Speech style essay on journeys

Language course, A-Track Contact hours: Course Objectives The course aims to deepen your competence in speaking and writing and to expand and refine your vocabulary usage, so that you are able to express and discuss ideas, opinions and information at the academic level. Special attention is given to the consistent use of self-correction. Furthermore, the course helps you to develop effective reading and listening strategies and deepen your knowledge of grammar structures.

Speech style essay on journeys

A class analysis is projected onto fleeting memories, along with a recognition of gender roles, and even an analysis of the gaze. Walter Benjamin develops as a socially constructed identity, one who finds himself in a shifting series of others, in the topography of city streets, and in the detail of daily life.

Theory, philosophy, and intellectual life were inseparable from his own experience of modernity, and Speech style essay on journeys identity as a German Jew pervades his writing in the form of experience, rather than essence. Susan Buck-Morss suggests that "Benjamin perceived his own life emblematically, as an allegory for social reality, and sensed keenly that no individual could live a resolved or affirmative existence in a social world that was neither.

He describes "contemporary autobiography" as an exploration of the fragmented and dispersed identities of late-twentieth-century pluralist society. In this context, ethnic autobiography is an "art of memory" that serves as protection against the homogenizing tendencies of modern industrial culture.

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Moreover, autobiography has become a powerful tool of cultural criticism, paralleling postmodern theories of textuality and knowledge. Fischer describes the "writing tactics" of autoethnography thus: This ethnographic mode of self-representation is pervasive in what has become widely recognized as a "new autobiography" in film and video.

Identity is no longer a transcendental or essential self that is revealed, but a "staging of subjectivity" — a representation of the self as a performance. The subject "in history" is rendered destabilized and incoherent, a site of discursive pressures and articulations.

The fragmented and hybrid identities produced in the multitude of "personal" films and videos have been celebrated by critics and theorists as forms of "embodied knowledge" and "politics of location. Autoethnography is a vehicle and a strategy for challenging imposed forms of identity and exploring the discursive possibilities of inauthentic subjectivities.

Mary Louise Pratt introduced the term "autoethnography" as an oppositional term: Autoethnography can also be a form of what James Clifford calls "self-fashioning," in which the ethnographer comes to represent himself as a fiction, inscribing a doubleness within the ethnographic text: The imperial eye looking back on itself is also a subject in history.

The oxymoronic label "autoethnography" announces a total breakdown of the colonialist precepts of ethnography, and indeed the critical enthusiasm for its various forms situates it as a kind of ideal form of antidocumentary.

Diary filmmaking, autobiographical filmmaking, and personal videos can all be subsumed within what Michael Renov has described as the "essayistic" impulse in recent film and video.

The essay is a useful category because it incorporates the "I" of the writer into a commentary on the world that makes no grand scientific or totalizing claims but is uncertain, tentative and speculative.

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This is, however, only one of three levels on which a film- or videomaker can inscribe themselves, the other two being at the origin of the gaze, and as body image.

The multiple possible permutations of these three "voices" — speaker, seer, and seen — are what generate the richness and diversity of autobiographical filmmaking. In addition to the discursive possibilities of these three voices is another form of identity, which is that of the avant-garde filmmaker as collagist and editor.

By inscribing themselves on the level of "metadiscourse," film and videomakers also identify with their technologies of representation, with a culture of independent filmmaking, alongside their other discursive identities.

Much of the new autobiography emanates from queer culture, from film- and videomakers whose personal histories unfold within a specifically public sphere.

Themes of displacement, immigration, exile, and transnationality are prominent in this mode of filmmaking. Family histories and political histories unfold as difficult processes of remembering and struggle. Specific, resonant images echo across distances of time and space. Documentary truth is freely mixed with storytelling and performances.

The many film- and videomakers who have made and continue to make autoethnographies find "themselves" in diverse image cultures, images, and discourses. Many are concerned with transforming image culture through the production of new voices and new subjectivities. One often gets the sense that the filmmaker has no memory and is salvaging his or her own past through the recording of family memory.

Autobiographical film and video tends to be couched within a testimonial mode, as the authorial subjects offer themselves up for inspection, as anthropological specimens.

But they do so ironically, mediating their own image and identifying obliquely with the technologies of representation, identifying themselves as film- and videomakers. Because autoethnography invokes an imbrication of history and memory, the authenticity of experience functions as a receding horizon of truth in which memory and testimony are articulated as modes of salvage.

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The film- and videomakers who I will discuss in this chapter are Jonas Mekas, George Kuchar, Sadie Benning, Kidlat Tahimik, and Chris Marker, artists whose films and videos foreground many of the contradictions and tendencies of the diary film. As a genre of "personal cinema.

The role of identity in these films and tapes demands an expanded notion of "ethnicity" as a cultural formation of the subject. Indeed, what unites these diverse texts is the articulation of identities that are split, insecure, and plural. Memory and travel are means of exploring fragmented selves and placing ethnicity at one remove, as something to remember, to see, but not quite to experience.

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The journeys undertaken by these filmmakers are both temporal and geographic, sometimes tending toward epic proportions. The diary form involves a journey between the times of shooting and editing; traveling becomes a form of temporal experience through which the film- or videomaker confronts himself or herself as tourist, ethnographer, exile, or immigrant.Teacher-created and classroom-tested lesson plans using primary sources from the Library of Congress.

In the year since President Trump’s inauguration, Washington Post photographers set out to explore what unites Americans, through portraiture and audio interviews.

Speech style essay on journeys

Jul 14,  · The scientific findings I described above provide empirical guidance for which kinds of controversial speech should and shouldn’t be acceptable on campus and in civil society. The Death of the Moth.

Aug 02,  · Estela Laureano, at a Long Island Writing Project workshop, honing her college-essay writing skills. Credit Credit Yana Paskova for The New York Times. Event. Date. Global Population Statistics. The Spanish “Reconquest” of the Iberian peninsula ends in January with the conquest of Granada, the last city held by the Moors. Teacher-created and classroom-tested lesson plans using primary sources from the Library of Congress.

Moths that fly by day are not properly to be called moths; they do not excite that pleasant sense of dark autumn nights and ivy-blossom which the commonest yellow-underwing asleep in the shadow of the .

This webpage is for Dr. Wheeler's literature students, and it offers introductory survey information concerning the literature of classical China, classical Rome, classical Greece, the Bible as Literature, medieval literature, Renaissance literature, and genre studies.

Aug 02,  · Once you commit the time and emotional energy to get your butt in the chair to write, you face a daunting task — figuring out what to write about.

Autoethnography: Journeys of the Self - Russel