Poetry analysis worksheet

literature

2008.04.01 04:50 literature

Welcome to /literature, a community for deeper discussions of plays, poetry, short stories, and novels. Discussions of literary criticism, literary history, literary theory, and critical theory are also welcome. We are not /books: please do not use this sub to seek book recommendations or homework help.
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2016.02.10 04:53 babbles_mcdrinksalot Classic Literature

A place to discuss and celebrate books with high standards of quality, appeal, longevity, and influence. “Read the best books first, or you may not have a chance to read them at all.” — Henry David Thoreau
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2020.01.29 01:31 spingolaa Wysocki

Sub for civil discourse regarding novels, prose/poetry, and general literary analysis!
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2024.05.13 23:24 Grouchy_Carpenter489 Oracle Fusion Cloud ERP: It is time to forget about standard Excel sheets and take an enhanced data upload tool

Oracle Fusion Cloud ERP: It is time to forget about standard Excel sheets and take an enhanced data upload tool
A Time to Forget About Ordinary Excel Sheets and Take an Enhanced Data Upload Tool
Thousands of users worldwide of Oracle Fusion ERP use ADFdi and FBDI for data loading or data management generally. Excel has some great features that help to streamline data analysis. There is no argument that Excel is a highly functional tool for organizational data management.
Ordinary Microsoft Excel spreadsheets have many limitations regarding data loading to Oracle Fusion Cloud. Excel is great for simple ad hoc calculations, but it needs connectivity features to automate and document its contents, making its use prone to error.
Manually keying in data in Oracle Cloud from Excel worksheets or copy-pasting is a slow, time-consuming process that is bound to reduce employee productivity. Accuracy is also compromised, and inaccurate data can cost an organization millions in revenue. Excel needs more automation, so if you handle large volumes of data, there may be a better tool for you. Furthermore, data security is not assured since Excel does not have encryption features.
The standard Oracle tools (ADFdi and FBDI) are rigid in nature; the user cannot move columns around or even easily paste data from another sheet to ADFdi or FBDI. The error reporting and resolution cycle is too cumbersome and needs specialized technical knowledge.
Why do people still use Excel sheets for data management?
● It’s cheaper
For a team that doesn't care about automation, why bother spending on something more costly if they can get away with something that stores data tables? Considering its limitations, is it worth it in the long-run cost?
● Easy-to-use
Excel is easy to use. It is one of the basic Microsoft Office tools that most people learn to use in basic computer interactions. Because they are already familiar with it, most people find Excel easy to use and often prefer to do so than learn new about new tools.
● Limited knowledge of what’s available
Some people are just stuck in their routines. They need help staying current on the newest software available on the market. If the leadership of a team or members does not take the initiative to look around and find out what the market has to offer, they will be stuck with Excel and its attendant costs when others are enjoying the benefits of more advanced tools.
● Poor experience with some project management software
Choosing a data loading tool to suit your data loading needs is a task that should be taken seriously. Many data-loading teams that used Excel have been turned off by their previous experience with data-loading tools. Some tools are cumbersome and difficult to use, others are code intensive and not suitable for most end users, and some may need more features you are looking for. The poor experience is a result of poor customization.
Suppose you had a tool that allowed you to use the easy-to-use and familiar Excel worksheet while providing you with advanced specialized features for loading data into the cloud. Wouldn’t that be great?
How to make Excel work with advanced tools
Working with Excel in data loading does not have to be a slow and cumbersome process that does not ensure the accuracy or security of your data. You can harness the power of Excel and still enjoy using advanced data-loading tools. More4Apps and Simplified Loader are Excel-based data-loading to consider.
More4Apps
More4Apps is an Excel-based data-loading tool that allows businesses to integrate familiar Excel spreadsheets with Oracle EBS and Oracle Fusion. Its tools work within the familiar interface of Microsoft Excel, leveraging the many features of Excel to facilitate data loading.
Training is optional since Excel is the main interface, and end-users are familiar with it. Unlike ordinary Excel spreadsheets, which are limited in scalability, More4Apps empowers data owners to carry out mass data uploads and updates.
A plugin must be installed on a PC before you can use More4Apps. The IT Helpdesk needs to be involved in installing the plugin, so only specific PCs can be used.
More4Apps sends and receives data from the server hosted by More4Apps. Considering data security, allowing data transfers to a third-party server without ensuring the details are transferred is risky. Robust testing is required with every release of More4Apps update to ensure your data is transferred to a safe place. The IT Security department needs to get involved in verifying the third-party server and plugin.
Simplified Loader
~Simplified Loader~ is an Excel-based tool designed explicitly for uploading or downloading data to and from Oracle Fusion Cloud. The Simplified Loader template is easy to use. It includes a toolbar that contains operations specific to the template. The output of any operation is displayed in the Excel template's Load Status and Error Message fields.
Simplified Loader Excel files upload or download data from Oracle Fusion Cloud. Simplified Loader’s Excel templates are used either for mass data loads, for example, data migration, or everyday data loading activities in Oracle Cloud.
Simplified Loader ensures your data’s security by routing data from the Excel template directly to Oracle Cloud without a third-party server. The Simplified Loader template doesn’t need plugin installation and runs using Macros, similar to how other Oracle Cloud tools interact with Oracle.
Which template should you choose?
User convenience - Both More4Apps and Simplified Loader provide features that enhance user experience. Most UX features are similar in both products. Since they use Microsoft Excel, additional training is rarely necessary. More4Apps provides a form to input data that is not in the tabular format. Whereas the Simplified Loader provides a single unified sheet to enter data, the same sheet is used to invoke the list of values.
Both tools allow you to insert custom columns, hide or delete columns you don't need, and insert formulas you may need for data analysis. You can also analyze or validate data before uploading it.
Data Security - Oracle Fusion only allows interaction through APIs. Both More4Apps and Simplified Loader use APIs to interact with Oracle, so the security protocols are the same in both toolsets. More4Apps uses an external system to manage licenses. From the IT point of view, in a highly data-sensitive environment, the IT has to open additional ports to interact with the More4Apps servers to validate licenses.
In terms of data security, both toolsets have the same features.
License Management - This topic is considerably different in More4Apps and Simplified Loader. More4Apps restricts the number of times an administrator can update users licensed to use the Simplified Loader template, whereas, in Simplified Loader, the Administrator has full control over maintaining the users licensed to use the Simplified Loader templates.
Support—Both organizations offer excellent support to users who log defects using the support system. Simplified Loader has a vast library of short videos demonstrating product features and functionalities. More4Apps has recently adopted the approach of video tutorials.
Plugin installation - This is a key difference between the two templates. The More4Apps template requires an additional plugin installed on the user's machine. The user will always see an additional toolbar in Excel when working on any Excel document. The user always has to use the PC where the plugin is installed. In comparison, the Simplified Loader Excel doesn’t need any plugin installation on the user’s machine. When the user opens the Simplified Loader file, the Simplified Loader toolbar appears. Users won’t see the additional toolbar when they open any other Excel file.
Using Excel parallelly: When using either toolset, Excel cannot be used for any other purposes. The user has to wait until the data is loaded to Oracle.
Pricing: Both toolsets offer per-user licensing. More4Apps offers licenses per user by module, whereas Simplified Loader offers licenses per user by Template. License management at the template level gives the administrator higher control to assign the right user to the right template, resulting in purchasing the right number of licenses per user. The More4Apps licenses are considerably higher (more than 5x) than the Simplified Loader licenses.
Conclusion
Using ordinary Excel spreadsheets for data loading may not be very effective. Excel may have shortcomings, but you can use it efficiently with advanced data-loading tools to get the best of both applications. Both More4Apps and Simplified Loader provide similar features for loading data in Oracle. Both are advanced data-loading tools that make your experience more pleasant and effective. Simplified Loader is more handy as it does not need plugin installation, and the user doesn’t need any involvement from IT to install the plug-in.
submitted by Grouchy_Carpenter489 to u/Grouchy_Carpenter489 [link] [comments]

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submitted by Lazy-Citron-643 to Statisticshelpers_ [link] [comments]

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2024.05.13 21:08 internet-explorer27 eduqas english lit?? am i cooked??

so i did macbeth for sympathy (blessing of a question) and waffled about lady macbeth being a manipulator and stuff and how sympathy was created towards this and then for poetry i waffled abot death of a naturalist for comparison and i have no idea why i just spoke about a relationship with nature but it was such an awful comparison due to time and my analysis of manhunt was ok at most do you think i am cooked? help pls‽
submitted by internet-explorer27 to GCSE [link] [comments]

2024.05.13 18:27 temporarysecretary2 [Offer] Beta reader for your short stories, poems, books, etc.

Hi, I’ll read the book (or any other writing piece) you’re working on and give you my critiques on overall plot and its structure and development. I’ll also give you my notes on characters and their development. If you only have a few chapters written, I’ll read them and give you my notes on the things mentioned above.
Any genre is fine. Some of my favorite genres are sci-fi, adult fiction, the classics, YA, fantasy, “chick-lit”, and what I usually refer to as “slice of life fiction”. I like creepy books as well. I’m not the biggest fan of hardcore horror books, but I’ll still read them for you.
I love the art of storytelling. I watch a lot of movies, and I write about them occasionally. I also took a few courses in literary analysis in college, so I do have experience with criticism and analysis. I, of course, love to read. I’d say I’m not a total speed reader, but I can read relatively quickly. I also enjoy writing poetry and was doing that for a bit for money before chat gpt shut that down.
This goes without saying, but I will not share your work with anyone. It’s yours, and I’m not out here trying to take ideas. I’m only trying to help you shape it into the best version it can be and something that you’re completely satisfied with. I can also help you if you’re stuck and give you suggestions.
$5 for short stories, poems, 60 page books
$10 for books longer than 60 pages
If you can only do PayPal friends and family then I can do that, but I prefer Venmo. Thank you.
submitted by temporarysecretary2 to DoneDirtCheap [link] [comments]

2024.05.13 18:23 temporarysecretary2 [Offer] Beta reader for your short stories, poems, books, etc.

Hi, I’ll read the book (or any other writing piece) you’re working on and give you my critiques on overall plot and its structure and development. I’ll also give you my notes on characters and their development. If you only have a few chapters written, I’ll read them and give you my notes on the things mentioned above.
Any genre is fine. Some of my favorite genres are sci-fi, adult fiction, the classics, YA, fantasy, “chick-lit”, and what I usually refer to as “slice of life fiction”. I like creepy books as well. I’m not the biggest fan of hardcore horror books, but I’ll still read them for you.
I love the art of storytelling. I watch a lot of movies, and I write about them. I also took a few courses in literary analysis in college, so I do have experience with criticism and analysis. I, of course, love to read. I’d say I’m not a total speed reader, but I can read relatively quickly. I also enjoy writing poetry and was doing that for a bit for money before chat gpt shut that down.
This goes without saying, but I will not share your work with anyone. It’s yours, and I’m not out here trying to take ideas. I’m only trying to help you shape it into the best version it can be and something that you’re completely satisfied with. I can also help you if you’re stuck and give you suggestions.
$5 for short stories, poems, 60 page books
$10 for books longer than 60 pages
If you can only do PayPal friends and family then I can do that, but I prefer Venmo. Thank you.
submitted by temporarysecretary2 to slavelabour [link] [comments]

2024.05.13 14:44 adulting4kids Poetry Class Week Seven

Week 7: Limericks and Acrostic Poetry - Lecture and Discussion
Objective: - Explore the whimsical nature of limericks and the creative use of acrostic poetry. - Understand the structure and humor in limericks. - Discuss the artistic possibilities of using acrostic forms.
Day 1: Introduction to Limericks - Lecture: - Definition and characteristics of limericks. - Explanation of the AABBA rhyme scheme and humorous themes.
Day 2: Analyzing Limericks - Part 1 - Lecture: - In-depth analysis of classic limericks. - Exploration of the distinctive rhythm and structure.
Day 3: Analyzing Limericks - Part 2 - Lecture: - Discussing modern variations and themes in limericks. - Exploring the versatility of the form.
Day 4: Crafting Limericks - Part 1 - Lecture: - Step-by-step guide on crafting the first three lines of a limerick. - Emphasis on establishing humor and rhythm.
Day 5: Crafting Limericks - Part 2 - Lecture: - Step-by-step guide on crafting the final two lines of a limerick. - Emphasis on creating resolution and punchline.
Homework Assignment: - Craft a limerick focusing on a humorous scenario or theme.
Study Guide Questions: 1. Reflect on the challenges of crafting the first three lines of your limerick. How did you establish humor and rhythm? 2. How did you approach creating resolution and a punchline in the final two lines of your limerick? 3. What insights did you gain from the process of crafting a limerick?
Quiz: Assessment on the understanding of limericks, their AABBA rhyme scheme, and the use of humor within the concise form.
Day 6: Introduction to Acrostic Poetry - Lecture: - Definition and characteristics of acrostic poetry. - Exploration of arranging words vertically to create hidden messages.
Day 7: Analyzing Acrostic Poetry - Part 1 - Lecture: - In-depth analysis of classic acrostic poems. - Exploration of the different approaches to selecting and arranging words.
Day 8: Analyzing Acrostic Poetry - Part 2 - Lecture: - Discussing modern variations and themes in acrostic poetry. - Exploring the diverse ways poets engage with vertical arrangements.
submitted by adulting4kids to writingthruit [link] [comments]

2024.05.13 14:42 adulting4kids Poetry Class Week Four

Week 4: Sestinas and Concrete Poetry - Lecture and Discussion
Objective: - Explore the intricate structure of sestinas and the visual creativity of concrete poetry. - Understand the fixed pattern of word repetition in sestinas. - Discuss the artistic possibilities of arranging words visually in concrete poetry.
Day 1: Introduction to Sestinas - Lecture: - Definition and characteristics of sestinas. - Explanation of the intricate word repetition pattern.
Day 2: Analyzing Sestinas - Part 1 - Lecture: - In-depth analysis of classic sestinas. - Exploration of the challenge and beauty of word repetition.
Day 3: Analyzing Sestinas - Part 2 - Lecture: - Discussing modern variations and themes in sestinas. - Exploring the flexibility of the form.
Day 4: Crafting Sestinas - Part 1 - Lecture: - Step-by-step guide on crafting the first three stanzas of a sestina. - Emphasis on establishing thematic threads through word repetition.
Day 5: Crafting Sestinas - Part 2 - Lecture: - Step-by-step guide on completing the final three stanzas and envoi of a sestina. - Emphasis on creating resolution and impact.
Homework Assignment: - Craft a sestina focusing on a theme or emotion that lends itself well to word repetition.
Study Guide Questions: 1. Reflect on the challenges of crafting the first three stanzas of your sestina. How did you establish thematic threads through word repetition? 2. How did you approach creating resolution and impact in the final three stanzas and envoi of your sestina? 3. What insights did you gain from the process of crafting a sestina?
Quiz: Assessment on the understanding of sestinas, the word repetition pattern, and the emotional impact of this intricate form.
Day 6: Introduction to Concrete Poetry - Lecture: - Definition and characteristics of concrete poetry. - Exploration of arranging words visually to create a visual impact.
Day 7: Analyzing Concrete Poetry - Part 1 - Lecture: - In-depth analysis of classic concrete poems. - Exploration of the ways visual arrangement enhances meaning.
Day 8: Analyzing Concrete Poetry - Part 2 - Lecture: - Discussing modern variations and themes in concrete poetry. - Exploring the diverse ways poets engage with visual arrangements.
Day 9: Crafting Concrete Poetry - Part 1 - Lecture: - Step-by-step guide on selecting a theme and arranging words visually. - Emphasis on creating meaning through form.
Day 10: Crafting Concrete Poetry - Part 2 - Lecture: - Discussing the role of experimentation and creativity in concrete poetry.
submitted by adulting4kids to writingthruit [link] [comments]

2024.05.13 11:08 adulting4kids Dead Sea Scrolls Study Guide -Unedited

The War Scroll, also known as the "War of the Sons of Light Against the Sons of Darkness," is a unique text within the Dead Sea Scrolls that portrays an apocalyptic battle between the forces of good (Sons of Light) and evil (Sons of Darkness). This scroll provides insight into both historical and symbolic elements.
Historical Accuracy:
The War Scroll, while containing detailed military tactics and an epic narrative of the ultimate confrontation, doesn't explicitly reference any specific historical event or timeframe. Some scholars believe it could be a product of the community's anticipation of a future messianic conflict or a reflection of their own community's struggles against opposing forces during their time. Interpreting the historical accuracy of the scroll often involves exploring the context of the Qumran community and the turbulent times in which they lived.
Symbolism and Esoteric Wisdom:
The War Scroll goes beyond a mere description of a physical battle. It portrays a cosmic conflict between the forces of light and darkness, reflecting not just a literal warfare but also a symbolic and spiritual struggle. The text emphasizes righteousness, divine intervention, and the victory of good over evil.
Within the study guide, activities and exercises could involve dissecting the symbolic elements present in the War Scroll, exploring the deeper meanings behind the battle tactics and the metaphysical implications of the conflict. Understanding the symbolism could involve group discussions, comparative analysis with other ancient texts with similar themes, and exploring the impact of this symbolic representation on the community's beliefs and practices.
Here are a few activities and exercises to explore the symbolism and historical context of the War Scroll from the Dead Sea Scrolls:
  1. Symbolism Analysis:
Provide excerpts from the War Scroll and encourage participants to identify and discuss the symbolic meanings behind elements like the "Sons of Light" and the "Sons of Darkness," various weapons, and the strategies outlined for battle. Group discussions or written reflections can help participants explore the deeper layers of meaning.
  1. Comparative Analysis:
Compare the War Scroll's themes with similar apocalyptic or eschatological texts from different cultures or religions, such as apocalyptic passages in the Book of Revelation in the Christian Bible or apocalyptic texts from other ancient traditions. Create worksheets or discussion prompts to highlight similarities and differences in themes, symbols, and beliefs about cosmic battles.
  1. Historical Context Exploration:
Present historical information about the era when the Dead Sea Scrolls were written. Discuss the political, social, and religious climate of that time, including the turmoil in the region, to understand how these factors might have influenced the composition of the War Scroll. Encourage participants to consider the possible motivations behind the text's creation.
  1. Creative Interpretation:
Encourage creative expression by asking participants to create artwork, poems, or short stories inspired by the themes and imagery found in the War Scroll. This exercise allows individuals to engage more deeply with the symbolic elements and interpret them in their own unique ways.
  1. Role-playing or Debates:
    Organize a role-playing activity where participants take on the roles of "Sons of Light" and "Sons of Darkness," debating their ideologies, motivations, and strategies for the ultimate battle. This exercise helps in understanding differing perspectives and interpreting the conflicts presented in the scroll.
Interpretative variations regarding the river's crossing in different ancient texts reflect the unique religious, philosophical, and cultural perspectives embedded within these narratives. These differences in interpretation offer insights into diverse worldviews and varying theological frameworks present in ancient texts:
  1. Mesopotamian Context:
  1. Biblical Context:
  1. Gnostic or Apocryphal Context:
  1. Greco-Roman Interpretation:
These varied interpretations highlight the richness and diversity of religious, philosophical, and cultural frameworks present in ancient texts. The river's crossing serves as a flexible symbol that adapts to different narratives, conveying themes of transition, judgment, liberation, or cosmic transformation based on the unique perspectives of each tradition.
Exploring these interpretative variations allows participants to appreciate the complexity of symbolism within ancient texts and provides insights into how different cultures and belief systems interpreted common motifs like the river Euphrates. It showcases the intricate interplay between religious, philosophical, and cultural elements shaping the symbolism and theological implications embedded in these narratives.
The river Euphrates, a prominent geographic feature in ancient texts, embodies universal themes that transcend specific cultural contexts. Identifying these universal themes helps reveal shared human concepts of transition, boundaries, and transformative events across diverse ancient traditions:
  1. Threshold and Transition:
  1. Boundary and Separation:
  1. Transformative Events:
  1. Symbol of Power and Control:
  1. Metaphor for Spiritual Journeys:
These universal themes associated with the river Euphrates highlight fundamental aspects of the human experience—transitions, boundaries, transformative events, power dynamics, and spiritual journeys. The river's symbolism in ancient texts speaks to shared human aspirations, struggles, and beliefs that transcend cultural boundaries and resonate across different epochs and civilizations.
By identifying and discussing these universal themes, participants gain a deeper appreciation for the profound symbolism embedded in ancient texts and recognize the timeless relevance of concepts such as transition, boundaries, and transformative events in shaping human narratives and aspirations.
  1. Historical Context:
  1. Symbolism and Esoteric Wisdom:
  1. Comparative Analysis:
  1. Parallelism in Biblical Texts:
  1. Community Beliefs and Practices:
  1. Cultural Significance of Cosmic Battles:
  1. Interpretive Variations and Unique Perspectives:
  1. Personal Reflection and Modern Relevance:
  1. Theological and Philosophical Implications:
  1. Literary and Symbolic Analysis:
- Analyze the narrative structure and symbolic elements present in specific passages of the War Scroll. How do these elements contribute to the text's overarching themes and meanings?
These study questions aim to provoke critical thinking, promote in-depth exploration of themes, encourage comparative analysis, and stimulate discussions on the multifaceted nature of the War Scroll's content and its significance within ancient and contemporary contexts.
  1. Archaeological and Linguistic Analysis:
- How does the physical condition of the Dead Sea Scrolls, including the War Scroll, impact our understanding of their preservation and historical context? - Discuss the linguistic peculiarities or unique textual features found within the War Scroll and their implications for translation and interpretation.
  1. Apocalyptic Expectations and Messianic Concepts:
- Explore the portrayal of messianic figures or anticipated saviors within the War Scroll. How do these concepts align with or diverge from contemporary expectations of a messianic figure in other ancient texts or religious traditions?
  1. Impact of Apocalyptic Literature:
- Analyze the enduring influence of apocalyptic literature, such as the War Scroll, on subsequent religious, literary, or cultural traditions. How have these texts shaped later beliefs or inspired artistic and literary works?
  1. Ethical and Moral Frameworks:
- Discuss the ethical or moral implications of the cosmic conflict depicted in the War Scroll. How do the themes of righteousness and wickedness contribute to the text's underlying moral framework?
  1. Role of Prophecy and Revelation:
- Explore the role of prophecy and revelation within the War Scroll. How do the prophetic elements contribute to the text's portrayal of future events and cosmic justice?
  1. Experiential and Ritualistic Elements:
- Investigate potential ritualistic or experiential dimensions associated with the teachings or beliefs conveyed in the War Scroll. How might the community have engaged with these teachings in their religious practices or communal activities?
  1. Literary Genre and Interpretation:
- Discuss the classification of the War Scroll within the broader genre of apocalyptic literature. How does its classification influence our understanding and interpretation of its themes and symbolic elements?
  1. Relevance in Modern Scholarship:
- Reflect on the ongoing scholarly debates or discoveries related to the War Scroll. How have modern interpretations evolved, and what implications do these new perspectives have on our understanding of the text?
  1. Intersection of Faith and Scholarship:
- Consider the interplay between faith-based interpretations and scholarly analyses of the War Scroll. How might religious convictions or theological frameworks influence academic research and vice versa?
  1. Future Research and Interpretative Avenues:
- Propose potential avenues for future research or areas of exploration concerning the War Scroll. What unanswered questions or unexplored aspects merit further investigation?
The composition of the War Scroll, along with other Dead Sea Scrolls, was likely influenced by several historical events and societal conditions prevalent during the time of its writing, which is estimated to be between the 2nd century BCE and the 1st century CE:
  1. Hellenistic Rule and Cultural Influence:
  1. Political Turmoil and Resistance Movements:
  1. Religious Sects and Spiritual Expectations:
  1. Anticipation of Cosmic Redemption:
Regarding the historical context of the Dead Sea Scrolls' discovery, its significance lies in multiple facets:
  1. Preservation of Ancient Texts:
  1. Insights into Jewish Sectarianism:
  1. Confirmation of Scriptural Accuracy:
  1. Impact on Biblical Studies and Scholarship:
The historical context of political upheaval, religious expectations, and the preservation of texts within the Dead Sea Scrolls contributes significantly to understanding the milieu in which the War Scroll was written. It provides a backdrop against which the themes of cosmic conflict, eschatological anticipation, and religious fervor within the War Scroll can be comprehended.
submitted by adulting4kids to writingthruit [link] [comments]

2024.05.13 08:23 Funny-Barnacle1291 The Mad Woman in The Attic: WAOLOM, mad woman, Jane Eyre and the Eras tour WAOLOM visuals

The Mad Woman in The Attic: WAOLOM, mad woman, Jane Eyre and the Eras tour WAOLOM visuals
Taylor is now repeatedly drawing us back to lesbian and queer poetry and literature, which consistently has themes of madness, sickness, and suppression. I feel that she is telling us over and over that she is sick from closeting, and she can't take it anymore.
When I saw the WAOLOM visuals for Eras tour, I thought Taylor is meant to be in an attic. I've come across 'The Mad Woman in the Attic' by Sandra Gilbert and Susan Gubar before, but I have never read it all the way through. I believe Taylor is directly referencing this book, and Jane Eyre, to inform us all that she resonates with this story as a queer woman, and that she is stuck in her own attic - her closeted life - and she wants to burn it all down (with Karma, imho).
The WAOLOM visuals
https://preview.redd.it/t65tjj0sq40d1.png?width=500&format=png&auto=webp&s=0b67556a1c3a40b003758021bfb3f2ea0bd621bc
https://preview.redd.it/z6an5k0sq40d1.png?width=500&format=png&auto=webp&s=5e94d7826f38733daf436aa64884dbbffba286b3
https://preview.redd.it/kzrelk0sq40d1.png?width=500&format=png&auto=webp&s=e781aa36535a50ba101d59a22f982f29aa741411
To me, this house either looks like the Lovers House or her childhood home - or it represents both, amalgamated. The reason I'm drawn to the Lovers House is because of the very obvious triangular imagery as we zoom in, showing her in the attic. She is also using a lot of mirrored images, something that's important when considering The Mad Woman in the Attic. However, it's also possible the Lovers house is drawn from her childhood home, which I have no doubt has been theorised before. Another alternative is through suppressed intergenerational trauma, Taylor is realising themes of her childhood home have been bleeding into her work.
The two houses for reference
https://preview.redd.it/figix1har40d1.jpg?width=500&format=pjpg&auto=webp&s=81f8f09ca909b246debbe72428e2dd64985f0f7c
https://preview.redd.it/5c2mnihar40d1.png?width=400&format=png&auto=webp&s=f73fb08b2cbd159b3d2f3377a1c96176f291d63f
The Mad Woman in the Attic
WAOLOM is directly related to mad woman, made very clear during the Eras tour (if it wasn’t already!) by the imagery.
Taylor is in the attic, the mad woman in the attic, which is also the title of a book by Sandra Gilbert and Susan Gubar analysing Victorian literature through the lense of Jane Eyre (Charlotte Brontë), and it's worth noting Taylor repeatedly makes references to Jane Eyre throughout Folklore and within mad woman. In Jane Eyre, Bertha Mason is locked in an attic by her husband Mr Rochester, and in the mad woman in the attic, Gilbert and Gubar use this as a frame of analysis to explore madness and angelicness in the works of Victorian women authors from a feminist perspective. The book examines work from Charlotte and Emily Brontë, Emily Dickinson, Virginia Woolf, Mary Shelley, Elizabeth Barrett Browning, and Christina Rossetti. What do all of these women have in common, beyond being literary authors? They’re all rumoured, or essentially confirmed (in the case of Christina Rossetti and Emily Dickinson) of being queer, particularly lesbian. It is a very key and formative piece of feminist literature.
The premise of the book is the authors explore how women writers were forced to make the women in their books one of two things: angel, or monster. They argue this is imposed by a “reductionist, patriachal view of women’s roles”; they have, from what I understand, received some critisism for not saying the quiet part out loud here: under cisheteronormative patriachy, women are defined in relation to, by and for men – - and so lesbians and lesbian identity is alienated, hidden, erased. The book does not make the obvious connection here - these writers were forced to closet themselves for their own protection in Victorian society. Gilbert and Gubar draw on what Virginia Woolf said for their argument: “[women writers] must "kill the aesthetic ideal through which they themselves have been 'killed' into art". Let’s not forget here, the connections between WAOLOM and Who’s Afraid of Virginia Woolf, posts on this sub with this theory here from u/throw_ra878, here from u/slejeunesse and here from u/AliceStanleyJr. Gilbert and Gubar do argue that men originally set up the dichotomy of female characters as either pure, virginal, angelic or rebelillious, mad, ‘hysterical’. A direct quote that jumped out from me from the Preface is “for just as women have been repeatedly defined by male authors, they seem in reaction to have found it necessary to act out male metaphors in their own texts, as if trying to understand their impliciations.” Indeed.
Crucially, the book describes “a female schizophrenia of authorship” or a “split”: as a representation of themselves, authors would write, process and act out their own suppressed nature and emotions through the process of ‘employed mirrors’; and thus create the image of the mad woman. A direct quote: "these madwomen emerge "over and over again from the mirrors women writers hold up both to their own natures and to their own visions of nature,"..."they appear from a silence in which neither [they] nor [their] author[s] can continue to acquiesce"". The book fails to really dig into this silence: the silence, and the common nature, is that of holding a queer or lesbian identity, and all of these women were forced to suppress it. This draws me to the lesbian memoir from Glennon Doyle, Untamed, in which she talks of how suppressing your true, queer self leads to sickness and ill-health, including mental health issues, and Taylor has links to this book too - she has credited it as being a "huge help" during 2020.
I will say, it is hard to miss what Gilbert and Gubar are getting at, especially is queer, or even only familiar with just two or three of these authors work (which we know Taylor is); it's natural to ascertain that what these women were hiding was their queerness, and this is specifically a consequence of cisheteronormative society. It is also a widely discussed critisism.
I can’t think why Taylor could be drawing from a text like this…
mad woman and Jane Eyre
A lot of Folklore is littered with references to Jane Eyre, that lots of people have noticed. A really good summary of all the references in Folklore can be found here from @/Karisma Takhar on medium. Here is what they wrote about man woman and references to Jane Eyre
"The Jaye Eyre references continue in ‘mad woman’, the track title a reference to who the literary world now refers to as the ‘Madwoman in the Attic’ thanks to Sandra Gilbert and Susan Gubar. On Jane and Mr Rochester’s wedding day, it is revealed the latter is married to Bertha Mason, whose mental health deteriorated rapidly after the wedding. Mr Rochester decides to lock his wife away in the attic of their home, leaving Grace Poole to care for her, though Grace’s drinking occasionally leads Bertha to escape and roam the hallways. She rips Jane’s wedding veil in half the night before the wedding, an incident Mr Rochester blames on one of maids. When Mr Rochester formally introduces his wife to Jane, she ‘scratched and growled like some strange animal’; Taylor makes similar statements in the song, likening the ‘mad woman’ to both a scorpian and a bear in its defence."
I think this makes it incredibly likely Taylor is not just drawing from Jane Eyre but she is aware of how her sub-conscious suppressed is spilling out into her work, and she is choosing to deliberately make this bigger and louder.
I think the strongest links to this theory are 1989 onwards, which I believe is partly linked to Karma the lost album, the album I do believe is going to 'burn it all down' in order for Taylor to rebuild as an artist who is out and proudly queer.
Here are some lyrics which link to this theme of the 'mad woman, with themes of madness, craziness, rebellion and hysteria - and a process of ‘splitting’ in Taylor’s work, where her suppressed desires come through in her lyrics, leading to consistent themes of madness:
· Treachourous (Red): "This slope is treacherous, this path is reckless, this slope is treacherous, and I, I, I like it"
· Say Don’t Go (1989): “the waiting is a sadness, fading into madness, oh no, oh no, it won't stop, i'm standin' on a tightrope alone, I hold my breath a little bit longer, halfway out the door, but it won't close”
· I Did Something Bad (Reputation): "I never trust a narcissist, but they love me, so I play 'em like a violin, and I make it look oh so easy, 'Cause for every lie I tell them, they tell me three, this is how the world works" / "I can feel the flames on my skin, crimson red paint on my lips, if a man talks shit, then I owe him nothing, I don't regret it one bit, 'cause he had it comingThey say I did something bad, then why's it feel so good?" / "And I let them think they saved me" / "You gotta leave before you get left" / "They're burning all the witches, even if you aren't one, they got their pitchforks and proof, their receipts and reasons, they're burning all the witches, even if you aren't one, so light me up (light me up), light me up (light me up), light me up, go ahead and light me up (light me up)"
· Look What You Made Me Do (Reputation): "But I got smarter, I got harder in the nick of time, honey, I rose up from the dead, I do it all the time, I got a list of names, and yours is in red, underlined, I check it once, then I check it twice" / "I don't trust nobody and nobody trusts me, I'll be the actress starring in your bad dreams"
· End Game (Reputation): "“I hit you like, "Bang", we tried to forget it, but we just couldn't, and I bury hatchets but I keep maps of where I put 'em, reputation precedes me, they told you I'm crazy”
· Getaway Car (Reputation): "It was the best of times, the worst of crimes, I struck a match and blew your mind, but I didn't mean it, and you didn't see it, The ties were black, the lies were white, In shades of gray in candlelight, I wanted to leave him, I needed a reason, "X" marks the spot where we fell apart, he poisoned the well, I was lyin' to myself, I knew it from the first Old Fashioned, we were cursed, we never had a shotgun shot in the dark" / "There were sirens in the beat of your heart, should've known I'd be the first to leave, think about the place where you first met me, in a getaway car, no, they never get far, no, nothin' good starts in a getaway car, It was the great escape, the prison break, the light of freedom on my face, but you weren't thinkin' and I was just drinkin', while he was runnin' after us, I was screamin', "Go, go, go!", but with three of us, honey, it's a sideshow, and a circus ain't a love story, and now we're both sorry", "We were jet-set, Bonnie and Clyde, until I switched to the other side, to the other side, it's no surprise I turned you in, 'Cause us traitors never win"
· The Man (Lover): “they paint me out to be bad, so it's okay that I'm mad, I'm so sick of running as fast as I can, wondering if I'd get there quicker if I was a man (you know that), and I'm so sick of them coming at me again (coming at me again)” “I’m so sick” is repeated 8 times, which just so happens to be the number representing infinity.
· The Archer (Lover): "Combat, I'm ready for combat, I say I don't want that, but what if I do? 'Cause cruelty wins in the movies" / "I've been the archer, I've been the prey, who could ever leave me, darling? But who could stay?" / "And I cut off my nose just to spite my face, then I hate my reflection for years and yearsI wake in the night, I pace like a ghost, the room is on fire, invisible smoke, and all of my heroes die all alone"
· The Last American Dynasty (Folklore): “Holiday House sat quietly on that beach, free of women with madness, their men and bad habits, and then it was bought by me, who knows, if I never showed up, what could've been, there goes the loudest woman this town has ever seen, I had a marvelous time ruinin' everything”
· Seven (Folklore): “I think your house is haunted, your dad is always mad and that must be why, and I think you should come live with, me and we can be pirates, then you won't have to cry, or hide in the closet, and just like a folk song, our love will be passed on, please picture me, in the weeds, before I learned civility, I used to scream ferociously, any time I wanted”
· mad woman obviously, just the whole thing!
· Champagne Problems (Evermore): ““This dorm was once a madhouse”, I made a joke, "Well, it's made for me"” // “"She would've made such a lovely bride, what a shame she's fucked in the head, " they said, but you'll find the real thing instead, she'll patch up your tapestry that I shred”
· Anti-Hero (Midnights): “Midnights become my afternoons, when my depression works the graveyard shift, all of the people I've ghosted stand there in the room” / “I should not be left to my own devices, they come with prices and vices, I end up in crisis (tale as old as time)” / Did you hear my covert narcissism I disguise as altruism, like some kind of congressman? (Tale as old as time), I wake up screaming from dreaming, one day I'll watch as you're leaving”
· WAOLOM ofcourse, just the whole thing.
Interestingly, Taylor's references to virtue, or themes of angelic, virginity, are pre-1989.
· Hey Stephen (Fearless): "'Cause I can't help it if you look like an angel, can't help it if I wanna kiss you in the rain, so come feel this magic I've been feeling since I met you, can't help it if there's no one else, mmm, I can't help myself"
· White Horse (Fearless): "Say you're sorry, that face of an angel, comes out just when you need it to, as I paced back and forth all this time, 'Cause I honestly believed in you, holdin' on, the days drag on, stupid girl, I should've known, I should've known, that I'm not a princess, this ain't a fairy tale, I'm not the one you'll sweep off her feet, lead her up the stairwell, this ain't Hollywood, this is a small town, I was a dreamer before you went and let me down, now it's too late for you and your white horse, to come around"
· The Lucky One (Red): "New to town with a made-up name, in the angel's city, chasing fortune and fame, and the camera flashes make it look like a dream" I think this whole song is really interesting to read when considering this idea of beasts versus angels, madness versus virtue, and the idea of her having been sold a lie.
In Summary
Taylor is using imagery of herself in an attic to imply she is aware her true self, her closeted and suppressed self, is coming through in her music, and she is saying she directly relates to Jane Eyre - she feels trapped by her closeted life, by the "1950s shit they want from me", she wants to be free, healthy, out. She is telling us all that these themes of madness are a direct result of all she is suppressing, a direct result of living in a cisheteronormative patriachy, and it is stifling her, ruining her life.
Taylor has got to a stage where she is now deliberately referencing queer media, authors and literature, knowing full well it will be looked into. These consistent themes are not accidental; she is saying through her art and her music that she is queer and she doesn't want to hide it anymore. I partially think a lot of the themes of death are about how she doesn't want to die in the closet and her work be analysed years later, to them be summarised as possibly gay later on. She wants to be known, now, as queer, as her true self, to cure her sickness of suppression.
She is also implying she is an unreliable narrator and there are certain parts of her music you can't trust at face value; that she is suppressing a huge part of herself and it is presenting in her lyrics, it is filled with queer closeted trauma and comphet as a manifestation of the suppression of her true identity, and she needs people to know.
I truly think she is ready to burn it all down, with Karma. In the words of Taylor, "all I think about is Karma".
submitted by Funny-Barnacle1291 to GaylorSwift [link] [comments]

2024.05.13 05:38 user101604371 if you're considering Science One...

Disclaimer: This post is merely to provide knowledge, and not to instruct you to do anything. Your choice whether to choose the Science One program at UBC or not is completely up to you. I hope this helps in making an informed decision.
I just thought I would contribute to the existing public knowledge of the Science One program already on Reddit here: https://www.reddit.com/UBC/comments/ec95t4/for_anyone_interested_in_science_one/ My post assumes you already did basic research on the program and aims to contribute more knowledge that isn’t publicly available yet (here is the Science One website: https://scienceone.ubc.ca)
I am an alumni in the 2023-2024 cohort, but just a disclaimer that a few things will change in the program in the years to come (see below):
Just a few small updates to the previous Reddit post:
Note about grades: While Science One is promoted as a program where the students care more about knowledge than grades, while this is very true in my personal experience, I still think that grades played a large impact on our mental health, confidence, and our overall enjoyability of the first year experience. The reason I am including grades here is to allow you to have reasonable expectations about your grades and know that if you want to go into a very competitive specialization in second year, Science One may not be the right program for you. Note that the grades published on UBC grades (https://ubcgrades.com) is not representative of the actual class average. There is a policy where if a student failed two or more subjects in Science One, the credit for Science One will be broken down into its individual course components and the student will not appear to have been in Science One (it doesn’t show Science One on their transcript, rather the rough course equivalents). This raises the apparent class average reported. In my year, 3 people were removed, which changed the class average from 75% to 77%.
Alright, with that out of the way, I will be filling in the gaps of public knowledge specifically with the workload of Science One. Below is a (hopefully) unbiased perspective on Science One. My personal opinion will be stated later in this post.
Biology
Note: both of our biology professors (Pam Kalas and George Haughn) are no longer teaching in the program, so this subject may look very different
Overall: 3-10 hours of work per week depending on your thinking speed and how busy that week’s schedule is
Class average over the year: 71%
Term 1 Units: Great Bear Rainforest, Metabolism, DNA, Gene Expression, Genetics
Term 2 Units: Genetics (Continued); Phylogenies, Speciation, Population and Community Dynamics; Macromolecular Self Assembly; Regulation of Gene Expression; Biological Energy Transformation
Biology Tutorials
Chemistry
Note: One professor is no longer teaching in Science One (John Sherman), but the other is staying (Guillaume Bussiere), so this may be different in your year
Overall: 2-5 hours of work per week depending if there’s quizzes or assignments that week
Class average over the year: 75%
Term 1 Units: Chemical Bonding and Basics, Conformations, Stereochemistry, Thermodynamics, Electrochemistry
Term 2 Units: Kinetics, Quantum Chemistry, Intermolecular Forces (not really a whole unit, more like a supplementary lecture), Valence Bond Theory and Molecular Orbital Theory, Acid Base Chemistry, SN1 and SN2 Reactions
Chemistry Tutorials
Chemistry Labs (Chem 121, Chem 123 equivalents for term 1 and 2 respectively)
Overall class average (I forgot): around 85%
Physics
Overall: around 2-5 hours of work per week depending on if there’s quizzes, long assignments, or assignments
Class average over the year: 76%
Term 1 Units: Measuring and Modelling Motion, Motion and Conservation Laws, Thermodynamics, Rotational Motion, Special Relativity
Term 2 Units: Waves, Quantum Mechanics, Electrostatics, Circuits, Magnetism and Magnetic Fields, Stellar Nucleosynthesis
Physics Tutorials
Physics Labs (Phys 119, Phys 129)
Class average (I forgot): around 85%
Mathematics
Overall workload: around 3-6 hours per week depending if there’s assignments, and midterms that week
Class average over the year: 72%
Term 1 Focus: Derivatives and ODE’s
Term 2 Focus: Integration
Term 1 Project (partnered)
Overall workload: around 1 hour per week, but can be up to 4 hours when preparing for the presentation
Class average: around 85%
Term 2 Project (partnered)
Overall workload: anywhere from 0-8 hours a week depending on the complexity of the project
Class average: 75%
Summary
With that in mind, I want to provide some pros and cons of Science One:
Pros
Cons
Personal Opinion
While I did enjoy Science One at the start of the school year because of the pros mentioned above, over the school year, I started taking an interest in a competitive major, which put a lot of stress on myself to achieve high marks. It almost felt like no matter how hard I tried and how well I thought I knew the topic, my mark was going to be low anyways because the way the content is tested. I feel like I shot myself in the foot when it comes to getting into my major as the application process is completely based on grades.
While I don’t know if I would have done better in mainstream (I probably wouldn’t have had as many friends, and therefore my mental health would be worse, and possibly it means that I don’t have as much motivation), I definitely think that I could have done better in mainstream if I had the same motivation I do now as their way of testing and marking may be a lot more lenient. However, I am almost certainly sure that if my cohort were placed into mainstream classes in first year, we would have achieved much higher grades than we did in Science One. However, I don’t know if being in Science One could have an effect on my performance in the years to come. I do acknowledge that over the year, I was able to develop really good study habits to manage the workload and also learned to prioritize my health, which will be beneficial in the future.
However, I have also noticed that there are some “hell weeks”, where we absolutely feel like dropping out. In both terms, after term 1 and 2 conferences, where we were away at camp for the weekend (we didn’t have the weekend to do schoolwork), there was a week where there were many overlapping assessments, such as math midterms, chemistry quizzes, math assignments, and chemistry assignments, etc. These are the assessments that ended up having class averages which were below expectations, which I feel wasn’t our fault at all.
In fact, we were burnt out, but because of our wonderful Student Council, we were able to have some assignments pushed back to alleviate some of our workload and reduce burnout. Special thanks to our chemistry professors, as they were always open to planning the chemistry quizzes on days that weren’t as bad for us, and even asked us which day we wanted the quizzes. I can tell they really care about our wellbeing and our performance.
In addition, even though Science One is marketed as being prestigious, most of the people I talk to don’t even know what Science One is, and the few who do know it, know it for its intensive nature and harsh marking scheme. There is no special treatment for Science One graduates that I know of except for the occasional “wow how did you survive?”.
Generally, I don’t regret doing Science One, but if I had the chance to restart first year, I would have chosen to go the mainstream route. I feel I would have been a lot less stressed and have gotten much better grades. However, I did meet so many motivated and amazing people this year, and have generally enjoyed some aspects such as camp. Unfortunately, because of my desired major, I have seen Science One as something that may have limited my options in the future.
Do I think Science One is for you?
These are my personal opinions and please don’t take this section as the final decider for you. Be sure to do more research!
To succeed in Science One, talent can only go so far. At some point you will be challenged academically, and you will doubt yourself. But what follow is what really determines if you are a good fit for Science One. If you want to give up and do something easier, go to mainstream. If you want to persevere and to learn more, Science One may be the right choice for you. If just you want the prestige of Science One, don’t do Science One, it is not as well known as their website may make it seem. If you want to go into Computer Science, Science One may not be for you since it has little connection to Computer Science and really lowers your mark.
If you really are hard set on a competitive major which requires high marks, consider mainstream, since it is very rare and very very difficult to do well in Science One. If you really love to learn more difficult concepts, have a tight community to be by your side, to have good connections to your professors, to get some research experience, AND grades aren’t a huge concern for you, Science One is for you.
Again, take my opinion with a grain of salt. You are ultimately the right person who can make the right choice for yourself. You know yourself the best. I hope this helped and I wish you all the very best in your studies, whether you decide to go Science One or not. Feel free to DM me or reply below if you have any further questions :)
submitted by user101604371 to UBC [link] [comments]

2024.05.13 01:21 andersonandy3423 pay someone to take my statistics exam Reddit

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submitted by andersonandy3423 to Statisticshelpers_ [link] [comments]

2024.05.12 23:15 thenetherrealm Would you be interested in an analysis of Eurosong lyrics?

I refuse to foist my random hobby on people who aren't interested, so I'll ask instead!
I loved English in school, especially poetry analysis. This has carried over to a hobby in my adult life of analysing lyrics of new songs. I have already done it with a few Eurovision songs, and it has given me new levels of appreciation for the songwriters behind the songs.
Would people here be interested in reading these analyses?
submitted by thenetherrealm to eurovision [link] [comments]

2024.05.12 20:31 approachenglish English Grammar Class 6 Topics Syllabus CBSE ICSE (2025)

English Grammar Class 6 Topics Syllabus CBSE ICSE (2025)
English Grammar Class 6 Topics Syllabus CBSE ICSE (2025)
In the academic year 2025, Class 6 students across various educational boards will delve into the intricacies of English Grammar. Understanding the syllabus is crucial for students to excel in language proficiency and academic performance.

Importance of Understanding English Grammar at an Early Age

Grasping English Grammar concepts at a young age lays a strong foundation for effective communication and academic success. Early exposure to grammar aids students in writing coherent essays, improving comprehension skills, and achieving higher grades in exams.

Topics Covered in Class 6 English Grammar CBSE, ICSE, Other State Boards (2025)

In Class 6 English Grammar syllabi for 2025, CBSE, ICSE, and other State Boards cover the following grammar topics:
1: The Sentences
2: Subject and Predicate
3: Nouns
4: Singular Plural Nouns
5: Gender
6: Nominative Accusative Possessive Case
7: Pronouns
8: Verbs
9: Modal Auxiliaries
10: Adjectives
11: Degrees of Comparison
12: Adverbs
13: The Simple Tense
14: The Continuous Tense
15: The Perfect Tense
16: Phrases and Clauses
17: Prepositions
18: Conjunctions
19: Articles
20: Subject Verb Agreement
21: Active and Passive Voice
22: Direct and Indirect Speech
23: Punctuation Marks and Capital Letters

Overview of CBSE and ICSE Syllabus for Class 6 English Grammar

Comparing the syllabi provided by CBSE and ICSE reveals similarities and differences in the focus and structure of English Grammar education. While both boards emphasize language skills development, CBSE tends to have a broader approach, covering reading, writing, and grammar, whereas ICSE places more emphasis on language proficiency and composition.

Detailed Breakdown of CBSE Syllabus

CBSE's syllabus for Class 6 English Grammar includes comprehensive coverage of reading skills, writing skills, and grammar concepts. Students engage in activities such as comprehension passages, essay writing, and grammar exercises to enhance their language proficiency.

Detailed Breakdown of ICSE Syllabus

In contrast, ICSE's syllabus focuses on language proficiency and composition, with an emphasis on literary analysis and creative writing. Students explore various literary genres, practice writing different types of compositions, and delve into advanced grammar concepts.

Key Topics Covered in Class 6 English Grammar

Key topics covered in Class 6 English Grammar include parts of speech, sentence structure, tenses, punctuation, and comprehension skills. Mastering these topics is essential for effective communication and academic success.

Tips for Effective Learning of English Grammar

Students can enhance their grammar skills through regular practice, active reading, writing exercises, and seeking feedback from teachers or peers. Utilizing online resources, grammar apps, and participating in grammar games can also facilitate learning.

Resources for Further Practice

Additional resources such as websites like approachenglish.com, grammar books like "Wren & Martin," and online platforms like Grammarly provide students with opportunities for further practice and consolidation of English Grammar skills.

Conclusion

In conclusion, understanding the English Grammar Class 6 Topics Syllabus CBSE ICSE (2025) is paramount for students' language development and academic success. By mastering grammar concepts, students can communicate effectively, excel in exams, and prepare for future opportunities.

Get the Class 6 English Grammar Book

submitted by approachenglish to u/approachenglish [link] [comments]

2024.05.12 19:01 lambchopsuey Deconstructing the "discussion meeting" performance - "the staged character of discussion meetings" - illuminates why SGI is failing and how far it has deteriorated

This analysis comes from Cults and Nonconventional Religious Groups: A Collection of Outstanding Dissertations and Monographs, "Shakubuku: A Study of the Nichiren Shoshu Buddhist Movement in America, 1960-1975", David A. Snow, 1993, pp. 171-179.
I'll try to shave it down, because it's a long section, but he masterfully dissects the manipulation and artifice involved in the "discussion meetings" of then-NSA (now SGI-USA). You'll recognize the fakery he identifies - this is the nature of the Dead-Ikeda-cult SGI, a completely dishonest and exploitative cult.
It is at these discussion meetings, then, that NSA gets on with the real work of promoting and securing nominal conversion, of attempting to get recruits to take the first major step toward conversion by agreeing to receive a Gohonzon and to give chanting a try.
In those days, the nohonzon was issued up front (for a fee, of course - cash on the barrelhead).
And since gaining converts is, in large part, what this movement is all about, "nothing is more basic to the activities of NSA," as noted in the Winter edition of the 1975 NSA Quarterly, "than the discussion meeting." Or, as one district leader emphasized when discussing the importance of these meetings: "Discussion meetings are indispensable to the spread of the practice and the attainment of Kosen-rufu."
If you've ever felt confused at how sitting around someone's living room with the same bunch of losers month after month is doing anything toward the SGI's supposed goals of "world peace" or anything at all, actually, besides wasting the participants' time, I think what's described here will make it clearer what the original intent and purpose of these "discussion meetings" was, AND how far from that the current SGI "activities" have fallen.
The Character and Organization of These Meetings from a Sociological Standpoint
Given the purpose and importance of these discussion meetings, the question arises as to how they are organized and brought off in a strategic manner. In other words, what is the underlying strategy guiding this work of securing nominal conversion, and what are the kinds of tactical adjustments made at the line of scrimmage when the plan of attack does not appear to be advancing the group toward its goal of getting guests to agree to give chanting a try.
It's not enough that the "guests" say they'll try it; by the end of this ordeal, they'll say absolutely anything to get themselves to the other side of that door! What they really want is enough interest and desire on the part of those "guests" that they'll come back - and ideally become regularly attending members (as described in this indoctrinational creative writing fiction where a career Catholic priest is so entranced with the fictional (non)discussion meetings that he JOINS the SGI!! You'll notice that there is never any room within SGI to even mention one of THEIR SGI leaders who joins a Baptist church, for example, much less to celebrate such a stepping-out-of-line. But it's always FINE for other religions' leaders to see the obvious superiority of the SGI, knowmsayin?
In order to answer these question [sic] in a sociological manner, let us step out of the shoes of a guest and into those of a sociological [sic] with insiders' knowledge.
The Strategy of Theatrical Persuasion. Although members and the movement's literature like to characterize these meetings as being forums for free and open discussion and the spontaneous expression and flow of happiness and excitement, they are a far cry from gatherings characterized by spontaneity and unstructured discussion and interaction. Rather, they are meticulously planned and highly orchestrated meetings that can be best conceptualized, from a dramaturgical perspective, as theatrical-like presentations staged and conducted by a set of individuals (NSA members) who not only work together as a team but whose intimate cooperation is expected and required in order to foster and sustain a convincing impression or definition of the situation in the eyes of the audience (the recruits or guests).
Although the staged character of these meetings is seldom readily discernible to the unsuspecting guest, the appropriateness of conceptualizing these meetings in this way is suggested by the following considerations. First, the purpose of the meeting, as already indicated, is to sell guests on the idea of chanting, to so impress them that they feel compelled to give this practice call [sic] chanting a try.
Secondly, there is a division of labor such that all members have one or more roles to play. These various roles include the leadership role, the role of emcee, a general, overarching supportive role, and several more specific supportive roles, such as the role of giving an explanation of what NSA is all about, the role of a song leader, and the role of giving testimony. And even more significantly, members are provided with fairly detailed instructions, or, in the language of the theater, with scripts indicating what each role involves and how best to perform or play it.
There's a list of these roles. At the discussion meeting planning meeting, the attendees go down the list and simply plug different members' names into the worksheet.
The main leadership role, assumed by the district chief or, in his absence, the assistant district chief, includes, for example, the tasks of leading the chanting in a vigorous manner, conducting the question-and-answer session, meeting with each of the guests, and providing an inspirational role model for the other members. In performing these tasks, the leader is reminded that rather than putting on the air of a great sage, he should make a point of displaying great vitality, warmth, and compassion. Furthermore, he is expected "to be able to give clear explanations of the philosophy and practice," and is instructed to "always tailor his answers and encouragement to the audience."
Answers should always be tailored to the audience. If the guests are young, then the answers should include examples they can relate to. If the questions are too mystical or one-sided, the leader must have the wisdom to change the subject or break off the question-and-answer period diplomatically.
Blanche described how in her first district, the WD District leader instructed everyone that, if someone in the meeting was going on too long or rambling or whatever, that they should just start clapping wildly and shouting, "Congratulations!!" and then the MC would just move on to the next topic on the agenda. Reeeeal "spontaneous" there...
The emcee role is also regarded as particularly important, so much so that "the success of the meeting" is said to be contingent on how well it is performed. In fact, "so much depends on the emcee" that the discussion meeting is described for him as "a battleground in which he must struggle to bring victory to the members."
Barf. How far SGI has fallen! Now the goal is to see if there's some young teen in an SGI member's family who can be press-ganged to show up and read the agenda - their youth in and of itself is supposed to "encourage" everyone! Forget about all that "struggle" nonsense - they aren't gonna. This illustrates the SGI's current "form over function" approach, in which they just identify someone and pressure that person to do it, rather than the ideal candidate volunteering from a spirit of...oh, whatever - see above paragraph 🙄 Ideally, there would be SEVERAL young people positively brimming with passion and youthful energy who would be vying to be chosen: "Me! Let ME do it this time!" "No! ME!" "Choose ME!!" Instead, now it's just some tired old fart who agrees to do it, just to get this over with and there's no one else.
Specific responsibilities include setting "the gears fo the meeting in motion" and keeping the meeting going in a rhythmical and orderly manner.
You have to wonder just how crazy they envision these (non)discussion meetings might go - will a spontaneous rave break out if it isn't carefully controlled? An unpermitted parade? A frenzy of liturgical dance?? WHAT might happen??? Enquiring minds want to know!!
The emcee must develop the ability to keep the rhythm of the meeting going by making sure that there are no pauses or interruptions. If someone is causing a disorder, he should quiet the person in a polite manner. If a baby starts crying, he should see to it that either the mother or one of the young women at the meeting takes the child to another room to calm it down.
Gendered. Misogynist.
The emcee is also charged with being "the eyes and ears of the person leading the meeting."
Before and during the meeting, he should watch guests, be on the lookout for disruptions, and in general, be aware of everything that's happening. He should inform the person leading the meeting how many guests are present and whether they are young or old, so the leader can set the rhythm of the meeting accordingly.
Yeah. NO 😄 WOW but it's been a LONG TIME since any SGI sales pitch-based recruiting session - I mean discussion meeting - had any characteristics that would fit the above instructions. Just no way. Not now. Now, it's the same old handful of longhaulers dragging themselves in to go through the motions - as usual. By rote.
In addition, the emcee is expected to talk, act, and appear in a manner that displays or exudes strength, confidence, vitality and neatness.
The emcee must speak in a vigorous, strong and clear voice, but not screaming. The way he sits, stands up and moves the table must display confidence.
This was when a small table would be moved in in front of the person who led gongyo, who would turn around to face the group. This is of course a Japanese norm, completely foreign to Westerners. How many people outside of Japan even have a low table like that, designed for someone who's sitting on the floor??
In fact, he should stand up smartly whenever he is talking. As for appearance, he should reflect the image of NSA - clean and neat clothes and personal grooming.
It has been a LOOOOOOOONG time since ANY SGI district could insist on these requirements! Now they're just lucky if they can get anyone younger than retirement age to read the agenda off, and the agenda is often handed to them right there at the meeting itself - fuhgeddabout all this "advance preparation" nonsense. Nothing happens at the SGI discussion meetings, so nobody's going to go to this much trouble just because.
And finally, the emcee is instructed to have the details of the meeting worked out and the setting in order before the meeting begins.
...as opposed to showing up and being handed a printed agenda to read off as SGI does it now.
The emcee must have a plan for the meeting. He should write up a schedule showing who will give the explanation, what songs will be sung, who will give experiences and so on, and present it to the leader at least two days prior to the meeting. The emcee must prepare for the meeting. He should check to see if the meeting place is clean and neat, that all lights work and there is an appropriate meeting table. Most of all, he should do Shakubuku for the success of the meeting.
Oh, like any of that's gonna happen! 🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣
Yes, things were VERY different back in the late 1960s-early 1970s, when the SGI organization in the US was still growing. As you can see, all this has been tossed right out the window.
A couple of items:
In fact, you can see a newly promoted leader doing exactly that, "chanting for the success of the meeting", here, from this same time period (early 1970s).
It's been a LONG time since any of this was happening, and you can clearly see in today's (non)discussion meetings how far things have deteriorated - and that's JUST the MC part! There's a bit about the demands on the members of the group - I'll skip to just this part:
As one district chief explained during a planning meeting for senior and junior leaders within the district and which I was invited to by one of my key informants:
Make sure to tell your members to chant in rhythm with the leaders. There shouldn't be any more than one rhythm. Everyone should be together so that there is unity. And remember to have them support the leader in whatever he says; the guests won't know whether he is right or wrong. So even if you don't agree with what is being said, act as if you do. this [sic] way there is unity at the meeting and the guests will be more impressed.
Wow, huh? It's completely dishonest and oriented entirely at flimflamming and bamboozling the "guests"!
Next there's a big section on "experiences", but I'm going to give that its own post because it's a WHOLE topic on its own. Hopefully today! But Ima skip ahead a bit, to p. 177:
A fourth indication of the staged character of discussion meetings is provided by the fact that planning meetings are held at both the district and chapter level for the purpose of discussing how to improve discussion meetings and make them more successful. Although rank-and-file members (those who have not attained that status of a junior or senior leader) are not normally invited to these planning meetings, I was able to attend several of them at the invitation of both my district chief and a junior leader who was one of my key informants.
SKULLDUGGERY!! 💀
It was during these planning meetings that I became deeply sensitized to the highly orchestrated and dramaturgical character of not only the discussion meetings but of NSA's overall operation.
At this point it's important to remember that "dramaturgical" means "relating to the art or the theory of writing and putting on plays, especially for the theater" - it's all putting on a show to manipulate the unwitting guests in order to trick them into transforming into new recruits. It's ALL fake - just a façade to fool the uninformed.
A fifth consideration suggesting that staged character of discussion meetings is the fact that much of what members do and say, both verbally and nonverbally, during the course of a meeting is to appear natural and spontaneous rather than artificial and contrived.
They try. Unconvincingly.
In other words, these meetings are not to appear as staged performances or as the product of dramaturgical cooperation. This concern is evidenced by the emphasis placed on exuding sincerity and responding to calls from the emcee and to what the leader says and does with alacrity and enthusiasm. It is also suggested by some of the rituals engaged in by the emcee, as when he scans the gathering after he has called for an experience so as to foster the impression that whom he calls is a spontaneous decision rather than one that has been pre-arranged, as indicated by the fact that those called on are already listed on his meeting agenda and by the fact that members frequently know beforehand whether they will be giving an experience.
This fakery apparently was dropped decades ago; in current SGI (non)discussion meetings, not only is the person acknowledged by name as delivering/"sharing" an "experience", but the person often has it written out on a piece of paper they semi-read off.

But none of this is evident to the guest.

Rather, what transpires - who gives the explanation, who gives testimonies, and so on - is staged in such a way that it all appears as if it is spontaneous and independent of prior planning, negotiation, and decision-making among the members. As a consequence, it seems reasonable to suggest that NSA in general and the district members in particular have something of the character of a secret society.
Only without any special perks or sexiness.
This is not particularly surprising, however, when considering the nature of theatrical-like teamwork. As Erving Goffman noted in his seminal discussion of this kind of work:
... if a performance is to be effective it will be likely that the extent of cooperation that makes this possible will be concealed and kept secret... The audience may appreciate, of course, that all members of the team are held together by a bond that no member of the audience shares ... But (the members of the team) form a secret society ... insofar as a secret is kept as to how they are cooperating together to maintain a particular definition of the situation.
This will all be very familiar to the people trying to recruit new suckers into MLM schemes/scams, too.
The sixth and final consideration suggesting the appropriateness of viewing these meetings from a dramaturgical perspective is the fact that they do not "go on" unless there is an audience, that is unless guests are in attendance.
Before Ikeda was excommunicated by Nichiren Shoshu and transformed the SGI into his own personal worship society, there was a certain "rhythm" to the year. February and August were "Shakubuku Months", and there was an "introductory meeting" scheduled every week. If it came to meeting start time and there was no "guest", the meeting was halted and everybody was sent out to try and find something with a pulse to drag in, at which point the meeting would proceed:
When I first discovered this I was somewhat startled, for I had assumed that these meetings were conducted in their entirety regardless of the presence or absence of a new face. But as I learned one evening, this is not the case. Following the chanting session on this particular evening, the leader emphasized that since these meetings were for guests and none were present, we would have to go out and round up one or two. So the members in attendance were divided into Shakubuku teams and sent out in search of prospects. Although three of the four teams returned empty-handed, one had managed to corral a single guest. But one is all that is needed; and so the formal meeting began as usual.
For "formal meeting" read "sales pitch". By the late-1980s, perhaps earlier, instead of being every discussion meeting, this format was restricted to the "introductory meetings" during the Shakubuku Months. However, he's describing something that happened every single time. No meeting unless a "guest" was present.
During my tenure as a member I saw this particular scenario re-enacted on four different occasions, and on one occasion we were sent back into the streets three times in succession. Around 8:30 p.m., after the third try and with one guest in hand, the show finally got on the road.
The author describes himself as "an active participant observer for nearly a year and a half".
Perhaps even more illustrative of the theatrical character of these meetings and the fact that they are staged for guests is the following course of events that transpired one evening during a meeting I attended:
Although no guests were present when the chanting began, a young couple came in toward the end of the chanting session and situated themselves on the floor at the back of the room. But apparently the emcee didn't notice them; for upon completion of the chanting session he didn't jump up and yell out: 'Welcome to a vigorous and happy meeting of the [name here] District of NSA!' But the district leader, who had apparently seen this couple come in, punched the emcee in the ribs and whispered that some guests were present. And so this member immediately assumed his role of the emcee and proceeded as usual by springing to his feet, putting on a big smile, and blurting out, 'Welcome to a vigorous and happy meeting of the [name here] District of NSA!'
"Vigorous and happy" 🤣
In light of the foregoing considerations and observations, there seems to be little question about the appropriateness of conceptualizing NSA discussion meetings as "shows" or presentations staged by the members, who constitute a performance team, before an audience composed of recruits or "guests".
This was what was going on BEFORE Dickeda swanned into the US in 1990 and "changed our direction" - because of what Sensei did, the bottom fell out of the discussion meetings. Instead of weekly meetings, Dickeata dictated that these meetings would only happen monthly from now on - and of COURSE Die-Sucky Scamsei's word is LAW in his own cult of personality, where the membership follows a PERSON instead of any "law". Post-excommunication, at the (non)discussion meetings I attended, there was at least one guest every single time, but they never came back. The ONLY person I saw join post-excommunication was a formerly homeless woman with two small children who had moved in with an SGI member (who had unethically selected her at the abused-women's shelter she was living at, where he volunteered computer classes for the residents). She was able to see it didn't work; she ended up quitting.
Now what SGI-USA is left with is an ever-shrinking membership of mostly Baby-Boom generation and older individuals who mostly joined during the time period described in this study. SGI has completely lost what vitality it once had; now it's simply waiting around for the grave - and oblivion.
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2024.05.12 16:09 adulting4kids Literary Devices Thesis Topics

  1. Thesis: The Power of Epistrophe in Shakespearean Tragedy
  1. Thesis: Anadiplosis as a Tool for Moral Reflection in Victorian Literature
  1. Thesis: Aposiopesis in Gothic Fiction: Unveiling the Unspeakable
  1. Thesis: The Rhetorical Force of Epizeuxis in Lincoln's Gettysburg Address
  1. Thesis: Chiasmus in F. Scott Fitzgerald's "The Great Gatsby": Symmetry and Disillusionment
  1. Thesis: Enjambment and Modernist Experimentation in T.S. Eliot's Poetry
  1. Thesis: Paraprosdokian in Oscar Wilde's Satirical Wit
  1. Thesis: Anaphora in Langston Hughes' Poetry: Giving Voice to the Harlem Renaissance
  1. Thesis: Hendiadys in Jane Austen's Social Commentary
  1. Thesis: Litotes in George Orwell's "1984": The Art of Understatement in Dystopian Discourse
Note: These examples are for illustrative purposes and provide a starting point for further exploration in literary analysis. It's essential to consult the actual texts and relevant scholarly articles for in-depth research.
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2024.05.12 06:43 tempmailgenerator Automating Email Notifications in Excel Based on Dropdown Selections

Streamlining Communication with Excel Automation

Excel's versatility extends beyond mere data organization and analysis; it also serves as a powerful tool for automating routine tasks, including sending emails. For professionals and teams relying on Excel for project management or tracking, the ability to automate email notifications based on specific triggers—like a selection from a dropdown menu—can significantly enhance efficiency. This functionality not only saves time but also ensures that critical updates or reminders are communicated instantly, reducing the risk of oversight. Imagine a scenario where project statuses or task assignments are updated in a spreadsheet, and corresponding notifications are automatically dispatched to the relevant stakeholders. This level of automation streamlines communication and keeps everyone aligned on the latest developments.
The process of setting up such automation involves writing and modifying VBA (Visual Basic for Applications) code within Excel. VBA allows for a high degree of customization, enabling users to define specific conditions—such as the selection of a particular option from a dropdown list—under which an email is sent. This can be particularly useful in scenarios where different team members or departments are responsible for various tasks or stages of a project. By customizing the VBA script, Excel can be configured to send emails to designated recipients based on the selected dropdown option, ensuring that the right people receive the right information at the right time. This introduction will guide you through the fundamental steps of modifying your Excel VBA code to automate email notifications, tailored to specific dropdown selections.
Command/Function Description
CreateObject("Outlook.Application") Creates an Outlook application instance for sending emails.
.AddItem Adds a new item, such as an email, to the Outlook application.
.To Specifies the recipient's email address.
.Subject Defines the subject line of the email.
.Body Sets the main text content of the email.
.Send Sends the email.
Worksheet_Change(ByVal Target As Range) Event procedure that triggers when changes are made to a worksheet.

Enhancing Excel with VBA for Email Automation

Automating email notifications based on dropdown selections in Excel is a transformative approach that leverages the power of VBA (Visual Basic for Applications). VBA, an integral part of Excel, allows for the creation of custom scripts that can interact with the data stored in spreadsheets in dynamic ways. By utilizing VBA, users can set up automated processes that react to changes within the spreadsheet, such as sending emails when a specific option is selected from a dropdown menu. This capability is particularly beneficial in environments where timely communication is crucial, such as project management, sales tracking, or customer service inquiries. Through the automation of such tasks, businesses and individuals can enhance their productivity, reduce manual errors, and ensure that vital information is disseminated promptly and to the appropriate recipients.
The implementation of email automation via VBA involves a few key steps: defining the trigger (e.g., a change in a cell containing a dropdown menu), crafting the email content, and specifying the recipient based on the selected dropdown option. This process often requires a basic understanding of VBA programming concepts, such as variables, control structures (if-then-else statements), and the use of the Outlook application object for sending emails. By customizing the VBA script to fit specific needs, users can create a highly efficient workflow that automates the process of sending out customized email messages. This not only streamlines communication but also significantly enhances the operational efficiency of using Excel for managing projects, tracking tasks, or handling any process that benefits from automated email notifications.

Automating Email Dispatch Based on Dropdown Selection

VBA in Microsoft Excel
Dim OutlookApp As Object Dim MItem As Object Set OutlookApp = CreateObject("Outlook.Application") Set MItem = OutlookApp.CreateItem(0) With MItem .To = "email@example.com" ' Adjust based on dropdown selection .Subject = "Important Update" .Body = "This is an automated message." .Send End With Private Sub Worksheet_Change(ByVal Target As Range) If Not Intersect(Target, Me.Range("DropdownCell")) Is Nothing Then Call SendEmailBasedOnDropdown(Target.Value) End If

Optimizing Workflow with Excel VBA Email Automation

Utilizing VBA (Visual Basic for Applications) to automate email notifications in Excel based on dropdown menu selections represents a significant leap in operational efficiency. This advanced feature of Excel allows users to create highly customized email workflows that can automatically respond to data changes within a spreadsheet. For instance, in a project management scenario, an update to a project's status in a dropdown menu can trigger an email notification to a project manager or team member. This not only ensures that all stakeholders are kept informed in real-time but also greatly reduces the manual effort required in communication processes. Such automation can be tailored to fit various business processes, from customer feedback loops to inventory management, making it an invaluable tool for enhancing productivity.
The process of integrating VBA for email automation involves accessing the developer tools in Excel, writing a script that captures changes in dropdown selections, and using Outlook or another email client for dispatching messages. This requires a foundational understanding of programming concepts and familiarity with Excel and email client interfaces. Nevertheless, once set up, this automation framework can dramatically streamline communication channels, ensuring that the right information reaches the right people at the right time. By leveraging Excel's powerful VBA capabilities, businesses and individuals can transform their data management practices into a more dynamic, responsive, and efficient system.

FAQs on Excel VBA Email Automation

  1. Question: What is VBA in Excel?
  2. Answer: VBA (Visual Basic for Applications) is a programming language provided by Excel for users to write custom scripts for automating tasks within Excel itself.
  3. Question: Can Excel send emails automatically?
  4. Answer: Yes, by using VBA scripts, Excel can automate the process of sending emails, allowing for dynamic communication based on spreadsheet actions.
  5. Question: Do I need any additional software to send emails from Excel?
  6. Answer: Typically, you would need Microsoft Outlook or a similar email client that can interface with Excel through VBA to send emails.
  7. Question: How can I trigger an email to send from a dropdown selection in Excel?
  8. Answer: You can write a VBA script that monitors changes in a specific cell containing a dropdown menu and triggers an email when a certain option is selected.
  9. Question: Is it possible to customize the email content based on the dropdown selection?
  10. Answer: Absolutely. The VBA script can be designed to customize the email's content, subject, and recipient based on the selected dropdown option.
  11. Question: Do I need advanced programming skills to set up email automation in Excel?
  12. Answer: Basic understanding of VBA and programming concepts is sufficient to start with simple email automation tasks, though more complex workflows may require advanced knowledge.
  13. Question: Can automated emails include attachments?
  14. Answer: Yes, VBA scripts can be configured to attach files stored on your computer or network to the automated emails.
  15. Question: How secure is sending emails through Excel VBA?
  16. Answer: While Excel VBA itself is secure, it's important to ensure that your email client settings and network security are appropriately configured to protect sensitive information.
  17. Question: Can I send emails to multiple recipients based on dropdown selections?
  18. Answer: Yes, the VBA script can be set up to send emails to multiple recipients, either by including them in the same email or sending individual emails based on the selection.

Empowering Efficiency and Communication with Excel VBA

As we delve into the intricacies of using Excel's VBA for email automation, it becomes clear that this feature stands as a powerful tool for enhancing operational efficiency and communication within various business processes. The ability to send automated emails based on specific conditions, such as dropdown selections, not only streamlines the dissemination of information but also minimizes the potential for human error. This level of automation supports a proactive approach to project management and customer engagement, ensuring that stakeholders are timely and accurately informed. Furthermore, the adaptability of VBA scripts allows for a high degree of customization, making it possible to tailor the automated email notifications to meet the unique needs of any project or organization. Embracing this technology can lead to significant improvements in productivity, collaboration, and overall workflow management. As such, mastering Excel VBA for email automation emerges as a valuable skill for anyone looking to optimize their use of Excel for more effective communication strategies.
https://www.tempmail.us.com/en/excel/automating-email-notifications-in-excel-based-on-dropdown-selections
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2024.05.12 02:29 geopolicraticus Wilhelm Windelband and the Place of History among the Sciences

Wilhelm Windelband

11 May 1848 – 22 October 1915
Part of a Series on the Philosophy of History
Wilhelm Windelband and the Place of History among the Sciences
Saturday 11 May 2024 is the 176th anniversary of the birth of Wilhelm Windelband (11 May 1848 – 22 October 1915), who was born in Potsdam on this date in 1848.
One way to understand Windelband’s contribution to the philosophy of history is to position his work in relation to the old question of whether history is an art or a science. Those who say that history is an art point out that history is expressed in a prose narrative, and that history, like poetry and drama, has not surpassed its ancient models. Thucydides marks a high point in history as Aeschylus marks a high point of tragedy.
Those who say that history is a science can cite the research and the evidence that history requires and that art does not. While the humanities today may have fallen away from a condition of previous excellence, when the curriculum for the humanities was as difficult and as rigorous as that of the sciences, but in a different way, there remains the possibility of the humanities as a rigorous discipline. A student in the humanities was once expected to master Greek and Latin, and, if his research took him into ancient history where Greek and Latin were no help, then he might also have to master ancient Assyrian or Aramaic, as well as the auxiliary sciences of history, like sigillography and vexillology, and so on. Among those who argue that history is a science, Leopold von Ranke is most frequently cited as the man who made history scientific, though Ranke’s methods of text criticism arguably extend back in time at least to the renaissance, when Lorenza Valla proved that the Donation of Constantine was a forgery. In any case, the study of language unified the humanities much as mathematics unifies the natural sciences.
Wilhelm Windelband was among those who argued that history is a science, but if you argue that history is a science, the next step is to say what kind of science it is, because it doesn’t seem to be a science like physics or mathematics. This is where Windelband made his lasting contribution. Windelband argued that history is a science, but that it is a peculiar kind of science.
Windelband was among the first to make a principled distinction between the physical sciences and the social sciences, or, if you prefer, between the natural sciences and the humanities. Windelband’s principled distinction within the sciences is his distinction between the idiographic and the nomothetic. As far as my knowledge extends, this distinction was given its first exposition in Windelband’s 1894 rectorial address as Strasbourg. Here is how he formulated it at that time:
“In their quest for knowledge of reality, the empirical sciences either seek the general in the form of the law of nature or the particular in the form of the historically defined structure. On the one hand, they are concerned with the form which invariably remains constant. On the other hand, they are concerned with the unique, immanently defined content of the real event. The former disciplines are nomological sciences. The latter disciplines are sciences of process or sciences of the event. The nomological sciences are concerned with what is invariably the case. The sciences of process are concerned with what was once the case. If I may be permitted to introduce some new technical terms, scientific thought is nomothetic in the former case and idiographic in the latter case. Should we retain the customary expressions, then it can be said that the dichotomy at stake here concerns the distinction between the natural and the historical disciplines.” (Wilhelm Windelband, Rectorial Address, 1894)
In brief, the nomothetic is the lawlike and the universal, while the idiographic is individual and the particularistic. A distinct methodology is required for the exposition of the nomothetic and the idiographic, but the fact that each branch of science does have a methodology for the exposition of their chosen object of knowledge demonstrates that they are both sciences, though different kinds of sciences. Near the end of his rectorial address, Windelband says that, despite the distinction he has formulated, the ultimate aim of scientific knowledge is its ultimate unity:
“…in the total synthesis of knowledge, which is the ultimate aim of all scientific research, these two cognitive moments remain independent and juxtaposed. The general nomological regularity of things defines the space of our cosmic scheme; it transcends all change and expresses the eternal essence of reality. Within this framework, we find the vital development of the structure of all the individual forms which have value for the collective memory of humanity.”
The idea that nomological regularity defines the space of our cosmic scheme suggests that the nomological is the ultimate basis of science and scientific knowledge, and the idiographic must find a place for itself within the interstices of this nomological scheme; there are several other passages in his rectorial address that also suggest this. But Windelband also says that the nomothetic and the idiographic remain independent and juxtaposed, and he concludes this talk with an interesting juxtaposition:
“A description of the present state of the universe follows from the general laws of nature only if the immediately preceding state of the universe is presupposed. But this state presupposes the state that immediately precedes it, and so on. Such a description of a particular, determinate state of the arrangement of atoms, however, can never be derived from the general laws of motion alone. The definitive characteristics of a single point in time can never be immediately derived from any ‘cosmic formula.’ The derivation of the description of a single temporal point always requires the additional description of the previously existing state which is subordinated to the law. General laws do not establish an ultimate state from which the specific conditions of the causal chain could ultimately be derived. It follows that all subsumption under general laws is useless in the analysis of the ultimate causes or grounds of the single, temporally given phenomenon. Therefore, in all the data of historical and individual experience a residuum of incomprehensible, brute fact remains, an inexpressible and indefinable phenomenon.”
Given this juxtaposition, we could also characterize the nomothetic and the idiographic as the distinction between general laws and brute fact. Natural science is the science of general laws; history is the science of brute fact. Each requires the other: general laws must work upon brute fact, and brute fact is made comprehensible by its subsumption under general laws. Formulated in this way, it makes sense that the science of general laws would require a distinct method from that of a science of brute fact.
Now I want to return to the problem with which I started: is history an art or a science? Windelband, as we have seen, says that history is a science, but it is a peculiar kind of science with its own methodology, and that methodology is idiographic. This claim doesn’t go down well among many philosophers of science. Among philosophers, especially since the advent of Newtonian science, physics has been taken to be the paradigm of a natural science. Physics is also often called a “hard” science, and mathematics a “pure” science, but what makes a science hard or soft, or pure or impure, is a problem that only philosophy can attempt to address. Physics is also clearly nomological, and physicists are justly proud of their precise statement of the laws of nature in a mathematical formalism.
Many of those who would make history a science want to assimilate history to the natural sciences, and they assume that there is, or there ought to be, a methodological unity across all the sciences. In other words, there are no kinds of science, there are no distinct classifications of science each with their own methodology. Science is one, and not many. For Windelband, science is many, not one, and it must remain many because of the juxtaposition of general laws and brute fact.
Can we call this for either side? Has the past century and a quarter of scientific discovery and philosophy of science given us a way to decide between the claims that science is one and science is many? In a word, no. I will go further and make a more radical claim: my response to this is that no sciences are scientific. Before you call me a nihilist, let me try to explain.
The individual special sciences, like physics or biology, are scientific to some degree, but all fall short of converging on complete scientificity. I have often pointed out, though not in any of these Today in Philosophy of History episodes, that there is no science of science. Individual sciences are pursued scientifically, but we have no general method for the foundation of a new science and no general method for the expansion and progress of an existing science. Intuition still plays a crucial and substantive role in the development of science. The progress of science, then, is idiosyncratic, subject to the intuitive perspicacity of its practitioners.
Our understanding of science is pre-paradigmatic, to use a Kuhnian term, even if particular sciences are fully paradigmatic. It seems paradoxical that the individual sciences can be as well defined as any part of human knowledge, while the whole enterprise of science remains essentially unknown to us. If we could christen this paradox with a memorable name maybe the realization of not knowing what we are doing when we do science would get some traction and some theoretical attention.
Whether or not this is a paradox, it shouldn’t surprise us, since it’s baked into the very substance of science. Science progresses when it manages to hit upon a productive set of abstractions that we can use to leverage a very narrow way of looking at the world. When I say that about “managing to hit upon the right abstractions” this is key here, because, given the lack of a science of science, there is no method of converging upon optimally productive abstractions; we can only cast about for them.
Finding productive abstractions is idiosyncratic: some individuals have a much better feel for converging on productive abstractions than others. This idiosyncratic efficacy is a function of science remaining an art rather than being a science—that is to say, science itself is an art to some degree. To give a sense of really how “out to sea” we are when it comes to scientific knowledge, consider this: In the absence of a rigorous science of science, it would be nice at least to have a proof that a rigorous science of science is possible, or that it is impossible—one way or the other—but we don’t even have this much.
Now, it seems clear to me that some sciences are more science and less art, while other sciences are more art and less science. It also seems clear to me that physics is more science, and history is more art, but they both occupy points on the art-science continuum, and in this sense, if no other, all scientific thought is unified in not being perfectly or exhaustively scientific.
One of the first steps we might take in formulating a science of science would be a taxonomy of the sciences. Windelband seems to do this by giving us a fundamental distinction that exhaustively divides all sciences between the nomothetic and the idiographic. Windelband’s distinction, if strictly observed, cleaves science in two, with the natural sciences on one side of the division, and the historical sciences (or, if you prefer, the humanities) on the other side. But he didn’t always insist on his distinction as being an exhaustive classification, and he gave a different sense to his distinction in a little book titled Theories in Logic in English. This was originally written in German as “Die Prinzipien der Logik” and appeared in the Enzyklopadie der Philosophischen Wissenschaften, 1912, but the English translation was published as a short book.
In Theories in Logic Windelband suggests that sciences might be more or less nomothetic, more or less idiographic, and the nomothetic or idiographic proportion of a science may change over time:
“…we have to distinguish between those sciences which are governed by laws and those which deal with events, between nomothetic and ideographic inquiry. It is this which really makes the difference in intellectual interest between Natural Science and the Humanities. But we cannot repeat too often that we are here only speaking of ultimate aims and hence of those sciences which appear as polar opposites, between which the real work of Science moves in manifold gradations, so that in any particular case we can only speak of a preponderance of one or the other moment—as Rickert, in his penetrating analysis of this relation, has pointed out. The ultimate goal of all investigation of Nature is to attain timeless generic concepts of being and happening, but that does not exclude the fact that the way thereto leads over stages of simpler interconnexions in which it rests and provisionally halts. For it is precisely in the real that the nomothetic rationalisation of Reality must find its limits. On the other hand, the specific object of all historical inquiry is a construction which is significant chiefly because it can never recur, and which has to be lifted out of its entanglement in the non-significant elements lying all around it. To understand such a construction, however, History requires general concepts and axioms, which she is certainly more likely to borrow successfully from general experience than from the natural sciences… and it creates for itself the possibility of characterising this unique object by a peculiar kind of generic concept and by a comparative study of the conformity of events to law.” (p. 57)
Windelband’s original distinction implies that natural science and the humanities are polar opposites in terms of their methodology, but in fact the development of science involves “manifold gradations” in which the nomothetic and the idiographic preponderate by turns. This means that natural science (and the humanities as well) might swing like a pendulum between a nomothetic pole and an idiographic pole, being now more nomothetic, and now more idiographic. I think Windelband was right about this, but if the whole of science can tend toward the nomothetic or the idiographic, then his distinction isn’t the kind of beginning of a taxonomy of sciences that we would want to pursue if we wanted to formulate a science of science.
If you think about it, it’s remarkable that so much thought and effort has been poured into the sciences and into philosophy of science, and yet we don’t have any kind of workable classification of the sciences other than a university catalog and the arrangement of books in the library by subject matter. If we were to take a page out of Carnap, we would start with classificatory concepts of science, that is to say, a taxonomy, and then we work our way to comparative concepts, and eventually converge on fully quantitative concepts. We could argue that physics has a greater number of quantitative concepts than history, therefore on this Carnapian basis physics is closer to converging on scientific status than history, and I wouldn’t disagree with this. It’s a lot like my earlier claim that physics seems to be more science and history more art, though both are on the same art-science continuum.
Carnap’s schema of scientific concepts has been widely influential and widely criticized. For my part, the longer I have thought about this, the more I have come to see that an optimal taxonomy is one of the last things that a science arrives at, and, if I am right about this, then a science of science that could render both physics and history fully, completely, and exhaustively scientific would arrive last of all at a satisfying taxonomy of the science. Given this desideratum, it might well be premature to seek a taxonomy, but, on the other hand, there is a big difference between a workable taxonomy and an optimal taxonomy. The development of a science often passes through a sequence of taxonomies that become more adequate as they are repeatedly revised.
I would expect the same to be true of a science of science, so I would expect to see a rough, workable taxonomy of the sciences followed by revisions that would render it more adequate over time. Does Windelband’s distinction between the nomothetic and idiographic sciences give us this rough, working taxonomy that could be the basis of further elaboration? Maybe yes; maybe no. If Windelband is to be the basis of a science of science that can comprehend both physics and history and everything in between, it would need to be set in a much more comprehensive theoretical framework, and this has not yet been done.

Video Presentation

https://youtu.be/nOnELO64kwE
https://www.instagram.com/p/C60x--UNqtW/
https://odysee.com/@Geopolicraticus:7/wilhelm-windelband-and-the-place-of:1

Podcast Edition

https://spotifyanchor-web.app.link/e/UhiNEf1BvJb
https://music.amazon.com/podcasts/a31b8276-53cd-4723-b6ad-a39c8faa4572/episodes/3b2e6e57-d9fe-45b0-a1ec-f51f951f1fe7/today-in-philosophy-of-history-wilhelm-windelband-and-the-place-of-history-among-the-sciences
https://www.iheart.com/podcast/269-today-in-philosophy-of-his-146507578/episode/wilhelm-windelband-and-the-place-of-175323097/
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2024.05.11 16:06 adulting4kids Obscure Literary Devices Writing Class Assignments

  1. Device Identification Exercise:
  1. Creative Writing Prompts:
  1. Literary Analysis Essays:
  1. Collaborative Storytelling:
  1. Speech Writing and Delivery:
  1. Literary Device Showcase:
  1. Rewriting Exercises:
  1. Debate on Stylistic Choices:
    • Organize a debate where students defend or critique an author's use of a specific literary device in a given text.
  1. Literary Device Scavenger Hunt:
  1. Themed Poetry Slam:
- Task students with creating a thematic poetry slam where each participant focuses on a different literary device. - Host a class poetry slam event where students perform their pieces and discuss their choices.
  1. Interactive Online Quizzes:
- Curate online quizzes or interactive activities that allow students to self-assess their understanding of literary devices. - Provide instant feedback to reinforce learning.
  1. Peer Review and Feedback:
- Implement peer review sessions where students exchange their creative writing assignments and provide constructive feedback on the integration of literary devices. - Encourage discussions on the effectiveness of different approaches.
  1. Literary Device Journal:
- Assign students a literary device to track in their personal reading over a set period. - Have them maintain a journal documenting instances of the device, their interpretations, and reflections on its impact.
  1. Literary Device Bingo:
- Create bingo cards with different literary devices - As students encounter instances of these devices in class readings or discussions, they mark off the corresponding squares on their bingo cards.
  1. Real-world Application Project:
- Challenge students to find examples of literary devices in advertisements, speeches, or news articles. - Present their findings, discussing how the devices are employed for persuasive or artistic purposes in the real world.
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2024.05.11 14:41 adulting4kids Poetry Class Week Three

Week 3: Villanelles and Ekphrastic Poetry - Lecture and Discussion
Objective: - Explore the structured repetition of villanelles and the visual inspiration of ekphrastic poetry. - Understand the fixed form of villanelles and their emotional impact. - Discuss the interplay between visual art and written expression in ekphrastic poetry.
Day 1: Introduction to Villanelles - Lecture: - Definition and characteristics of villanelles. - Explanation of the ABA ABA ABA ABA ABA ABAA rhyme scheme.
Day 2: Analyzing Villanelles - Part 1 - Lecture: - In-depth analysis of classic villanelles. - Exploration of the emotional impact through repetition.
Day 3: Analyzing Villanelles - Part 2 - Lecture: - Discussing modern variations and themes in villanelles. - Exploring the versatility of the form.
Day 4: Crafting Villanelles - Part 1 - Lecture: - Step-by-step guide on crafting the first four lines of a villanelle. - Emphasis on creating a strong thematic foundation.
Day 5: Crafting Villanelles - Part 2 - Lecture: - Step-by-step guide on crafting the final three lines of a villanelle. - Emphasis on creating resolution and impact.
Homework Assignment: - Craft a villanelle focusing on a theme or emotion that lends itself well to repetition.
Study Guide Questions: 1. Reflect on the challenges of crafting the first four lines of your villanelle. How did you establish a strong thematic foundation? 2. How did you approach creating resolution and impact in the final three lines of your villanelle? 3. What insights did you gain from the process of crafting a villanelle?
Quiz: Assessment on the understanding of villanelles, the ABA rhyme scheme, and the emotional impact of repetition.
Day 6: Introduction to Ekphrastic Poetry - Lecture: - Definition and characteristics of ekphrastic poetry. - Explanation of the relationship between visual art and written expression.
Day 7: Analyzing Ekphrastic Poetry - Part 1 - Lecture: - In-depth analysis of classic ekphrastic poems. - Exploration of how poets respond to visual stimuli.
Day 8: Analyzing Ekphrastic Poetry - Part 2 - Lecture: - Discussing modern variations and themes in ekphrastic poetry. - Exploring the diverse ways poets engage with visual art.
Day 9: Crafting Ekphrastic Poetry - Part 1 - Lecture: - Step-by-step guide on responding to visual art in writing. - Emphasis on capturing the essence and emotion of the artwork.
Day 10: Crafting Ekphrastic Poetry - Part 2 - Lecture: - Discussing the role of personal interpretation and creativity in ekphrastic poetry. - Exploring the potential for multiple ekphrastic responses to a single artwork.
Homework Assignment: - Craft an ekphrastic poem in response to a chosen piece of visual art.
Study Guide Questions: 1. Reflect on the challenges of responding to visual art with written expression in your ekphrastic poem. How did you capture the essence and emotion? 2. How did personal interpretation shape your creative process in crafting an ekphrastic poem? 3. What insights did you gain from the process of crafting an ekphrastic poem?
Quiz: Assessment on the understanding of ekphrastic poetry, the relationship between visual art and written expression, and the creative possibilities in responding to visual stimuli.
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2024.05.11 04:55 TopMarrionberries Hire me! an associate arts graduate [F22]

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