Mr. Goodarzi gave a lecture on the differences between WEBSITE & WEBLOG. Then he talked about how to update the weblogs, change the format ,make an e- mail. At the end, the activities were checked.
Impossible To Tell
to Robert Hass and in memory of Elliot Gilbert
Slow dulcimer, gavotte and bow, in autumn,
Bash? and his friends go out to view the moon;
In summer, gasoline rainbow in the gutter,
The secret courtesy that courses like ichor
Through the old form of the rude, full-scale joke,
Impossible to tell in writing. "Bash?"
He named himself, "Banana Tree": banana
After the plant some grateful students gave him,
Maybe in appreciation of his guidance
Threading a long night through the rules and channels
Of their collaborative linking-poem
Scored in their teacher's heart: live, rigid, fluid
Like passages etched in a microscopic cicuit.
Elliot had in his memory so many jokes
They seemed to breed like microbes in a culture
Inside his brain, one so much making another
It was impossible to tell them all:
In the court-culture of jokes, a top banana.
Imagine a court of one: the queen a young mother,
Unhappy, alone all day with her firstborn child
And her new baby in a squalid apartment
Of too few rooms, a different race from her neighbors.
She tells the child she's going to kill herself.
She broods, she rages. Hoping to distract her,
The child cuts capers, he sings, he does imitations
Of different people in the building, he jokes,
He feels if he keeps her alive until the father
Gets home from work, they'll be okay till morning.
It's laughter versus the bedroom and the pills.
What is he in his efforts but a courtier?
Impossible to tell his whole delusion.
In the first months when I had moved back East
From California and had to leave a message
On Bob's machine, I used to make a habit
Of telling the tape a joke; and part-way through,
I would pretend that I forgot the punchline,
Or make believe that I was interrupted--
As though he'd be so eager to hear the end
He'd have to call me back. The joke was Elliot's,
More often than not. The doctors made the blunder
That killed him some time later that same year.
One day when I got home I found a message
On my machine from Bob. He had a story
About two rabbis, one of them tall, one short,
One day while walking along the street together
They see the corpse of a Chinese man before them,
And Bob said, sorry, he forgot the rest.
Of course he thought that his joke was a dummy,
Impossible to tell--a dead-end challenge.
But here it is, as Elliot told it to me:
The dead man's widow came to the rabbis weeping,
Begging them, if they could, to resurrect him.
Shocked, the tall rabbi said absolutely not.
But the short rabbi told her to bring the body
Into the study house, and ordered the shutters
Closed so the room was night-dark. Then he prayed
Over the body, chanting a secret blessing
Out of Kabala. "Arise and breathe," he shouted;
But nothing happened. The body lay still. So then
The little rabbi called for hundreds of candles
And danced around the body, chanting and praying
In Hebrew, then Yiddish, then Aramaic. He prayed
In Turkish and Egyptian and Old Galician
For nearly three hours, leaping about the coffin
In the candlelight so that his tiny black shoes
Seemed not to touch the floor. With one last prayer
Sobbed in the Spanish of before the Inquisition
He stopped, exhausted, and looked in the dead man's face.
Panting, he raised both arms in a mystic gesture
And said, "Arise and breathe!" And still the body
Lay as before. Impossible to tell
In words how Elliot's eyebrows flailed and snorted
Like shaggy mammoths as--the Chinese widow
Granting permission--the little rabbi sang
The blessing for performing a circumcision
And removed the dead man's foreskin, chanting blessings
In Finnish and Swahili, and bathed the corpse
From head to foot, and with a final prayer
In Babylonian, gasping with exhaustion,
He seized the dead man's head and kissed the lips
And dropped it again and leaping back commanded,
"Arise and breathe!" The corpse lay still as ever.
At this, as when Bash?'s disciples wind
Along the curving spine that links the renga
Across the different voices, each one adding
A transformation according to the rules
Of stasis and repetition, all in order
And yet impossible to tell beforehand,
Elliot changes for the punchline: the wee
Rabbi, still panting, like a startled boxer,
Looks at the dead one, then up at all those watching,
A kind of Mel Brooks gesture: "Hoo boy!" he says,
"Now that's what I call really dead." O mortal
Powers and princes of earth, and you immortal
Lords of the underground and afterlife,
Jehovah, Raa, Bol-Morah, Hecate, Pluto,
What has a brilliant, living soul to do with
Your harps and fires and boats, your bric-a-brac
And troughs of smoking blood? Provincial stinkers,
Our languages don't touch you, you're like that mother
Whose small child entertained her to beg her life.
Possibly he grew up to be the tall rabbi,
The one who washed his hands of all those capers
Right at the outset. Or maybe he became
The author of these lines, a one-man renga
The one for whom it seems to be impossible
To tell a story straight. It was a routine
Procedure. When it was finished the physicians
Told Sandra and the kids it had succeeded,
But Elliot wouldn't wake up for maybe an hour,
They should go eat. The two of them loved to bicker
In a way that on his side went back to Yiddish,
On Sandra's to some Sicilian dialect.
He used to scold her endlessly for smoking.
When she got back from dinner with their children
The doctors had to tell them about the mistake.
Oh swirling petals, falling leaves! The movement
Of linking renga coursing from moment to moment
Is meaning, Bob says in his Haiku book.
Oh swirling petals, all living things are contingent,
Falling leaves, and transient, and they suffer.
But the Universal is the goal of jokes,
Especially certain ethnic jokes, which taper
Down through the swirling funnel of tongues and gestures
Toward their preposterous
A journalist told me. He heard it while a hero
Of the South African freedom movement was speaking
To elderly Jews. The speaker's own right arm
Had been blown off by right-wing letter-bombers.
He told his listeners they had to cast their ballots
For the ANC--a group the old Jews feared
As "in with the Arabs." But they started weeping
As the old one-armed fighter told them their country
Needed them to vote for what was right, their vote
Could make a country their children could return to
From London and Chicago. The moved old people
Applauded wildly, and the speaker's friend
Whispered to the journalist, "It's the Belgian Army
Joke come to life." I wish I could tell it
To Elliot. In the Belgian Army, the feud
Between the Flemings and Walloons grew vicious,
So out of hand the army could barely function.
Finally one commander assembled his men
In one great room, to deal with things directly.
They stood before him at attention. "All Flemings,"
He ordered, "to the left wall." Half the men
Clustered to the left. "Now all Walloons," he ordered,
"Move to the right." An equal number crowded
Against the right wall. Only one man remained
At attention in the middle: "What are you, soldier?"
Saluting, the man said, "Sir, I am a Belgian."
"Why, that's astonishing, Corporal--what's your name?"
Saluting again, "Rabinowitz," he answered:
A joke that seems at first to be a story
About the Jews. But as the renga describes
Religious meaning by moving in drifting petals
And brittle leaves that touch and die and suffer
The changing winds that riffle the gutter swirl,
So in the joke, just under the raucous music
Of Fleming, Jew, Walloon, a courtly allegiance
Moves to the dulcimer, gavotte and bow,
Over the banana tree the moon in autumn--
Allegiance to a state impossible to tell.
Sponsored by the University of North Carolina Press and the North Carolina Arts Council.
Created and edited by Paul Jones (paul_jones@unc.edu)
with the kind assistance of Dykki Settle, Chris Colomb, Max Leach,Kelly Jo Garner, clark mccabe, David McConville, Donald Sizemore, Marisa Brickman, and Mark McCarthy.
2006 Layout, Design and Audio encoding by TJ Ward and Dan Lucas
Project editor: David Perry, editor for UNC Press.
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Title:Poetry Of Emily Dickinson
Source:Magill Book Reviews
Abstract:Filled with odd images, eccentric rhyming, and an often playful tone,
POETRY OF EMILY DICKINSON
Emily Dickinson
1890
Poetry
In contrast to many of her contemporaries
She might be called a miniaturist, since most of her poems have fewer than 30 lines, yet she deals with the profoundest subjects in poetry: death, love, humanity's relations to God and nature.
Her poetry impresses by its constantly amazing freshness and vitality. Not only does she approach her subjects in unique ways, but her use of language itself is highly idiosyncratic. She makes nouns serve as verbs, adjectives as nouns, and abstractions as concrete objects.
Her images startle by their unexpectedness and their supreme rightness as well. For her, death can be courteous ("BECAUSE I COULD NOT STOP FOR DEATH") or terrifying ("I FELT A FUNERAL IN MY BRAIN"): it can be perceived through what the dead person has left undone ("HOW MANY TIMES THESE LOW FEET STAGGERED") or through the trivial details one might focus on while dying ("I HEARD A FLY BUZZ WHEN I DIED"). Nature has its terrors (the snake in "A NARROW FELLOW IN THE GRASS") as well as its glories ("THE DAY CAME SLOW") and sensual delights ("I TASTE A LIQUOR").
Her dramatic monologues, always with herself as persona, convey rich complexities of human emotion--elation and depression, faith and doubt, hope and despair.
Her direct, first-person voice makes much of her poetry easily accessible, yet her unusual word usages and oblique approaches to a subject call for multiple readings and sometimes multiple interpretations. Her density and imaginativeness hark back to the Metaphysical poets of the 17th century, while her play with language and her psychological and philosophical insights, many quite unusual for the largely conservative 19th century, brought her a wide audience only posthumously.
Copyright of Magill Book Reviews is the property of Salem Press and its content may not be copied without the copyright holder's express written permission except for the print or download capabilities of the retrieval software used for access. This content is intended solely for the use of the individual user.
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How to talk about a Short Story
Like my how to talk about a poem page, this page will tell you how to talk about a short story. To start--A short story is a brief work of fiction consisting of five parts (listed below.) Although the short story originated much earlier, it has received its greatest recognition as a literary form in this century.
I. PLOT--the action of a story
Instead of just retelling the story, give a basic outline of it by telling
1. how it begins
2. what the conflict is
3. what the climax is
4. how it ends and if this ending was consistent and satisfying
II. CHARACTER--tell about the main character or characters (not just a physical descriptions--what kind of people are they?)
How do we find out about them--
1. by what they say
2. by what they do
3. by what is said about them
Do not fail to mention if you see anything unusual about the type of characters that are used. They could be
1. symbolic
2. satirical
3. stock
4. realistic
5. exaggerated
III. SETTING--time and place
Is the setting important to the plot
How would the story change if the setting where different?
The answers to these questions are indicators of whether or not the setting is important
IV. THEME--the author's purpose in writing
There are many different possible themes; a novel may have more than one them. The possible themes could be:
1. moralistic--to teach a lesson
2. for entertainment--just to tell an exciting tale
3. to make us laugh
4. to weave a fantasy and let us escape from reality
5. to explore a certain character
6. to explore a certain setting and how it affected people or events
***In connection with the theme, always consider the title. It will often lead you to an understanding of the theme.
V. STYLE--the way an author writes
This element of the short story is often the most difficult to understand and discuss at first. Here are some possible things to consider, but remember to use your own observations about the way the author writes.
1. Is symbolism important?
2. Are there any flash backs, or is the story's time element chronological?
3. What is the point of view? (1st person, 3rd person all-knowing, 3rd person objective)
4. Was exaggeration used in the story and why?
5. Was the ending foreshadowed and consistent?
6. Which of the elements is the most important in the story?
7. How does the author use dialogue?
8. Is humor used? How is it used?
9. Is there anything unusual about the character types?
10. What else did you observe about the way the story was written?
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گروه آموزشی زبان انگلیسی لرستان
گروه آموزشی زبان انگلیسی سازمان آموزش و پرورش استان لرستان
نتايج رتبه بندي مسابقه بهترين سؤال زبان انگليسي1 نيمسال اول دبيرستانهاي استان لرستان
بسمه تعالی
نتایج مسابقه بهترین سوال امتحانی درس زبان انگلیسی۱ در نیمسا ل اول سال تحصیلي86-85
|
ردیف |
نام و نام خانوادگی |
محل خدمت |
امتیاز |
|
1 |
محمد حیدری چگنی |
ناحیه 1 خرم آباد |
80 |
|
2 |
عصمت اله شاهی نژاد |
منطقه پاپی |
79 |
|
3 |
مظفر دالوند |
منطقه زاغه |
78 |
|
4 |
ماریا حسنوند |
الشتر |
77 |
|
5 |
ایراندخت حسینی |
ناحیه2خرم آباد |
77 |
|
6 |
امیری دهنو |
الشتر |
77 |
|
7 |
فرود بهرامی |
کوهدشت |
77 |
|
8 |
جوادی |
چگنی |
71 |
|
9 |
دیناری |
ززوماهرو |
70 |
|
10 |
پشمکار |
بروجرد |
68 |
|
11 |
فهیمه خسروی |
کوهدشت |
65 |
|
12 |
پیرزاد |
سیلاخور |
62 |
|
13 |
عزت اله بیرانوند |
پلدختر |
61 |
|
14 |
صید کریم جوزایی |
معمولان |
61 |
|
15 |
علی امرایی |
ناحیه 1 خرم آباد |
61 |
|
16 |
مرادی |
اشترینان |
58 |
|
17 |
حریر الماسی |
ویسیان |
57 |
|
18 |
شهناز رامین |
پلدختر |
56 |
|
19 |
صدیقه نجفی |
ناحیه2خرم آباد |
54 |
|
20 |
غلا محسین پاپی |
ازنا |
52 |
|
21 |
شکیبا |
دورود |
46 |
|
22 |
مصطفی پاپی |
چگنی |
45 |
|
23 |
فهیمه رضایی |
نورآباد |
44 |
|
24 |
ملک مراد مرادی |
ویسیان |
41 |
|
25 |
شرفی |
چغلوندی |
39 |
|
26 |
عباس آروانه |
زاغه |
35 |
لازم بذکر است که حداکثر امتیاز 80 بوده است.
1-از هر منطقه 2 سوال مورد بررسی قرار گرفته است. (از ناحیه2خرم آباد با نظر سر گروه آن ناحیه دو نمونه سوال مورد بررسی قرار گرفته است.)
2-اوراقی که مشخصات طراح و اسم منطقه را نداشت مورد بررسی قرارنگرفته است .
گروه زبان انگلیسی استان لرستان
+ نوشته شده در پنجشنبه سی ام فروردین 1386ساعت 0:0 توسط گروه آموزشی زبان انگلیسی | نظر بدهید
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How to talk about a poem
Learning how to talk about poetry and being able to interpret what poems mean is not the easiest thing in the world to do. To help you get better at it, I have developed this page. When discussing a poem two areas must be considered: meaning and mechanics.
· Meaning
First, consider the meaning of the poem.
1. Paraphrase all the portions of the poem.
2. Precis the poem--either line by line or stanza by stanza.
3. Is there symbolism used in the poem? (If there is symbolism, understanding it is the key to understanding the poem.)
4. Is the poem lyric or narrative?
To paraphrase the poem:
5. Look at the title. What significance does the title have in connection with the meaning of the poem?
6. Read the poem as a whole.
7. Read the poem stanza by stanza (if appropriate.)
8. Paraphrase the poem line by line.
9. Break the lines down word by word if necessary. Substitue familiar words with ones you use every day.
Helpful Hints!
10. Consider punctuation--a period signals the end of a thought, no matter where it is located in a line.
11. Rewrite sentences in the usual word order if the sentences are arranged in an unfamiliar word order.
Second, consider the mechanics of the poem.
12. Is the poem traditional with rhyme and rhythm? Or is the poem free verse with no set rhythm pattern or rhyme scheme?
13. How is the poem organized? Does the shape of the poem have anything to do with the meaning?
14. What poetic devices are used?
(These listed are most common.)
Simile A figure of speech that compares two unlike things, using the words like or as. Metaphor A figure of speech that compares two unlike things directly, without the use of an intervening word. Alliteration The repitition of consonant sounds at the beginning of words. Assonance The repition of vowel sounds in stressed syllables. Personification The assigning of human qualities to nonhuman things. Onomatopoeia The use of words to initiate sounds. Ex--WHIZZ ConsonanceThe repetition of consonant sounds in stressed syllables. ApostropheThe poet directly address an absent person or object or idea.
15. What is the tone of the author?
16. What mood does the poem create?
Definitions
o Paraphrase Restatement in different/other words. Back
o Precis Concise Summary. Back
o Symbolism The use of an object to represent an idea. Back
o Lyric Poems with a song like quality that are usually short. Poet expresses his personal reaction to things. Back
o Narrative Poems that tell a story and are usually long. An example would be an epic or a ballad. Back
o Mood The overall feeling a poem awakens in the reader. Back
o Tone The writer's attitude torwards his/her work. Back
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