Creative Writing Essay Example for Free

Creative Writing Essay Specific poetic forms have been developed by many cultures. In more developed, closed or received poetic forms, the rhyming scheme, meter and other elements of a poem are based on sets of rules, ranging from the relatively loose rules that govern the construction of an elegy to the highly formalized structure of the ghazal or villanelle. Described below are some common forms of poetry widely used across a number of languages. Additional forms of poetry may be found in the discussions of poetry of particular cultures or periods and in the glossary. Sonnet Among the most common forms of poetry through the ages is the sonnet, which by the 13th century was a poem of fourteen lines following a set rhyme scheme and logical structure. By the 14th century, the form further crystallized under the pen of Petrarch, whose sonnets were later translated in the 16th century by Sir Thomas Wyatt, who is credited with introducing the sonnet form into English literature. A sonnets first four lines typically introduce the topic. A sonnet usually follows an a-b-a-b rhyme pattern. The sonnets conventions have changed over its history, and so there are several different sonnet forms. Traditionally, in sonnets English poets use iambic pentameter, the Spenserian and Shakespearean sonnets being especially notable. In the Romance languages, the hendecasyllable and Alexandrine are the most widely used meters, though the Petrarchan sonnet has been used in Italy since the 14th century. Sonnets are particularly associated with love poetry, and often use a poetic diction heavily based on vivid imagery, but the twists and turns associated with the move from octave to sestet and to final couplet make them a useful and dynamic form for many subjects.] Shakespeares sonnets are among the most famous in English poetry, with 20 being included in the Oxford Book of English Verse. Shi (poetry) Shi (traditional Chinese: è © ©; simplified Chinese: è ¯â€"; pinyin: shÄ «; Wade-Giles: shih) Is the main type of Classical Chinese poetry.Within this form of poetry the most important variations are folk song styled verse (yuefu), old style verse (gushi), modern style verse (jintishi). In all cases, rhyming is obligatory. The Yuefu is a folk ballad or a poem written in the folk ballad style, and the number of lines and the length of the lines could be irregular. For the other variations of shi poetry, generally either a four line (quatrain, or jueju) or else an eight line poem is normal; either way with the even numbered lines rhyming. The line length is scanned by according number of characters (according to the convention that one character equals one syllable), and are predominantly either five or seven characters long, with a caesura before the final three syllables. The lines are generally end-stopped, considered as a series of couplets, and exhibit verbal parallelism as a key poetic device. ]The old style verse (gushi) is less formally strict than the jintishi, or regulated verse, which, despite the name new style verse actually had its theoretical basis laid as far back to Shen Yue, in the 5th or 6th century, although not considered to have reached its full development until the time of Chen Ziang (661-702) A good example of a poet known for his gushi poems is Li Bai. Among its other rules, the jintishi rules regulate the tonal variations within a poem, including the use of set patterns of the four tones of Middle Chinese The basic form of jintishi (lushi) has eight lines in four couplets, with parallelism between the lines in the second and third couplets. The couplets with parallel lines contain contrasting content but an identical grammatical relationship between words. Jintishi often have a rich poetic diction, full of allusion, and can have a wide range of subject, including history and politics. One of the masters of the form was Du Fu, who wrote during the Tang Dynasty (8th century). Villanelle The villanelle is a nineteen-line poem made up of five triplets with a closing quatrain; the poem is characterized by having two refrains, initially used in the first and third lines of the first stanza, and then alternately used at the close of each subsequent stanza until the final quatrain, which is concluded by the two refrains. The remaining lines of the poem have an a-b alternating rhyme.The villanelle has been used regularly in the English language since the late 19th century by such poets as Dylan Thomas, W. H. Auden,and Elizabeth Bishop. Tanka Tanka is a form of unrhymed Japanese poetry, with five sections totalling 31 onji (phonological units identical to morae), structured in a 5-7-5 7–7 pattern.There is generally a shift in tone and subject matter between the upper 5-7-5 phrase and the lower 7-7 phrase. Tanka were written as early as the Nara period by such poets as Kakinomoto no Hitomaro, at a time when Japan was emerging from a period where much of its poetry followed Chinese form. Tanka was originally the shorter form of Japanese formal poetry, and was used more heavily to explore personal rather than public themes. By the 13th century, tanka had become the dominant form of Japanese poetry, and it is still widely written today. Haiku Haiku is a popular form of unrhymed Japanese poetry, which evolved in the 17th century from the hokku, or opening verse of a renku. Generally written in a single vertical line, the haiku contains three sections totalling 17 onji, structured in a 5-7-5 pattern. Traditionally, haiku contain a kireji, or cutting word, usually placed at the end of one of the poems three sections, and a kigo, or season-word. The most famous exponent of the haiku was Matsuo BashÃ…  (1644–1694). An example of his writing: Ã¥ ¯Å'Ã¥ £ «Ã£  ®Ã© ¢ ¨Ã£â€šâ€žÃ¦â€°â€¡Ã£  «Ã£  ®Ã£ â€ºÃ£  ¦Ã¦ ±Å¸Ã¦Ë† ¸Ã¥Å"Ÿç” £ fuji no kaze ya oogi ni nosete Edo miyage the wind of Mt. Fuji Ive brought on my fan! a gift from Edo Ode Odes were first developed by poets writing in ancient Greek, such as Pindar, and Latin, such as Horace. Forms of odes appear in many of the cultures that were influenced by the Greeks and Latins.The ode generally has three parts: a strophe, an antistrophe, and an epode. The antistrophes of the ode possess similar metrical structures and, depending on the tradition, similar rhyme structures. In contrast, the epode is written with a different scheme and structure. Odes have a formal poetic diction, and generally deal with a serious subject. The strophe and antistrophe look at the subject from different, often conflicting, perspectives, with the epode moving to a higher level to either view or resolve the underlying issues. Odes are often intended to be recited or sung by two choruses (or individuals), with the first reciting the strophe, the second the antistrophe, and both together the epode.Over time, differing forms for odes have developed with considerable variations in form and structure, but generally showing the original influence of the Pindaric or Horatian ode. One non-Western form which resembles the ode is the qasida in Persian poetry. Ghazal The ghazal (also ghazel, gazel, gazal, or gozol) is a form of poetry common in Arabic, Persian, Turkish, Azerbaijani, Urdu and Bengali poetry. In classic form, the ghazal has from five to fifteen rhyming couplets that share a refrain at the end of the second line. This refrain may be of one or several syllables, and is preceded by a rhyme. Each line has an identical meter. The ghazal often reflects on a theme of unattainable love or divinity. As with other forms with a long history in many languages, many variations have been developed, including forms with a quasi-musical poetic diction in Urdu. Ghazals have a classical affinity with Sufism, and a number of major Sufi religious works are written in ghazal form. The relatively steady meter and the use of the refrain produce an incantatory effect, which complements Sufi mystical themes well. Among the masters of the form is Rumi, a 13th-century Persian poet who lived in Konya, in present-day Turkey. Genres In addition to specific forms of poems, poetry is often thought of in terms of different genres and subgenres. A poetic genre is generally a tradition or classification of poetry based on the subject matter, style, or other broader literary characteristics. Some commentators view genres as natural forms of literature. Others view the study of genres as the study of how different works relate and refer to other works. Narrative poetry Narrative poetry is a genre of poetry that tells a story. Broadly it subsumes epic poetry, but the term narrative poetry is often reserved for smaller works, generally with more appeal to human interest. Narrative poetry may be the oldest type of poetry. Many scholars of Homer have concluded that his Iliad and Odyssey were composed from compilations of shorter narrative poems that related individual episodes. Much narrative poetry—such as Scottish and English ballads, and Baltic and Slavic heroic poems—is performance poetry with roots in a preliterate oral tradition. It has been speculated that some features that distinguish poetry from prose, such as meter, alliteration and kennings, once served as memory aids for bards who recited traditional tales. Notable narrative poets have included Ovid, Dante, Juan Ruiz, Chaucer, William Langland, Luà ­s de Camà µes, Shakespeare, Alexander Pope, Robert Burns, Fernando de Rojas, Adam Mickiewicz, Alexander Pushkin, Edgar Allan P oe and Alfred Tennyson. Epic poetry Epic poetry is a genre of poetry, and a major form of narrative literature. This genre is often defined as lengthy poems concerning events of a heroic or important nature to the culture of the time. It recounts, in a continuous narrative, the life and works of a heroic or mythological person or group of persons.] Examples of epic poems are Homers Iliad and Odyssey, Virgils Aeneid, the Nibelungenlied, Luà ­s de Camà µes Os Lusà ­adas, the Cantar de Mio Cid, the Epic of Gilgamesh, the Mahabharata, Valmikis Ramayana, Ferdowsis Shahnama, Nizami (or Nezami)s Khamse (Five Books), and the Epic of King Gesar. While the composition of epic poetry, and of long poems generally, became less common in the west after the early 20th century, some notable epics have continued to be written. Derek Walcott won a Nobel prize to a great extent on the basis of his epic, Omeros. Verse drama and dramatic verse, Theatre of ancient Greece, Sanskrit drama, Chinese Opera, and Noh Dramatic poetry is drama written in verse to be spoken or sung, and appears in varying, sometimes related forms in many cultures. Greek tragedy in verse dates to the 6th century B.C., and may have been an influence on the development of Sanskrit drama, just as Indian drama in turn appears to have influenced the development of the bianwen verse dramas in China, forerunners of Chinese Opera.East Asian verse dramas also include Japanese Noh. Examples of dramatic poetry in Persian literature include Nizamis two famous dramatic works, Layla and Majnun and Khosrow and Shirin, Ferdowsis tragedies such as Rostam and Sohrab, Rumis Masnavi, Gorganis tragedy of Vis and Ramin, and Vahshis tragedy of Farhad. Satirical Poetry Poetry can be a powerful vehicle for satire. The Romans had a strong tradition of satirical poetry, often written for political purposes. A notable example is the Roman poet Juvenals satires.[128] The same is true of the English satirical tradition. John Dryden (a Tory), the first Poet Laureate, produced in 1682 Mac Flecknoe, subtitled A Satire on the True Blue Protestant Poet, T.S. (a reference to Thomas Shadwell).Another master of 17th-century English satirical poetry was John Wilmot, 2nd Earl of Rochester.Satirical poets outside England include Polands Ignacy Krasicki, Azerbaijans Sabir and Portugals Manuel Maria Barbosa du Bocage. Lyric poetry Lyric poetry is a genre that, unlike epic and dramatic poetry, does not attempt to tell a story but instead is of a more personal nature. Poems in this genre tend to be shorter, melodic, and contemplative. Rather than depicting characters and actions, it portrays the poets own feelings, states of mind, and perceptions.Notable poets in this genre include John Donne, Gerard Manley Hopkins, and Antonio Machado. Elegy An elegy is a mournful, melancholy or plaintive poem, especially a lament for the dead or a funeral song. The term elegy, which originally denoted a type of poetic meter (elegiac meter), commonly describes a poem of mourning. An elegy may also reflect something that seems to the author to be strange or mysterious. The elegy, as a reflection on a death, on a sorrow more generally, or on something mysterious, may be classified as a form of lyric poetry. Notable practitioners of elegiac poetry have included Propertius, Jorge Manrique, Jan Kochanowski, Chidiock Tichborne, Edmund Spenser, Ben Jonson, John Milton, Thomas Gray, Charlotte Turner Smith, William Cullen Bryant, Percy Bysshe Shelley, Johann Wolfgang von Goethe, Evgeny Baratynsky, Alfred Tennyson, Walt Whitman, Louis Gallet, Antonio Machado, Juan Ramà ³n Jimà ©nez, William Butler Yeats, Rainer Maria Rilke, and Virginia Woolf. Fable The fable is an ancient literary genre, often (though not invariably) set in verse. It is a succinct story that features anthropomorphized animals, plants, inanimate objects, or forces of nature that illustrate a moral lesson (a moral). Verse fables have used a variety of meter and rhyme patterns. Notable verse fabulists have included Aesop, Vishnu Sarma, Phaedrus, Marie de France, Robert Henryson, Biernat of Lublin, Jean de La Fontaine, Ignacy Krasicki, Fà ©lix Marà ­a de Samaniego, Tomà ¡s de Iriarte, Ivan Krylov and Ambrose Bierce. Prose poetry Prose poetry is a hybrid genre that shows attributes of both prose and poetry. It may be indistinguishable from the micro-story (a.k.a. the short short story, flash fiction). While some examples of earlier prose strike modern readers as poetic, prose poetry is commonly regarded as having originated in 19th-century France, where its practitioners included Aloysius Bertrand, Charles Baudelaire, Arthur Rimbaud and Stà ©phane Mallarmà ©.Since the late 1980s especially, prose poetry has gained increasing popularity, with entire journals, such as The Prose Poem: An International Journal,Contemporary Haibun Onlinedevoted to that genre. Speculative poetry Speculative poetry, also known as fantastic poetry, (of which weird or macabre poetry is a major subclassification), is a poetic genre which deals thematically with subjects which are beyond reality, whether via extrapolation as in science fiction or via weird and horrific themes as in horror fiction. Such poetry appears regularly in modern science fiction and horror fiction magazines. Edgar Allan Poe is sometimes seen as the father of speculative poetry.

The Death of the Net Generation has Been Greatly Exaggerated :: Argumentative Persuasive Topics

The Death of the Net Generation has Been Greatly Exaggerated America's youngest generation, the "Net Generation", is not destined to become the sex-addicted, morally bankrupt, heroin-overdosing generation that many media types have forecasted it will be. As a member of this "Net Generation", or an N-Gener, I know first hand what the values of my generation are, and I know what the future may hold. It is in this respect that I agree with the author of Growing Up Digital, Don Tapscott. Despite the vast array of negative uses for the Internet, there is an equal upside to this form of communication that gives me great hope and confidence in the Net Generation. Tapscott describes the changing ways that N-Geners think, and he sums them up in three points. N-Geners have a greater acceptance for diversity, are a curious generation, and have great self-reliance and assertiveness. If this is truly the way minds are changing, I'm happy to be a part of it. Since there is no way to tell who people are when they're online, people have to be accepted for who they are. As the author said, "You may be [something] else...like an inanimate object. The fact that you're communicating with a toaster is not important--it's what the toaster has to say" (Tapscott, p. 86). N-Geners learn to think about what a person says oftentimes without knowing who said it, thus eliminating any possible bias. N-Geners' being a curious generation is perhaps easier to understand. The Internet is a completely new and ever-changing world, creating endless possibilities for exploration. This vast world of information has proven inviting to kids, making the new generation a curious one. Self-reliance and assertiveness are other important qualities gained from the Net. There are web sites for all sorts of purposes, from fantasy football to free speech. The latter gives an interesting example of how methods of assertiveness have evolved. These web sites are "the digital equivalent of the 1960s petition" (Tapscott, p. 87). In other words, the ideals haven't changed drastically from 1960 to Y2K, just the methods of expression (and on another level, the ease of expression). Internet-based self-reliance comes from the independent nature of the computer. It is a single console designed for use by a single person. When on the Internet, people decide where to go and what to do entirely on their own, and that idea has been firmly engrained in the minds of N-Geners.

Kuhnian Model

KUHNIAN MODEL According to many science is a steady progression of accrual of new ideas but to Kuhn science was as a result of occasional revolutionary explosions of new knowledge whereby each revolution was triggered by introduction of new ways of thought that were so large that he called them paradigms. These paradigms according to Kuhn were supposed to generally recognize scientific achievements, present model problems and solutions for group of researchers. A paradigm is supposed to describe; * How the outcome of most scientific investigations should be interpreted. * What is to be observed and scrutinized? The kind of questions that are supposed to be asked and probed for answers in relation to this subject. The Kuhnian model consists of five main steps which include: * Prescience- it has no workable paradigm to guide its work successfully. * Normal science- it is a normal step where the field has a scientifically based model of understanding a paradigm that works * Model drift- here the model of understanding starts to drift. This is due to accumulation of anomalies and events the model cannot explain. * Model crisis- the previous step becomes so excessive the model is broken.It can therefore no longer serve as a reliable guide to problem solving. Any attempts to patch the model up to work will fail hence the field is in anguish. * Model revolution-it immediately becomes considerable when serious candidates for a new model emerge; it is referred as a revolution because the new model is so drastically poles apart from the previous one. * Paradigm change-here the field changes from the old to the new paradigm because a new one emerges. This new paradigm then becomes the normal science and the khunian model is complete. HOW IT WORKSThe new fields normally begin in prescience where they have begun to focus on a problem area but are not yet capable of making major advances. Working techniques that later provide a model of understanding eventually works hence t his will put the field in normal science step. In this step it takes longer. As time passes by new questions arise but the current model of understanding cannot answer this puts it in the model drift step. The model crisis step is reached later if the anomalies appear and the model cannot be patched up to explain them unfortunately it tends to fail due to guesswork and intuition.At long last the model revolution begins. It is a revolution because the new model is a new paradigm. It’s radically different from the old paradigm. This makes the believers in both paradigms not to communicate well. The paradigm change step begins when the new paradigm is settled on by a few influential supporters. After field transitions from the old to the new paradigm occur the old paradigm is sufficiently replaced and becomes the field’s new normal science. Guess what happens next? The cycle begins again because our knowledge about the world is never complete. References The structure of Scientific Revolutions- Thomas. S. Kuhn

What Does You Do You - 1957 Words

Imagine yourself as a freshman in high school. It is much different than middle school and elementary in the sense that the way students interact and socialize are different. A fellow classmate comes up you and invites you to a junior house party. So you accept the invitation not knowing what to expect. In your feverish mind, the only experience you have with parties are birthday parties with adult supervision. So you go to the house party and once you step in the door, a strong aroma hits you. You don’t know what it is but the stench is horrendous! You enter the living room you see sixteen and seventeen year olds drinking alcohol. Shocked and feeling very uncomfortable, you make your way to the kitchen and you are baffled by the sight of your fellow classmate playing beer pong. Someone offers you a drink and you take one, you don’t like the taste, but in fear of being socially rejected, you continue drinking. What confuses you more is the host children and their parent s are drinking! They are completely oblivious to the fact that minors are inducing alcohol into their developing bodies. Unfortunately, innocent kids are faced with situations where they are in a fight with peer pressure doing something that is uncommon for their age group. Kids are in a rush to grow up and become the adult that they perceive it to be. They do not realize the harm that they are doing to their bodies at such a young age. This type of behavior is starting to become a common entity in young ageShow MoreRelatedWhat Does You Do You?1657 Words   |  7 Pagesfrom those reactions, and the actions and choices that are made based on the knowledge gained from those experiences are what modify and hack into one s identity. Experiences and character interaction are the walls needed to make the rooms of action and choice, which then form the house of identity. 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