commonplace book, writing down comments or passages that you want to remember, copy, or imitate.(Sharon Crowley and Debra Hawhee, Ancient Rhetorics for Contemporary Students. Pearson, 2004)The commonplace book derived its name from the ideal of a common place where useful ideas or arguments might be gathered. . . .[T]here are still good reasons for writers to keep commonplace books the old-fashioned way. In copying by hand a masterful construction from another writer, we can inhabit the words, grasp their rhythms and, with some luck, learn a little something about how good writing is made. . . .Author Nicholson Baker writes of keepi ng a commonplace book that it makes me a happier person: My own bristling brain-urchins of worry melt in the strong solvent of other peoples grammar. Its a lovely passage, and I couldnt help entering it into my own commonplace book.(Danny Heitman, A Personal Trove of Prose. The Wall Street Journal, October 13-14, 2012) William H. Gass on Ben Jonsons Commonplace Book When Ben Jonson was a small boy, his tutor, William Camden, persuaded him of the virtue of keeping a commonplace book: pages where an ardent reader might copy down passages that especially pleased him, preserving sentences that seemed particularly apt or wise or rightly formed and that would, because they were written afresh in a new place, and in a context of favor, be better remembered, as if they were being set down at the same time in the memory of the mind. Here were more than turns of phrase that could brighten an otherwise-gloomy page. Here were statements that seemed so directly truthful they might straighten a warped soul on seeing them again, inscribed, as they were, in a childs wide round trusting hand, to be read and reread like the propositions of a primer, they were so bottomed and basic.(William H. Gass, A Defense of the Book. A Temple of Texts. Alfred A. Knopf, 2006) Commonplace Books and the Web John Locke, Thomas Jefferson, Samuel Coleridge and Jonathan Swift all kept [commonplace] books, copying down proverbs, poems and other wisdom they encountered while reading. So did many women, often excluded from public discourse at the time. By appropriating others nuggets, writes cultural historian Robert Darnton, you made a book of your own, one stamped with your personality.In a recent Columbia University lecture, the writer Steven Johnson drew parallels between commonplace books and the web: blogging, Twitter and social bookmarking sites such as StumbleUpon are often held to have sparked a renaissance of the form. . . . As with commonplace books, this linking and sharing create not just a hodgepodge, but something coherent and original: When text is free to combine in new, surprising ways, new forms of value are created.(Oliver Burkeman, Make a Book of Your Own. The Guardian, May 29, 2010)