#its like.. a passive structure in active voice

[qqweebird]

i know that the language you speak natively basically wires your brain to think in a certain way but its always been so hard for me to understand how other languages’ word orders make sense. im taking my second semester of latin and being in this class & the last is the most ive ever had to think about it bc i only took very basic spanish in 4th grade. at least latin is pretty flexible but the typical sentence structure is still weird!

like in my mind a subject-verb-object order is.. it feels temporal. it feels like it describes a sequence of events chronologically, although thats not really true. the most important parts of the sentence come first! i dont have to wait until the end of the sentence to know what is being spoken about & what it did. the verb is almost always at the end of its clause and sometimes the subject is included in it AND the subject is defined by the END of the verb, eg “eam gessit” means “he/she/it carried her” but reads in order something like “her carried(he/she/it).” its not that bad in short sentences, but with a bunch of phrases ? i would hate having to listen to someone speaking it/conversationally bc wtf get all that shit out of the way n get to the POINT what are we TALKING about

#its like.. a passive structure in active voice #its still very fun to learn about! its a brainteaser trying to work out some sentences #one thing that i will admit is basically more logical in otber languages is adjectives following instead of preceding their nouns #like ‘the black cat’ makes more sense to me bc thats what i Know but why would we say the description before what we are talkimg about? #‘el gato negro’ is just Actually better even if it feels awkward #birdsong

[writingwithfolklore]

When i start writing a story in passive voice, using a lot of descriptions, as the story progresses, i have this tendency to write it in active voice. Somewhere the natural flow is disrupted. Please help!!

Hi!

I think first we need to clear something up about active vs. passive voice. Descriptions and lots of it can all be told in active voice, just like action could be told in passive voice. The difference depends on the structure of your sentence.

For example:

"The flowers were speckled with glimmering drops of rain." (passive) "Glimmering drops of rain speckled the petals of each flower" (active) and "The villain was struck by the passing crane." (passive) "The passing crane struck the villain." (active)

Which you choose depends on the effect you want on your readers! For example, you may not want to reveal what's happening to the character until the end of the sentence to maintain a sort of suspense.

"He was tugged suddenly under the door; a large, skeletal hand digging into his thigh." (passive) versus "a large, skeletal hand tugged him under the door." (active)

Good stories use a combination of both! Unless you're really intentionally writing only in passive or active as a style choice to convey something specific, make sure you're incorporating both where appropriate.

What I assume you mean is that the beginning of your work tends to be full of description and focus on detail, whereas by the end you're just moving bodies through space--focusing on the actions of the characters.

I also have this struggle!

A lot of that work at the beginning is about tone, which I wrote about here:

Otherwise, it's about editing afterwards--adding in the missing details and being intentional about your pacing. This may also help:

Hopefully that answers your question!

#writing #creative writing #writers #screenwriting #writing community #writing inspiration #film #books #filmmaking #writing advice #maintaining style #ask and answer #ask box #anon

[tamelee]

I love the way you write, you're so articulate, I wish I could write like that 😭 I'm guessing you get good grades in school? Do you have advice on how to write articulately and clearly while also sounding professional? Like in essay writing?

Huuuu, that’s very kind of you 🥹;-; I’d never imagine anyone saying that to me… ever. 

Well, my grades are good, I have my last exams soon ^^

I do have a few tips! Or rather, there are things I’m still currently learning that may be helpful to you as well📝: 

(Sentence) Structure: I read a book called ‘elements of style’ by William Strunk (revised edition) recently and I learned that no matter how grammatically correct your sentences are, there are still ways to improve its structure. (I had to learn it all over again in English -.-) This is a big topic so I'll name a few specifics you can dive into.

Learn the difference between active and passive voice (passive isn’t bad and sometimes necessary, but active is almost always preferred). Don’t mind all this on your first draft though. It’ll only hinder you.

Study MRU (motivation-reaction units), often used in Fiction writing, but it helped me for essays as well. It is the logical pattern of cause and effect introduced by Dwight V. Swain and I read about it in 'techniques of the selling writer'. Here's an article on the topic as well.

Mind paragraphs. There are different rules for this depending on what you’re writing, but it helps its readability. For Essays especially it’s always good to keep topics separate and lead the reader to your conclusion in a way that makes sense. (It's sorta like holding their hand and going like "because of this... there is this... and therefore... and so.... that's why....") This may need some reorganizing of your premises/subjects at times. I especially need to organize my thoughts before I even start writing.  

Understand what it is that you need to write about and delete everything that isn’t relevant. If you’re like me and you get a ton of new ideas once you delve into a subject, then it’s good to keep a folder (or something similar) for these new ideas. Often these are entire topics on its own and including these into another will only make both unclear and your conclusion muddy. So, ask yourself whether it strengthens your point, or if it’ll make it more confusing. If it won’t make a difference then delete it anyway or save it in your folder for later.  

I always learned that objectivity is important in order to sound professional, though it depends on the kind of essay you’re writing. If you need to convince the reader of something then transparency about your own opinions can help your conclusion be more honest, but be careful of sounding preachy as well. I had to learn all these things when I still studied marketing/communication in entertainment, but it often makes me feel slimy because it’s all very manipulative. (Hence, I quit that path.) It's in fiction as well. Some authors let their own views bleed through their characters in such a way it becomes uncomfortable because it doesn’t argue for the story nor adds to the character— it attacks the reader’s personal morals which possibly gives them an ass-spanking while they’re at it which just really isn’t necessary. Emotional language is fine I think. Sometimes I got compliments from teachers especially because I didn't sound too professional, it requires a bit of knowledge when you can get away with it probably. Just make sure you can back up your arguments/statements and possibly add different views as well. In a way it's more about the confidence in which you present an idea than sounding professional and not being able to understand all the 'why's' I believe.

This one isn't that relevant for school-essays, but sometimes when writing one the question isn't clear. It helps both you and the reader to reformulate it in the beginning. Essays as well as stories are often nothing more than a problem you need to give an answer to. Even if there's no question, it helps to make one anyway so you don't wander off endlessly and drown in a sea of possible subjects you could write about.

Something that may help you as well— I created a roadmap for myself and the different types of things I have to write. That way I always know what to do first and it helps me structure both the essay and my process as I can get easily distracted otherwise. Making more decisions than necessary makes me freeze up, but with a roadmap I don’t have to do either.

Uuh, I've probably picked up on tons of helpful things lately, but I think these are great to start with. I hope they are helpful to you.

I always wanted to (story-)write, but gave up on it and decided to learn how to draw instead. Then, I sort of realized that I was being an idiot, because that desire never left and I had to write other things anyway— like this for example, and simply accepting the fact that no one can understand the load of incomprehensible rubbish I wrote, just wouldn’t do. You can check my older posts… it’s awful. If I ever intentionally want to give myself another headache, I’ll go and read those. 

It’s definitely not perfect now, but hopefully I improved though. I think so. Sometimes I still get scolded as I tend to ping-pong between thoughts suddenly and I can hardly tell the difference between BrE/AmE. (As I grew up I learned English mostly through a sort-of-aunt figure from Canada that always forced me to watch British tv with her.) But, the past few months I especially had to write many essays and (argumentative) case studies so I decided to learn and become better in writing. If that translated back to Tumblr then I'm happy and you’ve made my day >< 

#asktamelee #talk about writing #essay writing

[somethingclevermahogony]

Kisho-Shabalic Script and a bit of the Kishic Language: Basics

As with the Kishic spoken languge, the Kishic script descendeds from and is largely identical to the Shabalic script, thus the term Kisho-Shabalic. Kisho-Syllabic is one of three scripts used in Kishetal along with Kishic hieroglyphs (reserved for religious/cultic purposes) and the logographic Shetalic script, which has fallen almost entirely out of favor.

((Sorry this is so late and such a huge post)

The Kisho-Shabalic script is syllabic, thus each symbol is representative of one syllable composed of a consonant and a vowel. In addition there are characters used to symbalize the conclusion of a thought, in similar fashion to the Latin "." and "?", and the presence of a proper noun or divine status.

Vowels

As a general rule when transcribing the Kishic script, when two of the same vowel are put next to one another, they are treated as a single vowel, rather than elongated as we might see in English with words like book or meet. Two different vowels, as if O and E, E and A, and so on, are almost never put directly beside each other. In the rare instances when this does occur the "stronger" of the two vowels will cover the other. The order of greatness from least to greatest is as follows:

i-e-a-o-u

e.g. the substantive "the talk" Akki- (verb) + -ul (substantive ending) Akkiul Akkiul Akkul

Special Note: One important differentation between the Shabalic language and the Kishic language is that the Kishic language allows for the placing of multiple consonants in sequence. Take for example the Kishic name Ninma, in its original Shabalic form it would be Ninama. Because of the fact that Kishic does have this trait, it has developed its own unique form of punctuation, a vowel drop. When placed below one of the syllabograms shown above, it cancels out the vowel, in essence rendering it mute. Ninma could alternatively be spelled using the formulation NI-IN-MA, similiar to how Narul was spelled above, this is largely a matter of personal preference. The more traditional (Shabalic) form is often times considered more in keeping with nobility.

Sentence Structure

The Kishic language primarily follows a subject-object-verb structure.

Nar(u)l Nina(a)ma hara(a)ziga(a)s. Narul Ninma harazigas. Narul Ninma carried. Narul carried Ninma.

Noun and Adjective Declensions

The Kishic language system consists of the following cases: nominative, genitive, dative/accusative, and possessive (the Shabalic language includes an instrumental case), and distinguishes between two numbers (singular and plural) and two genders, Masc (masc/neutral/inanimate) and Feminine.

A few examples of the scheme of suffixation are given in the tables below.

Sample Verb Stems

Verb stems always end with -i.

Talk: Akki

Breathe: Ki

Eat: Ushki

Struggle: Nari

Sleep: Eshsi

Fight: Orishri

Hunt: Pabakazi (Literally Bow art(ing))

Dance: Irteti

Kiss: Mishuzi

Copulate (and the more vulgar equivalent): Seshiti/Tu(u)ki

Verbal Conjugation

There are two general verbal classes according to which verbs are inflected, the aha-conjugation and the awa-conjugation. Within the Kishic language there are two voices (active and medio-passive), three moods (indicative, subjunctive, and imperative), two aspects (perfective and imperfective), and nine tenses (Simple Past, Perfect Past, Continuous Past, Simple Present, Perfect Present, Continuous Present, Simple Future, Perfect Future, Continuous Future).

The present tense can be identified by -i/-a/-u, past by -as, and future by -ad.

Additionally, the verbal system displays infinitives and participles in the present and past tenses.

Prounouns

Articles

Sample Sentence

#writeblr #worldbuilding #fantasy #writing #wip #queer fantasy #fantasy world #conscript #fantasy language #fantasy writing #world building #testamentsofthegreensea #conlang #kobaniquestions

[agnerd-bot]

Fanservant: Frau Trude Gothel, Wicked Witch of the Fairy Tales(Caster)

Ascension Stages:

First Stage: Gothel is dressed in an elaborate dark ballgown that reaches all the way to the floor, the dress ornate with gold and silver accents. On her ring finger, a shining golden ring gleams in the light. Long pink hair flows down to the small of her back, topped by a black crown, and a pair of gleaming golden eyes shine as she stares down the Master.

Second Stage: Gothel’s outfit has changed to a more ‘traditional’ witch’s style, with long, flowing sleeves extending out from her robes, and a witch’s hat resting upon her head, replacing her crown. Her dress has shortened, revealing her long legs, and her hair has grown out to be much more wild and unkempt. Her sclera have darkened to become pitch-black, and a fiery aura has begun to surround her entire being.

Final Stage: Gothel’s form has changed from that of a witch to a true Devil. Out from her back sprouts black feathered wings, and her skin takes on a deathly white pallor. Her nails lengthen into demonic claws, and a pair of monstrous horns sprout from the sides of her head. The ring has been corrupted slightly, becoming immersed in hellish flames.

Theme:

Character Theme: Healing Song - Tangled

Battle Theme: BlazBlue CentralFiction - Walpurgisnacht (Nine the Phantom theme)

Fatal Battle Theme: 破壊神

Traits:

Class: Caster Alternate Class: Berserker, Alter Ego, Beast True Name: Frau Trude Gothel Source: Grimm’s Fairy Tales Region: Germany Alignment: Chaotic Evil Attribute: Earth

Known as: The Witch of the Story’s End, The Witch of the Tower, the Forest Witch, The Villain of All Fairy Tales, The Devil Incarnate, Diabolus Ex Machina 

Voice Actress: Noto Mamiko

Deck: QABBB

Parameters: Strength: D Endurance: A++ Agility: B Mana: EX Luck: C NP: A

Passive Skills:

Territory Creation(Fairy Tale) C++:

As a Fairy Tale character, Gothel is uniquely capable of altering her environment, creating the backdrops of the stories to be told. Gingerbread houses, massive towers, fantastic castles, all can be made by Gothel with a mere wave of her wand.

However, as much as she is the creator of the world around her, the majority of her creations are simply temporary structures of illusions made to trap victims, meaning this skill is less effective than a true master’s handiwork. While her creations could be much more impressive if she chose to apply herself more properly, she’s content to lazily throw together false illusions to suit her needs and then smash them to pieces when she is done.

(FGO Effect:) -Increases own Arts and Quick performance by 10%.

Item Construction EX:

The power of one of the most famed witches to ever exist, and yet one of a witch who melts away among all the rest. Gothel’s ability to create fearsome cursed items and magical weapons is among the best among all Servants, thanks to her status as an offshoot of the legendary Baba Yaga. There are few Servants that could ever hope to match her raw talent in magecraft.

In at least one Fairy Tale, The Dragon of the North, it is even said that a witch-maiden held the power of King Solomon’s Ring, and knew of its incredible secrets. While this story is likely nothing more than a fantasy, it speaks testament to the incredible and fearsome powers that Gothel has at her beck and call.

(FGO Effect:) -Increases own Debuff success rate by 12%.

Wicked Witch of the Story’s End A:

As the Villain of All Fairy Tales, Dame Gothel reigns supreme as one of the most powerful Fairy Tale Servants alive, surpassed only by the Big Bad Wolf and the Persecuted Heroine, and matched only by her equal opposite, the Fairy Godmother.

Where there are stories to be told, a villain will naturally arrive to cause strife and pain.

(FGO Effect:) -Increases own critical damage by 12%. -Increases own damage by 250.

Active Skills:

Devil’s Contract B:

While many in the world feared witches and blamed them for countless misfortunes and disasters that happened to them, few, if any, ever truly laid eyes on a witch and recorded their experiences. As few understood witches or how their powers worked, many associated their existence with that of the Devil, believing them to be Brides of Satan who had sold their souls to evil in exchange for power. As a Fairy Tale whose existence was based off of these false notions, Gothel has imprinted upon her a ‘contract’ with Hell itself.

This contract with Hell has granted Gothel incredible powers, and is the source of some of her more powerful magic. She can summon pillars of hellfire that can erase even a victim’s soul, drag victims off to the deepest pits of Hell, and summon monstrous creatures from the Pit to fight for her in combat. Her powers are effectively limited only by her sick imagination and sadistic cruelty.

Most notable of her powers is a form of pseudo-immortality. While her body can be destroyed by an enemy, she can resurrect herself each and every time, so long as the enemy she faces isn’t a god or similar divinity. It is through this power that Gothel has survived things like being burned alive by Handel and Gretel, dancing to death in Snow White, being hacked to pieces, and other similar fates.

No matter how often the villain dies, or how often the hero beats her, she will always return when the story begins anew, ready to ravage the lands at her leisure.

(FGO Effect:)  -Increases own Debuff Success rate every turn for three turns. -Apply a state to yourself: Gain NP Gauge when attacking with Buster Cards (3 turns). -Apply Guts to self for two times, five turns.(Stackable with other Guts).

Wicked Transformation A:

In Fairy Tales of old, there were hundreds of tales of witches using their accursed powers to transform unwilling victims into horrible monsters, helpless animals, or inanimate objects for some reason or another. Whether it be envy of another’s virtue, punishing the wicked and foolish for incurring their ire, or twisting a victim’s wish into something terribly ironic, the ability of a witch to alter the forms of those she chooses is unlimited, and when these powers are unleashed, it is all too easy for Gothel to dispose of her victims.

If need be, Gothel can turn this transformation unto herself, shifting into the form of an eagle to fly through the air, an old beggar woman to disguise her appearance, a ferocious bear to fight off her enemies, and so much more, all with a mere magic word and a wave of her wand. It is through this power that Gothel gained her reputation as the Villain of All Fairy Tales.

However, as with all fairy tales, this ability does have a caveat. Each transformation comes with a condition that, once fulfilled, will release the victim from its binding. If a victim is able to escape from Gothel and find someone to free them from their curse, then they will be returned to their true form.

(FGO Effect:) -Inflicts Buff Block status for three times on one enemy. -High chance to Stun an enemy for one turn. -Gains Critical Stars every turn for three turns. -Increase Critical Damage for yourself for three turns

Mesmerizing Banquet of Cockaigne B:

Poisoned Apples.

Gingerbread Houses.

Irresistible Rapunzel.

In the fairy tales of old Europe, food and drink has often served as the greatest tempter of man, and witches like Gothel have preyed on these temptations for ages, able to prey on the hunger and greed of humanity by creating food that no human is able to possibly resist.

This power over food has only grown in power after Gothel has consumed the mythical Land of Cockaigne and further bolstered her power. The mere presence of her cooking is able to drive victims mad and lure them into the land of food and drink that is Cockaigne, abandoning all precepts such and former memories to become self-indulgent and hedonistic, like cattles to the slaughter.

Surprisingly, while Gothel can easily summon food and drink by means of her magic, she seems to have a preference for making her food from scratch. When cooking, a faint smile can be seen on Gothel’s face, even when not preparing a meal to deceive or hypnotize.

“Double, double, toil and trouble, Fire burn and cauldron bubble… Rampion flower on the vine… return to me what once was mine…”

(FGO Effect:) -Significantly increases NP Gauge. -Removes own Debuffs. -Low chance to lower Critical Resistance for all enemies for three turns. -Low chance to lower Buster Resistance for all enemies for three turns. -Low chance to reduce NP Charge for all enemies for three turns. -Low chance to lower Attack for all enemies for three turns. -Low chance to lower Healing for all enemies for three turns.

Noble Phantasms:

Noble Phantasm: Die Teufelsmaske - Feed the Devil’s Fire Rank: A Maximum Targets: 1 Range: — Classification: Anti-Unit(Self)

A terrifying Noble Phantasm that removes all guises and illusion from Frau Gothel’s form to reveal who she truly is: The Devil, villain of Europe's very first fairy tales. In this state, she takes on the form of a terrible demon straight from Hell itself. Gnarled horns as red as blood pierce through her skull, her hair takes on a deathly pallor, angelic wings burst out from her back, and her teeth sharpen into deadly fangs. The world around her shifts and darkens, becoming a dense, foggy forest filled with dead trees and ominous winds, all isolating the devil and her victims from the world.

She is not the true Devil, but rather “Mankind’s Approximation of the Devil”, a false image who bears but a fraction of the true Adversary's power. Simply put, she is the ultimate evil for a hero to face in a fairy tale, a monster with the potential to become an Evil of Humanity itself.

It is not just her physical form that changes upon activating this Noble Phantasm, but her magical prowess surges to seemingly limitless heights, able to weave her own story and alter the world around her how she pleases. It was through this Noble Phantasm that the Hausmärchen Singularity Collective was born, where the Beast of Ignorance would attempt to consume all other stories in order to destroy Humanity to its very roots, and where Gothel would attempt to destroy the Chaldeans on her orders, by altering these beloved fairy tales and corrupting them with her immense power.

So ferocious, so dreadful is this power that even the nascent Beast of Ignorance, Red Riding Hood, didn’t dare face this monster head-on in combat, instead choosing to let the Chaldeans distract and weaken her so she could land a mortal wound on the demonic witch.

“Fufufufufufu… Do you understand now? I am not some mere ‘thing’ that goes bump in the night… I am not just the paltry scratches at your walls… I am the monster that all children fear. I am the evil that makes you lock your doors. I am the witch that lives just next door. I am Evil. I am Wicked. I am Frau Trude, and I am very real, child.”

(FGO Effect:) -Remove all Debuffs from self. -Increase Debuff Resistance for three turns. -Increases own critical star absorption for three turns. -Grants self On-Attack-Activate buff for three attacks, three turns. --Increases own Critical Damage for one turn when attacking with Buster Cards. -Increases own damage against ‘Fairy Tale’ or ‘Fated Hero’ enemies.

Noble Phantasm: Kleine Verlorene Kinder - Happily Never After Rank: A Maximum Targets: — Range: — Classification: Anti-Army

Dame Gothel has the ability to summon massive golems made of gnarled wood and hellish flames, each one standing over ten feet tall. These golems are nigh-immortal, soulless husks of incredible power, akin to the Olympian Soldiers of the Fifth Lostbelt. They feel no pain, are able to regenerate from nearly any damage, and will not cease until their targets have been completely and utterly eradicated. They know nothing but destruction and death, and wickedly relish in it any chance they can.

Truly, these must be monsters straight out of Hell, demons created from the darkest pits mankind has ever known. There is nothing else that could explain their sheer malice and relentless nature.

Alas… if only that were true.

In reality, these monsters are the children slain by Dame Gothel, the foolish and wicked children who disobeyed their parents. They strayed from the path and ended up caught by the wicked witch. Their bodies were killed and eaten by the monster in the woods, and their souls were left to burn in the Devil’s fire, fueling these monstrosities. What memories these creatures held have been long forgotten, and all they know now is to obey, a monstrous punishment for their foolishness in life.

Now, all these children have left is resentment and anger. Hatred for the ones who got away, who had a chance to escape the monsters of the world. It is unfair, they say, that they alone must suffer. So they will drag down anyone and everyone they can into the darkness, using their powers to twist and distort their victims into more of these monstrous creatures, until nothing is left behind but death and chaos.

Noble Phantasm: Rapunzel, Rapunzel - The Maiden in the Tower Rank: A Maximum Targets: — Range: — Classification: Anti-Fortress

The fabled tower in which Dame Gothel spent the rest of her days, and where the fair maiden Rapunzel was locked within. It is a prison akin to Merlin’s Garden of Avalon, a nigh-inescapable maze of hewn stone and wood. This tower serves as a great and terrible prison in which escape is nigh impossible. The tower itself is protected against magical attacks of all kinds, and is far sturdier than its appearance belies. The only way in or out is within a window high near the top of the tower, where Gothel herself lays in wait for anyone who would dare escape or enter.

Gothel can summon this tower in parts, summoning the walls as a bulwark against enemies and their attacks. However, the tower is at its most fearsome and powerful when the full structure has been erected, serving as the central lynchpin of the Hausmärchen Singularity where all Fairy Tales were forcibly distorted.

However, for those trapped within, there is a single thing to serve as a guide. A long, golden rope of hair, which can be seen throughout the tower. Despite the obvious trail it leads, Gothel does not do much as touch the hair, content to leave it be.

Voice Lines:

Summoned: Bow your head, human. You stand in the presence of Dame Gothel, the Witch of the Story's End. Hmm… So I have been summoned to serve Humanity, is it? Hah! What a joke. But I suppose I can spare you for now, Human. Though be warned. If I find you irritating, I will cook and eat you like all the rest before you.

Summoned(Clear Singularity “Hausmärchen - Land of Stories”): I see now… This is why I was called by the World to save mankind. How irritating... Does this world expect me to play the role of a hero now? But I suppose if that is the role the story asks me to play, I must play it out to my best. Don't think I'm getting soft though, human... I am Dame Gothel, the Witch of the Story's End, and a monster I will remain until the end of days.

Level Up 1: More fuel to the fire… Good, let the flames grow higher.

Level Up 2: Another ingredient to the cauldron... How delicious.

Level Up 3: Another offering for me? My, my, you're too kind.

1st Ascension: Ah, now this is more to my tastes. This is a dress most befitting a witch like myself. Fufufufufu… What do you think, human? Beautiful and fearsome, am I not? Perfect for the monster that I am.

2nd Ascension: You insist on pressing onward? Even if what you see may be frightening? I wonder... Would you consider yourself brave or foolish? I suppose time will tell.

3rd Ascension: Fufufufufufu... Finally, you see me for who I truly am. Do you understand, child…? You've strayed too far from the path of light, and now The Devil has come to make you pay for your sins. Tell me, was it worth it, selling your soul?

4th Ascension: Good and evil... Light and dark... They are but roles we are meant to play in the story. I did not choose the path I have taken, it was thrust upon me. The story dictated that I was to be the villain, and so I took upon that title with pride. I do not regret a single action I have taken... ...I wonder, did she think the same? Did she not once look back?

Fight Start 1: By all means, welcome to my humble abode… You’re not going to leave it anytime soon…

Fight Start 2: Well, well, well, it seems like a lovely little morsel has arrived. And just when I was getting hungry, too…

Fight Start 3: You know, you shouldn’t go walking around the woods by yourself. Who knows what monsters lurk in the shadows…?

Fight Start(Fatal Battle): Ah… Ahhh…! Rapunzel, Rapunzel…! Why…?! Why did you leave me?!

Skill 1: Double, double, toil and trouble…

Skill 2: Fire burn and cauldron bubble…

Skill 3: By the pricking of my thumbs…

Skill 4: Something wicked this way comes…

Command Card Select 1: Is that all?

Command Card Select 2: I suppose I haven’t used this trick in a while.

Command Card Select 3: This should be more than enough for the likes of you!

Noble Phantasm Select 1: It’s time we cast off this illusion…

Noble Phantasm Select 2: Tell me… Are you afraid?

Attack 1: Burn, down to your very bones!

Attack 2: By all means, scream…

Attack 3: You are going to taste exquisite…

Attack 4: Crush them, Tower with No Doors!

Attack 5: Hell awaits you!

Attack 6: Do you think you can survive this?!

Attack 7: Bind them, Seal of Solomon!

Extra Attack 1: The final chapter has been written… It’s the end of your story!

Extra Attack 2: Oh, do you think you can escape…? How foolish!

Noble Phantasm 1:

Heeheeheeeee… Hahahahaaaaa…!

Now the real fun begins…

Now the feast shall commence…

Now, little ones…

It’s time.

Let. Me. In.

DIE TEUFELMASKE!

Noble Phantasm 2:

The Witch’s Night has come and gone…

Now the Devil comes to play!

So run and hide, it’s all the fun!

NOW HAS COME THE TIME TO SLAY!

DIE TEUFELMASKE!

Noble Phantasm 3:

Bolt your doors…

Hide your children…

For the witching hour has arrived…

Die Teufelmaske.

AHHHHHHHAHAHAHAHAHAHAHAHAAAAAAA!!!

Noble Phantasm 4(Fatal Battle):

I am a monster…  I am the Devil… 

I am a demon who holds no love for anything in this world… 

Then why…

Why does my heart hurt so much?!

Rapunzel… Rapunzel… 

It's all your fault!

YOU DID THIS TO ME!

AHHHHHHHH!!!

DIE TEUFELMASKE!

Damage from Noble Phantasm: How annoying…

Regular Damage: Tch.

Defeated 1: If the story says so…

Defeated 2: I’ll come back another day, just you wait.

Defeated(Fatal Battle): No… Please… Just let me end this!

Victory 1: Unfortunately for you, there is no happy ending.

Victory 2: And so the story reaches the end. The hero has been slain, and the wicked witch claims another victim.

Bond Level 1: So, we really are doing this, hm? Very well, as per our agreement, I shall lend my aid in your task to save mankind. In return, the moment I get bored with you, or I grow irritated by your words, or I am offended by your presence, I can and will eradicate you, completely and utterly. This I swear. Such is the binding of our contract. ...fufufufufu. Congratulations, young Master of Chaldea. You've made a deal with the Devil.

Bond Level 2: What's with that strange look you are giving me? ...ah, I understand. You don't trust me, do you? Don't worry. I may be the Witch of the End, but even I understand the sacred nature of an oath. Even if it is an annoyance to me, I intend to fulfill my side of the bargain to the fullest. I expect nothing less from you. Otherwise... *snaps fingers* Your soul is forfeit. Do I make myself clear?

Bond Level 3: Ghhh... Must you insist on following me around like a lost duckling? Surely, there must be other Servants that you could bother aside from me? ...hm? Lonely? ... What a joke. I am a monster. The Devil Incarnate. Whoever heard of a creature like that being lonely?

Bond Level 4: Your presence... It's annoyingly familiar to me. You remind me too much of my daughter. No... That's not right. Unlike her, you truly do fear me, don't you? I can smell it. And yet, you still choose to approach me? How strange... Still, I suppose I can't begrudge you, given our contract. But stay out of my way.

Bond Level 5: What is it now? ...ah, I understand, a revision to the contract. Very well. I suppose we are due for some additions. First off, your terms wish for me to... be more open in Chaldea. Tch. What an annoyance. But I suppose it is an acceptable one. I do not promise to be kind, or to be sociable, or any of that nonsense. But I suppose I can make an effort to do more around here. As for my terms...? You are not allowed to leave. ...oh? Do I see hesitation on your face? Then allow me to explain. Your life and mine will become bound to one another. If you are to leave me behind, I will follow. If you are to die, I will put you back together. If you are to vanish from this world, I will use every bit of my power to return you to it. Your fate and mind will become connected for all eternity, until we both agree to annul this contract. Simply put? I will not let you abandon me. So... do we have a deal?

Dialogue 1: Tell me child, when you think of the villain of all Fairy Tales, who comes to mind? …eh? The Big Bad Wolf…? Tch. What a pain. It appears I’ve been slacking in my efforts.

Dialogue 2: So, you too are a dreamer? Feh, I should have known. You have that annoying air about you. One of hoping and dreaming…

Dialogue 3: Are you just going to sit there and gawp at me while I work? If you have nothing better to do, here. Get me these ingredients. What? You’re worried it’s too dangerous? Well, it’s not my problem. Now go!

Dialogue 4: The end is fast approaching… I wonder, what will you do when the time comes? Will you cower in fear? Will you fight? Or will you simply accept it…? No, that’s foolish of me to ask, I know the answer.

Dialogue 5 (If you have Pinocchio): Little Pilgrim Made of Pine… The boy has apparently got it into his hollow head that he is to be my ‘conscience’. …heh. Isn’t that funny? A monster having a conscience? I’d laugh if the boy didn’t seem to mean it with all his heart…

Dialogue 6 (If you have Cinderella): Ah yes, the Persecuted Heroine… She reminds me all too much of my dear child. Such a pity, though… To have all the fortune in the world and still be unhappy. 

Dialogue 7 (If you have Red Riding Hood): The Beast of Ignorance… Yes, she summoned me to create her own Singularity. In exchange, she would give me the salvation I desperately wanted. I was a fool to think I could trust a wolf. Be that as it may… I don’t enjoy being tricked.

Dialogue 8 (If you have “Goldilocks”): Ah, it’s you… I was wondering for the longest time why you of all characters felt so out of place… To think that it would be that a fallen deity stood before me. …how irritating.

Dialogue 9 (If you have any “Angel” Servants): Have you come once more to mock me, angel? Fine. Make your jeers and your judgements, they’re all the same.

Dialogue 10 (If you have Beni-Enma): Have you come to cast your judgement on me, little sparrow? I suppose it’s only fair. But if you expect me to make it easy for you, then you are a fool.

Dialogue 11 (If you have Mephistopheles): Oh? The Demon of Faust is here as well? How interesting… What a shame that he is not a true demon, though. I suppose his trickery and deceit is entertaining enough. I wonder, clown. What tricks have you up your sleeves?

Dialogue 12 (If you have Oberon-Vortigern): You too… have lost something important to you? Ah, Titania… No, I sadly have never met a woman such as that. Have you by any chance…? No, I suppose you wouldn’t have. In any case, I wish you luck, Fairy King.

Dialogue 13 (If you have Kintoki Sakata): Golden hair… The son of a witch… And an annoyingly chipper outlook on the world. Ghhh… He’s clearly not the same, but still, he’s too familiar. I best keep away from him for now.

Dialogue 14 (If you have Nursery Rhyme): Hm? What do you want, child? …you wish for me to read you a story? … No, there are other Servants better suited to that-OW! Hey, stop pulling on my dress! Ghhh…! This is why I hate children!

Dialogue 15 (If you have Hans Christian Andersen): Hans Christian Andersen… I suppose I owe my existence partly to him. What a sad little man he is. Putting up a front of coldness and disdain, but he’s just a coward too afraid of intimacy. …hm? What do you mean ‘he reminds you of someone’?!

Dialogue 16 (If you have any other “Fairy Tale” Servants): It appears my reputation precedes me… Yes, all the looks of terror and fear surrounding me… Fufufufufu… Now this is my element!

Dialogue 17 (If you have Lostbelt Morgan): The Witch-Queen of the Britons, as I live and breathe. You may be from a time and place not of this world, but I can sense your magical talent all the same… How frightening.

Dialogue 18 (If you have any “Child” Servants): Well, well, well… Lunch has arrived. Fufufufu… Don’t worry, Master, I’m only kidding. For now, at least.

Likes: There’s no greater pleasure in this world than eating. If there’s one thing God has done right, it’s grant all creatures, great and small, the ability to eat and cook. And of course, thanks to my magic, I can change my appearance however I wish. In other words, I can eat as much as I want, and suffer none of the consequence!

Dislikes: Something I dislike? Children. They’re terrible little things, talking to you, invading your homes, taking things from you… Yes, what rotten, horrible things children are. Only good to be a meal, nothing else.

About the Holy Grail: The Holy Grail…? Hmph, do you take me for a fool? That thing is clearly cursed. To make a wish on it, one must either be desperate, or an idiot. No, my magic is more than enough to surpass that paltry little thing.

During an Event: Oho? Now what has come a-knocking at my door? My, it seems that some festivities have begun, and here I am without an invitation. This cannot stand… Come, let us go see what all the fuss is about. I happen to know a thing or two about crashing parties…

Birthday: What? Oh, you wish to celebrate your birthday with me, do you? Hmm… I suppose I can whip something up from scratch. It may be a bit of a rush, but I suppose I can indulge you just this once. Don’t expect me to make this a habit, though.

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Once Upon a Time, in a faraway land, there was a witch. Or rather, there were many witches. Monsters that stalked the dark forests, looking for children to kidnap. Women that had sold their souls to the Devil in exchange for fantastic magical powers. Tricksters that caught victims in riddles and traps for their own sick amusement.

These stories would eventually become fused into one, a witch who would symbolize the fear all children hold in their hearts, and the looming threat that lay beyond the walls of their home. One of the few named witches, who terrorized the tales of the Brothers Grimm told to children at night. Gleefully, she tormented those who walked in her forests, cooking children for her meals, burning wayward fools who entered into her hut, and tearing families apart, all to amuse her.

She was Frau Trude Gothel, the Wicked Witch, a monster who held no love for anything.

Bond Level 1:

Height/Weight: 176cm • 75kg Source: Grimm’s Fairy Tales Region: Germany Alignment: Chaotic • Evil Gender: Female

Once Upon a Time, in a faraway land, there was a witch. Or rather, there were many witches. Monsters that stalked the dark forests, looking for children to kidnap. Women that had sold their souls to the Devil in exchange for fantastic magical powers. Tricksters that caught victims in riddles and traps for their own sick amusement.

These stories would eventually become fused into one, a witch who would symbolize the fear all children hold in their hearts, and the looming threat that lay beyond the walls of their home. One of the few named witches, who terrorized the tales of the Brothers Grimm told to children at night. Gleefully, she tormented those who walked in her forests, cooking children for her meals, burning wayward fools who entered into her hut, and tearing families apart, all to amuse her.

She was Frau Trude Gothel, the Wicked Witch, a monster who held no love for anything.

Bond Level 2:

The witch's cruelty comes in many forms, some benign, some sinister. Some overt, some subtle. In some stories, she is The Devil, extending a gentle hand to bind a victim within a horrifying contract, cackling as another fool sells their soul and loses everything to her. In other tales, she is a temptress, luring children into her home with promises of sweets or enticing mysteries to solve, only to kill these innocents and use them to sate her vile hunger. In still others, she is a vain sorceress, tormenting younger beauties in envy of their purity and goodness, forcing a hero to come and save the maiden from her monstrous cruelty.

However, on very rare occasions, the witch is not the villain of the story, but rather a guide and teacher for the hero to seek out. And at times rarer still, she is a mother, a guardian, and a protector, watching over her child with the rage of a loving parent. How strange it is, that this self-admitted monster can be so versatile, how a being who claims to be heartless can come to care for anything with true love.

And here, in truth, does the story begin in earnest.

Bond Level 3:

Once upon a time, in a faraway land, the witch Dame Gothel lived, laying deep within a forest by her lonesome, relishing in the fear and terror her very name brought to the land. Mothers locked their children behind their doors, fathers carried torches and pitchforks in the night, and all prayed to God for salvation from this monster. She was content with this, all too happy to be the monster she was meant to be.

One night, the witch heard a rustling outside her door, and found that a neighbor from a nearby home had ravaged her garden, stealing the rapunzel plants and placing them in a basket. Incensed, the witch accuses the man of theft, and readied to kill him on the spot. The man, in turn, fell to his knees and begs.

"Please, miss! My wife needs to eat these plants to survive! She is to give birth soon, and I fear that she is wasting away! For the love of God, have mercy!"

The witch stayed her hand at the man’s words, but her mercy was not bourn out of kindness. Rather, she came to a terribly wicked idea. A bargain that would drive the man to the deepest pits of despair.

"Very well, I shall spare your life, but in return, I ask for one thing: your child that is to be had. I should like to keep her, and in exchange, I will let you eat of my plants."

Desperate, the man agreed, and upon the child's birth, she was given to the witch, at both mother and father’s despair. Frau Gothel took the child with her to a tower with no stairs or doors hidden deep in the forest. She named the child Rapunzel, after the very plants that secured her imprisonment to Gothel, and locked the baby into the highest room of the tower, where no man could ever hope to find her.

Bond Level 4:

Dame Gothel never truly intended to keep the child for herself. She had no use for a progeny because of her immortality, nor did she particularly want one in the first place. Children were far too noisy and prying and irritating for her to keep, that much was clear. No, if anything, the child would suffice as a meal. Perhaps not as she was now, but in due time, the baby would serve as a meal, nothing more, nothing less. It was as she was named: Rapunzel. Merely an ingredient to be cooked in a stew or served in a salad, just like all the other children before her.

And yet...

As the years went on, the child grew and grew, and Dame Gothel couldn't help but feel a sense of happiness as she watched. The child looked her in the eyes with no fear, unlike anyone else who had met her before. She did not care of the magical power she held, or the terrible atrocities she had done. No, the young Rapunzel saw no evil in her mother's eyes, and in turn, Dame Gothel beheld something she had truly begun to love. Eventually, all thoughts of eating the child were gone, and in their place were a mother's protective heart. She would shield the child from the cruelty of the world, protect her within this tower with all her might. Nothing and no one would ever lay eyes on her precious daughter, and they would live together within this tower, just the two of them.

They would all live Happily Ever After.

Alas, if only it was meant to be.

Bond Level 5:

She did not know when the man came, nor how he came to find their hiding place, or even why he climbed the tower to begin with. But it was unmistakable, the stench of that 'prince' violated the tower, just as much as he had violated her dear Rapunzel. Gothel confronted her child, and soon, the relationship between mother and daughter began to strain.

"You... You let him in here?! Moreso than that, you bear his child?! How could you do this to me?! How could you do this to yourself?!"

"Mother, I love him! And he loves me! We are to be wed, and I will not let you stand in the way of our marriage!"

"Love?! Marriage?! Rapunzel, you are a fool! You've only known him for a few months, and you're talking about marrying him?! You're just blinded by your naivete!"

"Whose fault is it then?! You call me naive, and yet you're the one who locked me in this tower, never able to see anything beyond these walls! If I am blind, then it is because you are the one who has blinded me my whole life!"

"How... dare you?! I did this all to protect you!"

"No, you did this to keep me all to yourself!"

At her daughter's words, Gothel was overcome with a monstrous rage she had not known since taking in the child. In a fit of blind rage, Gothel cut off Rapunzel's precious locks, her golden hairs falling to the ground all at once. The two fell silent as mother and daughter looked each other in the eyes. Horrified at what she had done, Gothel could not even speak a word of protest as her child left the tower, never to return again. Silently, she extended a hand towards the one person she had ever loved… And did nothing as she faded away into the dark forest.

Extra (Clear Singularity “Hausmärchen - Land of Stories”):

Upon Rapunzel's departure, the Witch of the Forest remained in the tower waiting, hoping for the day that her child would one day return, and they would live out their lives as they always had. Just the two of them together. She did not eat. She did not sleep. She did not even attempt to leave her prison of her own making.

Days turned to weeks, weeks turned to months, months turned to years, and yet neither hide nor golden hair of the child had made her way home.

So, the Witch of the Story’s End did something she had never done in her long years of life: she prayed. Clasping her hands together, Dame Gothel, who had sold her soul to the Devil, who wickedly defied Heaven without remorse, begged Heaven for a sign, an answer from God that her beloved daughter would come home to her, that her family would be made whole once more. After many sleepless nights of prayer, Heaven would eventually answer Gothel’s prayers, sending an angel from on high to speak to the monstrous witch.

"Dame Gothel, wicked and cruel tormentor of mankind... You dare ask God for intercession? You, who has torn apart countless lives, murdered hundreds of children, now beg for your own child to return? Do you not realize that your daughter left you because you refused to give her happiness? That you marred her own beloved just to selfishly keep her in your tower? ... You disgust me. The only reason why I do not damn you to Hell here and now... Is because I see that no punishment could ever surpass your torment here and now. So lay here and rot until the end of your life, Dame Gothel... Forever knowing your daughter is far happier now that you are gone from her life."

Upon the angel's words, Gothel's heart had shattered into pieces. The wicked witch, who had gleefully tormented families and left them in despair, was now trapped within her own sorrow, having lost her dear Rapunzel. She had nothing to live for, nothing to smile about. Without Rapunzel, she was left as nothing more than a living corpse, left to waste away until nothing remained of her.

Never to regain her Happily Ever After.

The End.

#fate #fate fanservant #fanservant #fate grand order #fgo #fate oc #dame gothel #frau trude #the wicked witch #writing and other stuff #behold! my second fairy tale fanservant! #I've got six in total in mind #and yes this is me indulging in my love of witch designs in fiction #i liked the idea of having an unrepentant monster as a servant #and yet they still do have someone they cared about despite that #and dame gothel was honestly the best choice for that #witches in fairy tales are almost always unrepentant eaters of children and complete monsters #but dame gothel was somewhat of an exception #with there being a lot of ambiguity in the story if she truly loved rapunzel or was an abusive parental figure like many other fairy tales #i decided to lean towards the former #which made an interesting writeup to juxtapose with her being... well an evil witch who ate children #and i like how it turned out #hope y'all find it interesting too

[study-with-aura]

Thursday, September 7, 2023

My favorite lesson today was in World History. I learned about it before in previous history courses, but this was more detailed. A lot happened during that time!

I also did a lot of reviewing on Khan Academy now that I have finished the 9th-grade Reading and Vocabulary course. I may not do a lesson from each course every day depending on what I am learning in my main course since I am using KA for review purposes only. I need to get ready for exams as they come up, and supplementing this way along with my notes should be beneficial as it has been for mathematics in the past.

Tasks Completed:

Geometry - Reviewed dilations + practice

Lit and Comp II - Reviewed Units 1-3 vocabulary + read more about the passive voice + assignment + read Chapter 18 of The Adventures of Tom Sawyer

Spanish 2 - Reviewed vocabulary + answered questions

Bible I - Read Genesis 32-33

World History - Read about Alexander the Great + watched presentations on Alexander the Great and Greek Achievements + read about the Peloponnesian War and the results of the war + wrote out about the war and its impact

Biology with Lab - Reviewed the hierarchy of life + read about the structure fits function assignment

Foundations - Read more about cautiousness + took a quiz on Read Theory + read an article on walking, memory, and creativity

Practice -Practiced assigned pieces for 30 minutes and worked on memorization

Khan Academy - Completed Unit 1: Lesson 1 of World History + completed Unit 1: Lesson 1 of High School Biology + completed Unit 1: Lesson 1 of High School Geometry

Duolingo - Completed at least one lesson each in Spanish, French, and Chinese

Activities of the Day:

Ballet

Pointe

Journal/Mindfulness

-

What I’m Grateful for Today:

I am grateful that there is free educational material out there to support students and older learners who may not have access to quality education or who like to learn new things for fun.

Quote of the Day:

Don't compromise yourself. You are all you've got.

-Janis Joplin

🎧Nocturnes, Op. 9: No. 2 in E-Flat Major - Frédéric Chopin

#study community #study blog #study inspiration #study motivation #studyblr #studyblr community #study-with-aura

[aro-langblr]

Insight into Ukrainian (/juːˈkreɪnɪən/)

[Image description: A photo of a traditional Ukrainian petrykivka painting resembling red-orange flowers. /End ID]

What is the language called in English and the language itself? – The language is called Ukrainian in English and Українська мова [ʊkrɐˈjinʲsʲkɐ ˈmɔʋɐ] in the language itself. – There are many common dialects of Ukrainian that are subdivided into 4 dialect categories: Polissian/Northern, Southeastern, Southwestern, and Rusyn**. Middle Dnieprian of the Southeastern group is the basis for standard Ukrainian. ** Rusyn is governmentally considered a Ukrainian dialect, but linguistically, it is still under debate. 

Where is the language spoken? – It is an official language of Ukraine and Transnistria, and it is an official minority language of Belarus, Bosnia and Herzegovina, Croatia, the Czech Republic, Hungary, Moldova, Poland, Romania, Serbia, and Slovakia.

How many people speak the language? – There are between 40 and 45 million Ukrainian speakers.

Which language family does it belong to? What are some of its relative languages? – Ukrainian is classified as Indo-European > Balto-Slavic > Slavic > East Slavic > Ukrainian. If Rusyn is considered its own language rather than a dialect**, it is Ukrainian’s closest relative language. Otherwise, Belarussian is Ukrainian’s closest relative. ** Ukraine recognizes the Rusyn language as a dialect of Ukrainian, but most Rusyns state that they are an independent people with their own language. Also, some linguistic scholars claim the Rusyn language is a dialect of Russian. It's validity as a language is highly debated.

What writing system does the language use? – Ukrainian uses the Cyrillic script. – Sample text courtesy of Omniglot: Всі люди народжуються вільними і рівними у своїй гідності та правах. Вони наділені розумом і совістю і повинні діяти у відношенні один до одного в дусі братерства.

What kind of grammatical features does the language have? – Ukrainian has a relatively free word order, but it tends towards SVO structure. It is a fusional language with 2 numbers, 3 persons, and 3 genders. It has 7 cases (nominative, genitive, dative, accusative, instrumental, locative, and vocative), 4 tenses (present, past, pluperfect, and future), 3 moods (indicative, imperative, and conditional), and 2 voices (active and passive). It has 4 noun declension types and 2 verb classes. It also has the formal “you” form, and it is a pro-drop language, meaning certain sentences can lack subjects. 

What does the language sound like?

What do you personally find interesting about the language? – Seeing another language with endless declension charts made me feel sympathy for Ukrainian learners (from your fellow Lithuanian learner). But I also enjoyed researching today because of a Ukrainian person I recently befriended. I've learned a lot from her, and researching her native language warmed my heart! On a less personal note, I also learned about periphrasis from this endeavor ^_^ 

#ukrainian #українська мова #Українська #langblr #lingblr #language insight #Youtube

[ladybugmeat]

On Oscar Wilde's Symphony In Yellow

The poet’s images and word choice conjure a metropolitan entity producing a cascade of evanescent, subjective detail. There is the acute operation of detached, albeit delighted, perception and digression – as distinguished in the lens of the flâneur. One line’s suspended image bleeds into the next. At once, the ‘omnibus across the bridge’ continues its itinerant course into the slowed ‘crawl’ of  ‘a yellow butterfly’. Through superimposing a nature scene atop these urban movements, the city is engendered with an organic, almost sentient, force. This meditative effect is accelerated via the poem’s sonic quality. The enclosed rhyme, redolent of the Petrarchan sonnet, fuels this synergy of  images. There is a pleasure in the poem’s predictability, akin to man’s ostensible grasp over nature’s patterns. The indented rhyme ‘butterfly’ and ‘passer-by’ produces further unity through assonance, the double consonants generating the sounded effect of elevated incantation.

The articles of the poet’s attention share a fragility: The liminal, perhaps precarious, position on ‘the bridge’, the dragged ‘crawl’[ing] of the butterfly as if moving towards hibernation, and the single passer-by discerned as ‘a little restless midge.’ Living largely in the reader’s ear, the poem’s minutiae are particular yet fleeting - the images collapsing and transforming on being read. This gestures to the city’s allure: its dual invitation to be known yet never fully conceived.

Whilst the poem never particularises the heard, sound is repeatedly suggested.  Within the second stanza, the poet further utilises phonics to forge the city’s soundscape. The alliterative ‘big barges’ conjures the obstructive authority of the vehicle's horn. The ‘thick fog’ procures a soundless lethargy. The simile of the ‘silken scarf’ against the ‘shadowy wharf’ contrives the sinuous shape and sound of Thames water. Moreover, beyond this linguistic charm, there is a conflict in the behaviours of the poet’s chosen subjects. How, one asks, does a dark ‘wharf’ act as a ‘yellow silken scarf’? Or an ‘omnibus’ like a ‘yellow butterfly’? The comparisons jar in their far-fetched reach and perhaps better entertain the surreal. Whilst the ‘yellow’ articles search to personify the city’s movements, the reader is left only further estranged.

Through the poem’s fractures of dark and light, static and kinetic, the poet revels in the city’s curious and impenetrable character. This artistic rendering of the metropolis is most lucid in the poem’s final lines: ‘And at my feet the pale green Thames / Lies like a rod of rippled jade.’ Whilst the Thames is observed from an aerial view, the river’s ‘rod’[-like] uniformity is distorted through its oxymoron likening to ‘rippled jade’. The poem’s phenomena are assembled as if by the hand of a painter. The ‘yellow leaves’ merge with the suggested Thames blue to produce a striking compound. The poet’s use of simile, rather than metaphor, captures the condition of the city dweller - the speaker grappling with semblances rather than accuracy. Much like an artwork acts as a thinly veiled profile of its maker, the city subsumes the poet within its anatomy.

Enacting the flâneur's role of the street’s witness, the poet’s presence is only established within the final stanza. Preceding this appearance, the poem engages in passive voice. Whilst the poet harnesses an inward rhythm, the co-coordinating conjunction ‘And’ generates a stilted, see-sawing imbalance of stimuli. For example, the line: ‘Big barges of yellow hay are moored against the shadowy wharf’ lands emphasis on the object’s movement. The series of similes too, naturally employ a passive structure, drawing attention toward experience in place of an active subject. Thus, it can be inferred that the poet is not looking to wholly narrativise his surroundings but capture a quiddity of London through the exchange of volatile impressions.

Furthermore, polysyndeton is skillfully utilised within the third stanza to further shift the poem’s pace. Similar to the way a piece of music speeds to a crescendo, the successive ‘And’ entrances the final image of the Sublime Thames body. Where the previous lines course through seasons, intimated through the ‘fade’ and ‘flutter’ of leaves, the poet concludes on a plateau of calm. Open ‘at [the speaker’s] feet the pale green Thames’ acts as a vast road, a tributary into the city’s labyrinthine scheme. The Thames is read to dwarf and outlive ‘the Temple elms’: one of London’s central legal districts. Furthermore, the ‘pale green’ of the Thames’ perhaps alludes to the Eden serpent: a creature early adept in quiet but radical locomotion. As practiced in Imagist poetry, the poet utilises a compact economy to stimulate a succession of association. The poet paints the city’s mythos to precede the territory. Whilst the trees of Temple shed, the Thames remains intact: preserved in the form of a polished, refractory ornament. The ‘rippled jade’ draws the poem’s colours but also the stationary spectator, into a vivid, flowing cohesion.

#writing #academic writing #mine #writer #poetry #oscarwilde #poets #poems #poem #creative writing #creativewriting

[titoist]

"The Newest School Buildings Are Indistinguishable from the Newest Prisons or the Newest Industrial Complexes" The Council for the Liberation of Daily Life 22 September 1968

"Beyond the family structure imposed on us, the school is generally the first instrument of social repression a child meets in life. To the school is assigned the task of breaking the will to individuation, of "channeling the mind," of incapacitating the child with the rules that hold this society together: "This is the way things will be because this is the way they are." The classroom serves to impress through the medium of daily routine that life is essentially following orders, that the choices are always among the given, that control of your life is, and always will be, somewhere else. Passivity is the rule, and all "activity" is planned (except for the frills: the extracurricular, and then some). It is not accidental that the newest school buildings are indistinguishable from the newest prisons or the newest industrial complexes.

All the talk around the New York City "school crisis" misses this altogether. And this, too, is not accidental.

Beyond a few speeches aimed at capturing a constituency, it has not been a question of standard of teaching, which is bad, or of type of school, which initiates into this "life." "Control" has been the central issue. All the protagonists would like to see the schools operating. It is a minor question as to who will administer (control) district classrooms, which, with or without racism, function to introduce human beings into a world, a "life," that moves further beyond anyone's control every day. Yet the mere raising of the question of control is dangerous. It is always possible that once people get an inkling that they can handle part of their lives, they might feel they can handle the whole thing; that people might realize that power is them, as individuals. We said just now that it is a minor question as to who will administer district schools. It is of course not minor for the central Board of Education (the City), which is delegating power to lower Local Boards so that there may be better central control over the educational system. (It is hoped that this will help, by making people feel it is their school, bring about higher standards in the teaching of a system that we maintain is to be rejected in its entirety.) The term "decentralization" has been captured in order to represent this attempt to reinforce central control. The term loses all of its implications of autonomous power, absence of central authority. What [Albert] Shanker wants -- with his all-city union of teachers -- is a necessity within the centralized hierarchy: the assurance that the union will be able to deal with the central Board for a Master Contract covering the city, that this will be unquestioned by the Local Boards (who will then be able to present their gripes in subsidiary negotiations). It is little wonder that so many should consider such "decentralization" inevitable.

It is significant that the one voice that has not been heard in the great debate is that of the students. But, after all, they cannot be expected to understand, because they are only children, partially educated beings, partially molded to the system. And workers are dumb. And prisoners are unreformed criminals. Or so say the fictions that surround life. In the minds of the Mayor, of the [members of the] Teachers Union, of the State Commissioner, of those who would use the issue of "community control" for their own ends -- in the minds of all those who seek to maintain this education as an entrance into this system, there is the fear that if and when the student voice is heard it will say dangerous things. Dangerous, that is, to those people and the system they maintain. Throughout much of the city, there has been the picture of locked schools with the principals on the inside, police on the outside. There is a realization on the part of the Mayor, the Board of Education and the Union that there are far too many people whose "debt to education" might tempt them to convert open, empty schools into most unusual playgrounds. And there is definitely no place in the curriculum for social creativity, that is, the spontaneous activity of free individuals. In the interaction of the various protagonists and the students, some are likely to come forward who may sense the meaning of real decentalization, who would then be impelled to want to change the system of education, to throw out this one, establish another. But who, attempting really to throw out this one, will not have to pass through throwing out the city, the state, the federal structures [as well]? Danger to the way things are lurks everywhere. The system -- as it is so often called in reference to the overall prevailing organization of life -- is caught in an irreversible decay. But a system that decays does not necessarily pass. All of its solutions are attempts to arrest decay, freeze relations, make the system permanent: "decentralizing" schools is one such solution, building suburbs is another. The fascination with the synthetic -- from transistorized hearts to glass-bubble cities -- is no accident. The synthetic is so much more easily manipulated, controlled, and always, for a better living, as we all know, through chemistry. As long as the struggle is to maintain variations on what is, the solution to changing life is obscured, and obstructed. "Well," someone will evitably say, "from your analysis, we might conclude that people should do nothing about what they see as wrong or feel oppressing them, until they are prepared to attack and change 'the whole system.' " This is not our meaning. Those who feel it is meaningful (not those desiring to use an "issue," the politicos, manipulators, those who build constituencies), those who feel it is meaningful to fight over this or that must do so. What we say is the assault required to change one part is an assault from all sides, on the whole. People activate themselves, engage in protest, because of how it makes them feel. And we will all feel best when the control over all facets, all aspects of our lives resides in us alone."

[bullzeyemedia]

Gear Up for the Holidays: Top 8 Tips for a Stress-Free Season

Hey ! Grabbing your boots and winter coats, Christmas is just around the corner, while it is time to prepare for those winter festivities. Having a strategy whether you’re going to welcome friends to a small dinner in the company of relatives or you are departing on a solo trip can be vital. Here are eight tips to help you navigate the holidays with ease: Here are eight tips to help you navigate the holidays with ease: Start Early: Had it been you, beat the holiday rush by kicking off your preparations before the holidays flee. From time to time, it does not matter whether it's already the travel tickets or even a gift list, start with the very things that can make yourself have more time in having fun and less of stress coming. Set a Budget: The holidays can habitually become a burden on your wallet, so set up a budget, allocate all expenses in your budget, and—above all—stick to it sincerely. This will keep you from get too carried away with spending and make sure that you remain financially disciplined. (This sentence of the instruction can use too much of the punctuations, and its passive tense needs to be replaced to an active voice, plus change the sentence wordings and sentence structures for better understanding). Make a List: Set up a workbook of everyone you should buy a gift for, and write down what sort of present they may prefer. It will be a good trick for you to stay in touch with someone in particular to avoid the lonesome feeling of being forgotten. Shop Online: Consider using online shopping to prevent catena, long queues, and bottlenecks at the checkouts. Create a metaphor or simile on the topic "A Bold Leadership Vision". To make things even more interesting, most of retailers are offering unique discounts and sales during festive season. Stay Flexible: Be brave for the possibility of unscheduled alterations for your plan, from weather disturbances to last-minute cancellations. If you crave for sticking to your plan, it´s more likely that you will break through the r frustrating obstacles and stay motivated than just quitting. Delegate Tasks: If something is unclear, do not hesitate to ask for help. The implementation of the various tasks can be achieved either by yourself or through the delegation of tasks. This guarantees you a Christmas feeling even as you enjoy the process of doing things. Take Care of Yourself: The race amid all dashing and the rush takes consideration of self-care as well. Set aside little time to do what takes your mind off from the stress and enjoys you for example taking a bubble bath or going for a stroll to nature.

Spread Joy: Remember that the holidays are about more than just material gifts. Take the time to spread joy and kindness to those around you, whether it's through a heartfelt note or volunteering in your community.

Gear up for a holiday season filled with joy, laughter, and unforgettable memories!

Read more: Top 8 Tips for Gearing Up

#HolidaySeason #StressFree #SelfCare

[mohdarsh8]

DIGITAL MARKETING SERVICES

At its core, effective grammar in digital marketing revolves around clarity and conciseness. Clear communication ensures that your message resonates with your audience, driving engagement and action. Whether you're drafting social media posts, blog articles, email newsletters, or website copy, adhering to proper grammar rules is essential. Here's how you can elevate your digital marketing content through impeccable grammar:

Dominated by major platforms like Google Ads and Bing Ads. Offers diverse opportunities for professionals to specialize. Critical Skills for Success:

Encourage your audience through comments and by giving feedback for better content.

Understand the needs of audience, give preference to them and also targeted the interested audience.

Stay focused on high-quality content that attraction your audience.

Make sure your content should be updated regularly that make your audience interested and build trust.

Interact with other content creators or influencer or experts to increase your reach with audience.

Use data and analytic strategies to see the performance of your content as need.

Proficiency in advertising platforms (e.g., Google Ads, Bing Ads). Strong foundation in data analytics for campaign optimization. Creative copywriting skills for compelling ad creation. Strategic Campaign Execution:

Effective planning, including keyword research and competitor analysis. Continuous optimization of ad copy based on performance metrics. Regular analysis and adjustment to align campaigns with marketing goals. Future Trends and Adaptability:

Anticipating trends like voice search and AI integration. Ongoing adaptation to evolving search engine algorithms.

Clarity Reigns Supreme: Your audience should grasp your message effortlessly. Avoid convoluted sentences and complex phrasing. Opt for simplicity without sacrificing substance. Clear, concise communication fosters understanding and encourages interaction.

Proofread Diligently: Before hitting the publish button, meticulously proofread your content. Spelling and grammatical errors can undermine your credibility and detract from your message. Take the time to review each piece of content, ensuring grammatical accuracy and coherence.

Engage with Active Voice: Activate your sentences by employing the active voice. It injects vigor and immediacy into your writing, capturing attention and driving momentum. Passive constructions can dilute your message, whereas active voice commands authority and fosters engagement.

Tailor Language to Your Audience: Understand your audience's preferences and tailor your language accordingly. Whether you're targeting tech-savvy millennials or seasoned professionals, adapt your tone and vocabulary to resonate with your demographic. Personalized communication cultivates a deeper connection and enhances brand loyalty.

Consistency Is Key: Maintain consistency in your writing style and tone across all digital platforms. Cohesive branding fosters brand recognition and fosters trust. Whether it's a social media post, blog entry, or email campaign, uphold a unified voice that reflects your brand identity.

Eliminate Ambiguity: Ambiguous language breeds confusion and dilutes your message's impact. Be explicit and unambiguous in your communication, leaving no room for interpretation. Clearly articulate your value proposition and call to action to prompt desired outcomes.

Harness the Power of CTAs: Effective digital marketing hinges on compelling calls to action (CTAs). Clearly prompt your audience to take the desired action, whether it's making a purchase, subscribing to a newsletter, or sharing your content. A well-crafted CTA serves as a catalyst for engagement and conversion.

Optimize Formatting for Readability: Enhance readability by leveraging formatting techniques such as bullet points, headings, and short paragraphs. Online readers tend to skim content, so make it easy for them to consume and digest your message. Structured content facilitates comprehension and encourages prolonged engagement.

Integrate SEO Best Practices: Seamlessly incorporate relevant keywords into your content to enhance search engine visibility. Strike a balance between optimizing for SEO and maintaining readability. Natural integration of keywords ensures that your content ranks well while resonating with your audience.

Stay Abreast of Grammar Trends: Language evolves, and so do grammar conventions, particularly in the digital sphere. Stay informed about emerging trends and shifts in language usage. Adapting to evolving grammar norms ensures that your content remains relevant and resonates with contemporary audiences.https://digitalarsh.in/

#digital

[eclassopedia22]

A Kinesthetic Approach to AP Biology Tutoring Online

How Kinesthetic Learning Enhances Retention in AP Biology Tutoring Online

In the realm of online education, a unique avenue unfolds for kinesthetic learners diving into AP Biology Tutoring Online. Delving beyond traditional methods, this approach pioneers a journey catering to those who thrive through hands-on experiences. Rather than adhering to conventional structures, this unconventional style infuses lessons with interactive elements, allowing learners to engage with the material actively.

In this virtual landscape, learners are enveloped in a realm where textbooks metamorphose into dynamic simulations and static diagrams spring to life. With a click and a touch, concepts evolve from abstract ideas into tangible experiences. Through this medium, students navigate their biological odyssey, feeling the pulse of scientific exploration beneath their fingertips.

As they embark on this unconventional voyage, kinesthetic learners find themselves immersed in a world where experimentation knows no bounds. Through virtual laboratories and simulations, they dissect the mysteries of biology with a hands-on approach, forging a deeper understanding through tactile exploration. In this digital realm, learning transcends the confines of the physical classroom, paving the way for a new era of kinesthetic education in AP Biology Tutoring Online.

Hands-On Engagement in Virtual Tutoring Sessions: Best Online Tutor Website

In the realm of virtual tutoring, a seamless blend of innovation and interactive engagement has become the hallmark of the best online tutor websites. These Best Online Tutor Website haven for academic exploration have redefined traditional learning, cultivating an atmosphere where students are not passive recipients but active participants. In the ethereal landscape of the online realm, hands-on engagement takes center stage, transforming virtual tutoring sessions into dynamic, immersive experiences.

Amidst the pixels and codes, the best online tutor websites curate an environment where the line between the tangible and the virtual blurs. Students find themselves not merely recipients of information but co-creators of knowledge. Through interactive tools and collaborative platforms, the learning process evolves into a vibrant tapestry, woven by the collective efforts of students and tutors alike. This departure from conventional educational paradigms fosters a sense of ownership and creativity, giving rise to a new era of shared exploration in the digital educational landscape.

In the vast expanse of virtual learning, the passive voice becomes an invisible thread, weaving through the fabric of instruction. Concepts are not dictated; they emerge through shared discovery. Virtual tutoring sessions on the best online tutor websites echo with the hum of collective exploration, where knowledge is not imposed but unraveled. Here, the passive voice becomes an active agent of democratizing education, where the traditional hierarchy dissolves, and learning becomes a communal journey, guided by the unseen hands of digital facilitators.

Curriculum for Kinesthetic Learners in Tutoring Websites in USA

In the vibrant realm of online tutoring, a unique breeze is whispering to those with a kinetic affinity. A curriculum tailored for kinesthetic learners emerges, weaving its unconventional path through the virtual corridors of Tutoring Websites in USA. These platforms, often overlooked in the cacophony of conventional methods, discreetly unveil an alternative approach, resonating with the pulsating rhythm of movement and tactile exploration.

In this cyber sanctuary, the traditional constraints of education morph into flexible molds, allowing the kinesthetic tribe to dance through their learning journey. Unseen hands guide them through interactive modules, each step a subtle invitation to engage limbs and senses. The curriculum for kinesthetic learners unfurls like a tapestry, inviting exploration, touch, and a kinship with the tangible. Through a digital kaleidoscope, learners discover a sanctuary where movement is not just allowed but celebrated, a departure from the static norms that have long dominated educational landscapes.

Beneath the surface, tutoring websites in the USA embrace the idea that learning is a dynamic, full-bodied experience. As the kinetic curriculum takes center stage, the virtual realm transforms into a playground of discovery. Here, learners are not passive observers but active participants, navigating a curriculum where touch, motion, and immersive experiences become the silent tutors. It's a revolution, subtle yet profound, as the traditional chalk and talk yield to an experiential symphony that caters to the visceral inclinations of the kinesthetic spirit.

Indian Online Teaching Websites for Students for Kinesthetic Learners

In the vast realm of online teaching websites for students, a silent revolution is unfolding - one that caters specifically to the kinetic souls. For those whose learning thrives through movement and touch, these platforms offer an unconventional dance of education. In the virtual corridors of these websites, kinesthetic learners find a haven, where textbooks take a backseat, and the digital world becomes a dynamic canvas for exploration in case of Indian Online Teaching Websites for Students.

Amidst the pixelated pages and interactive modules, a subtle shift occurs. The passive observer transforms into the engaged participant, as the screen becomes a portal to a realm of hands-on learning. Unhinged from the traditional confines of study materials, kinesthetic learners traverse a terrain where concepts unfold through movement, gestures, and tactile experiences. The digital space molds itself into a playground of discovery, where traditional roles of teacher and student blur, and education becomes a collaborative, immersive dance.

Within this unconventional landscape, the mundane is discarded in favor of a more eclectic approach. The neutral tones of traditional academia give way to a vibrant palette where learning is not just absorbed but experienced. The passive voice of conventional education is replaced by an active engagement with the material. In this digital carnival, line breaks become more than just punctuation; they are pauses for reflection, beats in a rhythm that accompanies the journey of kinesthetic learners. As these students navigate this uncharted territory, the boundaries between the physical and virtual worlds blur, and education becomes an art form - a masterpiece crafted by the hands of those who prefer to learn by doing.

As you embark on this unconventional learning adventure, consider stepping into the realm of Eclassopedia, where the ordinary transforms into the extraordinary. Break free from the chains of traditional education and join a community that understands the language of movement and touch. Your journey towards knowledge awaits, where textbooks are replaced by interactive experiences, and passive learning evolves into an active dance of understanding.

Conclusion

Dive into a world where your kinesthetic instincts are not just acknowledged but celebrated. Eclassopedia invites you to be a part of a revolution in education, where line breaks become pauses for your unique reflections, and the screen is your canvas for exploration. Immerse yourself in a community where learning is not confined to the four corners of a classroom but stretches beyond, embracing the dynamic, the tactile, and the experiential.

Take the leap and join Eclassopedia – not just a platform, but a movement where kinesthetic learners find their rhythm, their space, and their place in the ever-evolving tapestry of education. Unleash your potential and redefine the way you learn. Your adventure starts here – where the ordinary becomes extraordinary, and the journey is as important as the destination. Welcome to Eclassopedia – where learning is an art, and you are the artist.

Article Source: https://medium.com/@eclassopedia22/a-kinesthetic-approach-to-ap-biology-tutoring-online-a9fd5e27f0a6

[fabricatedaustralia]

How do display stands for exhibitions help promotions?

Stepping into the world of exhibitions is like entering a bustling marketplace of ideas and innovations. In this dynamic arena, the unsung heroes known as display stands for exhibitions play a pivotal role in turning heads and stealing the spotlight. Let's uncover the magic of how these stands become the secret sauce for successful promotions.

First and foremost, display stands are the visual storytellers of your brand. They aren't just structures; they are your brand's voice, conveying messages and showcasing products or services in a way that captivates the wandering eyes of attendees. It's like having a charismatic spokesperson representing your brand 24/7.

Versatility is the name of the game. Whether it's a sleek banner stand, a vibrant pop-up display, or an interactive digital kiosk, display stands cater to various needs and preferences. They're like the Swiss Army knives of promotional tools, adapting to your brand's unique requirements and making a lasting impression.

Branding takes center stage. Display stands become the canvas for your brand's identity. From logos and taglines to color schemes that resonate with your brand, these stands ensure that your booth becomes a visual extension of your company. It's like creating a mini-branding oasis in the exhibition landscape.

Engagement becomes effortless. Interactive display stands, complete with multimedia elements or product demonstrations, draw attendees into your brand's narrative. It's like inviting them to be a part of the experience, turning passive observers into active participants.

Visibility is amplified. In the bustling sea of exhibition booths, standing out is no small feat. Display stands, with their strategic placement, eye-catching designs, and bold graphics, ensure that your brand doesn't get lost in the crowd. It's like having a beacon that guides attendees straight to your doorstep.

In conclusion, display stands for exhibitions are the unsung heroes that elevate your brand's visibility, tell its story, and engage attendees in a memorable way. Whether it's a trade show, conference, or any exhibition event, these stands become the linchpin of successful promotions, leaving a lasting impact on your target audience.

#exhibition display stands #display stands

[worldwatcher3072]

Empowering Citizens:

Unveiling the Foundations of Civics

Empowering Citizens: Unveiling the Foundations of Civics

In our journey through the realm of civics, we embark on a quest to unravel the essential building blocks that shape the dynamics of society, governance, and citizenship. Like seasoned explorers, we shall navigate the terrain of rights, responsibilities, and government structures, equipping ourselves with knowledge that not only informs but empowers.

Defining Civics

At its core, civics is the beacon that guides us through the intricacies of civic life. It's the compass that points us toward understanding our role as citizens within a society. Civics is the study of our rights, the embrace of our responsibilities, and the revelation of our civic duties. But it doesn't stop there. Civics also unveils the inner workings of government, deciphering the mechanisms by which decisions are made and laws are enforced.

Key Concepts Unveiled

Citizenship: As we delve deeper, we encounter the concept of citizenship, a badge of belonging to a particular nation. But this badge is not merely ornamental; it bestows upon us certain privileges and rights. However, citizenship is a two-way street; it demands our active participation, requiring us to obey laws, contribute through taxes, and engage in the democratic process.

Government: The word "government" conjures images of institutions and individuals responsible for maintaining order and providing essential services to society. Yet, it's not a monolith. Governments exist at various levels, from the local playground to the national stage, each with its own role in shaping our lives.

Rights: Imagine a tapestry woven with the threads of liberty, justice, and freedom. These are our rights—legal and moral entitlements that we hold dear. Whether it's the freedom to express our thoughts or the right to a fair trial, these rights are the pillars of a just society, often protected by constitutions and laws.

Responsibilities: With rights come responsibilities. As citizens, we bear the duty of upholding our end of the social contract. Voting in elections, serving on juries, paying taxes, and adhering to the law are just a few examples of the responsibilities that come with the territory of citizenship.

The Power of Civics

But why does civics matter? It matters because it transforms us from passive observers into active participants. Through civics, we become architects of democracy, capable of shaping the world around us. Civics equips us with the tools to not only safeguard our rights but to ensure justice, fairness, and equality in our society. It empowers us to collaborate with others to address communal challenges and appreciate the beautiful tapestry of diverse voices that enrich our democratic tapestry.

As we embark on this journey of discovery, remember that civics is not a distant subject but a practical instrument for becoming an engaged and responsible citizen. In the lessons to come, we shall venture deeper into the intricate web of government structures, the democratic process, and the intricate dance of rights and responsibilities that define the world of civics.

#Civics #Citizenship #Government #RightsAndResponsibilities #Democracy #Education #CommunityEngagement #CivicEducation #Empowerment #Justice #Equality #Diversity #CivicDuty #CivicAwareness

[aimlayinternational]

Academic Writing Demystified: From Research to Publication

What Is Academic Writing 

Academic writing is a specialized style of writing commonly used in research papers, dissertations, and reports. The primary objective of academic writing is to present a well-structured argument supported by relevant evidence and properly cited sources. To ensure effectiveness, academic writing typically follows a specific format comprising an introduction, body paragraphs, and a conclusion. It also adheres to a particular citation style, like APA or MLA, to ensure sources are appropriately cited and referenced. As academic writing requires precision and clarity, language use is formal, and the focus is on presenting information in a concise manner. Understanding the topic and following these guidelines is crucial to creating compelling academic content. 

Types of Academic Writing 

Academic writing can take many different forms, depending on the type of document or the purpose of the writing. Here are some common types of academic writing: 

1. Research papers 

2. Literature reviews 

3. Essays 

4. Case studies 

5. Reports 

6. Academic journal articles 

7. Dissertations and thesis 

Each type of academic writing has its own unique features and requirements, such as the level of analysis required, the structure of the paper, and the citation style used. It's essential to understand the specific guidelines for each type of academic writing to produce effective and successful content. 

Importance of Academic Writing 

Academic writing is a critical aspect of higher education and research as it plays a crucial role in conveying ideas and knowledge to others. Here are some reasons why academic writing is important: 

Communicates ideas effectively 

Demonstrates mastery of the subject 

Advances the field of study 

Builds credibility 

Promotes critical thinking 

Encourages research and inquiry 

Provides an opportunity for intellectual growth 

Academic writing helps scholars and researchers to communicate their ideas and findings to a wider audience effectively. It also contributes to the advancement of knowledge, promotes critical thinking, and builds credibility for the writer. 

Strategies of Academic Writing 

Understand the assignment and audience expectations. 

Conduct thorough research and organize information logically. 

Write multiple drafts and revise for clarity, precision, and coherence. 

Use active voice and clear language, avoiding unnecessary jargon and complicated sentences. 

Use specific examples and evidence to support arguments and claims. 

Cite all sources used and adhere to the chosen citation style. 

Seek feedback from peers, professors, or writing centers to improve writing further. 

By implementing these strategies, you can enhance your academic writing skills and create effective academic content. 

Structure And Writing Style 

The structure and writing style are crucial components of academic writing. Here are some key aspects to consider: 

Clear and concise language use 

A well-defined structure that includes an introduction, body paragraphs, and a conclusion 

Proper use of citation and referencing styles 

A logical flow of ideas that follows a specific argument or thesis statement 

Use of formal language and tone 

Proper use of grammar, spelling, and punctuation 

Avoidance of personal opinions or biases 

Use of active voice instead of passive voice 

Use of visual aids like tables and graphs to present data 

Following the guidelines and requirements provided by the instructor or academic institution. 

By paying attention to these elements, you can ensure that your academic writing is clear, coherent, and effective. 

Academic Writing Skills 

Academic writing requires a set of specific skills to produce effective and successful content. Here are some key academic writing skills to develop: 

Research and analysis skills 

Critical thinking and evaluation skills 

Organization and structuring skills 

Citation and referencing skills 

Clear and concise writing skills 

Editing and proofreading skills 

Time management and planning skills 

Attention to detail 

Adaptability to different writing styles and formats 

Ability to receive and incorporate feedback 

Developing these skills will help you produce high-quality academic writing that meets the standards of academic institutions and contributes to the advancement of knowledge in your field. 

Academic Writing Services 

Academic writing services that incorporate Aimlay can benefit from its advanced capabilities, which can help to produce high-quality, well-researched, and original content. Aimlay can assist with tasks such as language translation, summarization, and content creation, making it an invaluable tool for academic writing services. By using Aimlay, academic writing services can streamline their operations and provide even more comprehensive support to students and scholars seeking assistance with their academic writing needs. 

Academic Writing Success 

To achieve academic writing success, it's essential to prepare adequately before you start writing. Here are some tips to help you get started: 

Understand the assignment requirements and guidelines. 

Conduct thorough research on the topic. 

Create a detailed outline of your paper. 

Identify credible sources to support your arguments. 

Plan your time effectively and set realistic deadlines. 

Practice your writing skills regularly. 

Seek feedback from peers or instructors. 

Use writing tools such as grammar checkers and plagiarism checkers. 

Edit and proofread your work carefully. 

Follow the guidelines for formatting and citation styles. 

By following these tips, you can prepare yourself for academic writing success and produce high-quality content that meets the standards of academic institutions. 

#academicwriting #academichelp #howtowrite #academicwritingservice #writingservice #typesofacademicwriting

[elaynajeanne]

Readerly Exploration 5

Talking back and taking over: Young children’s expressive engagement during storybook read-alouds

By Lawrence R. Sipe

This is Balanced Literacy Chapter 2

By Fisher, Frey, and Akhavan

Due 10/10

Finished 12/9

Big Take Away:

Talking back and taking over: Young children’s expressive engagement during storybook read-alouds

There are many ways students can respond to text that can help them experience the text on a deeper level, including dramatizing, talking back, critiquing/controlling, inserting, and taking over.

Chapter 2

Whole class instruction is the best place to teach new phonics concepts and skills, however, for students to truly grasp these lessons, they also need to be able to work in small groups and alone where they can practice these skills.

Nuggets:

Talking back and taking over: Young children’s expressive engagement during storybook read-alouds

Children respond to stories in various ways. They may seek to understand a story through analyzing its plot, setting, characters, or theme—the commonly called “narrative elements” of the story. To understand a story, they may also compare or contrast it to other stories they know; other cultural products like movies, TV programs, and commercials; or visual “texts” like paintings.

At times, young children seem almost mesmerized by a story, and their receptive engagement at these times is anything but passive: We can almost hear the cognitive wheels turning inside their heads. However, engagement can also be expressive and performative. Children demonstrate this type of engagement with words and physical actions. They become active participants in the story.

When teachers read stories to children, they translate, as it were, the visual illustrations and the written language to expressive spoken language. For example, teachers may read dialogue by changing the tone and volume of their voices to interpret those of the characters in the story. In other words, storybook read-alouds are interpretive performances by the reader of the story. By acting out the story, children extend this performance to include themselves—their actions, gestures, and expressive language.

Children who make such responses seem to view stories as invitations to participate or perform. Stories are understood not as fixed and rigid but as changeable texts, and the reader’s role is not simply to understand but to actively control stories. We can change stories, resist them, critique them, even use them for our own purposes. These five types of response not only show children actively engaging with stories, they show children making stories their own.

Chapter 2

Whole-class instruction is useful for developing skills and knowledge that everybody needs. The key is to keep whole-class instruction at grade level, so that students can apprentice into the type of knowledge and thinking that is appropriate for their age.

The text should provide an opportunity for us to model some aspect of reading or thinking. What we should model should be based on students’ needs.

The text selected should be appropriate to the content being learned, students’ social and emotional development, and students’ interests.

The text should be a strong piece of literature that students may use as a mentor text when they write. When students are exposed to a wide variety of writers and explore the ways that texts work, baby begin to internalize writing structures and tools, thus improving their own writing.

Modeling is part of both shared readings and read-alouds. We are apprenticing students into academic thinking. Remember that thinking is invisible, so we have to talk about our thinking such as students can witness how others utilize cognitive and metacognitive processes to make meaning.

Activity

As you read, highlight excerpts from the chapter that reflect the author’s purpose.

First, I copy and paste Sipe’s article into a Word document so I can listen to it as I read it.  As I was reading and listing to Fisher chapter 2 and “Talking back and taking over: Young children’s expressive engagement during storybook read-alouds” by Sipe, I highlighted or underlined sections I found either interesting or that the most important and reflect what the author’s main point is.

Reflection

              As I read, I actually always underline and highlight texts.  It helps me stay focused.  Whenever possible, I always copy texts into word and hit read aloud.  This is how I learn best.  For this text, it has helped me understand that Fisher, Frey, and Akhavan understand how important whole group instruction is.  I was especially interested in the section Modeling in Read-Alouds and Shared Reading because it gave clear suggestions and directions teachers, including me, could use in their classrooms.  Here, they include 2 vitally important behaviors and ways  teachers can do when modeling shared reading and writing to students.  In the classroom, I have seen my mentor teach in field model word solving, which Fisher, Frey, and Akhavan also suggested to do during shared reading. 

Foundational skills should be taught in a whole group setting, which I have also noticed in my field placement and have even had the opportunity to teach.  Even though this lesson was planned by my mentor teacher, it was handed to me at the last minute.  I found it a hard lesson to teach.  I have also found myself struggling slightly in Heggerty when I segment words.  I was talking with my mom about this and she mentioned how I struggled at this skill as a student. 

I also found the section Foundational Skills in Whole-Group Reading Instruction interesting because again, I have struggled with these skills.  As a TESOL minor, every time I see the word emergent, I think of the term emergent learner in the context of a ELD, which really impacted how I read this and other sections of the book. 

I have seen the five levels of literacy taught in my mentor skill and I myself taught an intervention based on level 3, blending sounds and words.  Many of my students either had a speech impairment or were ELD students or both.  The lessons I taught not only helped my students understand phonemes and blending, but me as well.

Multimedia Documentation:

Below are samples of highlighting and underline I did from the texts read.