Consider the following general suggestions for planning and creating writing assignments that work well:
This story has many variants, religious and secular, scientific, economic and mystic. It is the story of human centrality, of a species destined to be lord of all it surveys, unconfined by the limits that apply to other, lesser creatures.
What makes this story so dangerous is that, for the most part, we have forgotten that it is a story. Humans have always lived by stories, and those with skill in telling them have been treated with respect and, often, a certain wariness.
With stories, with art, with symbols and layers of meaning, we stalk those elusive aspects of reality that go undreamed of in our philosophy. The storyteller weaves the mysterious into the fabric of life, lacing it with the comic, the tragic, the obscene, making safe paths through dangerous territory.
Yet as the myth of civilisation deepened its grip on our thinking, borrowing the guise of science and reason, we began to deny the role of stories, to dismiss their power as something primitive, childish, outgrown.
Religion, that bag of myths and mysteries, birthplace of the theatre, was straightened out into a framework of universal laws and moral account-keeping. The dream visions of the Middle Ages became the nonsense stories of Victorian childhood.
In the age of the novel, stories were no longer the way to approach the deep truths of the world, so much as a way to pass time on a train journey. It is hard, today, to imagine that the word of a poet was once feared by a king.
Yet for all this, our world is still shaped by stories. Through television, film, novels and video games, we may be more thoroughly bombarded with narrative material than any people that ever lived.
What is peculiar, however, is the carelessness with which these stories are channelled at us — as entertainment, a distraction from daily life, something to hold our attention to the other side of the ad break.
There is little sense that these things make up the equipment by which we navigate reality. On the other hand, there are the serious stories told by economists, politicians, geneticists and corporate leaders.
These are not presented as stories at all, but as direct accounts of how the world is. Choose between competing versions, then fight with those who chose differently. The ensuing conflicts play out on early morning radio, in afternoon debates and late night television pundit wars.
And yet, for all the noise, what is striking is how much the opposing sides agree on: So we find ourselves, our ways of telling unbalanced, trapped inside a runaway narrative, headed for the worst kind of encounter with reality.
In such a moment, writers, artists, poets and storytellers of all kinds have a critical role to play. Creativity remains the most uncontrollable of human forces: Words and images can change minds, hearts, even the course of history.
Their makers shape the stories people carry through their lives, unearth old ones and breathe them back to life, add new twists, point to unexpected endings. It is time to pick up the threads and make the stories new, as they must always be made new, starting from where we are. Mainstream art in the West has long been about shock; about busting taboos, about Getting Noticed.
This has gone on for so long that it has become common to assert that in these ironic, exhausted, post-everything times, there are no taboos left to bust.
But there is one. The last taboo is the myth of civilisation. It is built upon the stories we have constructed about our genius, our indestructibility, our manifest destiny as a chosen species. It is where our vision and our self-belief intertwine with our reckless refusal to face the reality of our position on this Earth.
It has led the human race to achieve what it has achieved; and has led the planet into the age of ecocide. The two are intimately linked. We believe they must be decoupled if anything is to remain.
We believe that artists — which is to us the most welcoming of words, taking under its wing writers of all kinds, painters, musicians, sculptors, poets, designers, creators, makers of things, dreamers of dreams — have a responsibility to begin the process of decoupling.
We believe that, in the age of ecocide, the last taboo must be broken — and that only artists can do it.Apr 12, · Most students doing PTE Academic gets stressed about PTE Essay Topics.. Worrying about getting an unfamiliar topic and not having any good ideas to write about the subject, is making students stressed and nervous.
Secure Exam for Classroom Use A secure AP English Language and Composition Exam is available on the AP Course Audit urbanagricultureinitiative.com access, sign in to your AP Course Audit account, and click on the Secure Documents link in the Resources section of your Course Status page.
The Online Writing Lab (OWL) at Purdue University houses writing resources and instructional material, and we provide these as a free service of the Writing Lab at Purdue. Discuss the nine patterns of essay development and their importance to the writing process?
Even though you haven’t gone into detail with all of the nine patterns, which one do you think you would like the most?
Published: Wed, 08 Aug Critically evaluate the contribution of Vygotsky’s work on the Zone of Proximal Development.
Vygotsky’s original ideas on the relationship between child development and learning, leading to his concept of the ‘zone of proximal development’, have become hugely influential in education and teaching practice, spawning much research in this field in recent years.
What do students loathe most of all about the educational process? The answer is not their teachers, writing assignments or final exams.
The most frustrating thing for them is to spend a lot of time on coping with an assignment and get a bad grade for it.