Transversal line

My field placement is at a public school in an urban setting right outside of Philadelphia. The student body is just shy of 300 students, largely compromised of minority students. Furthermore, almost one third of the student body is visually impaired. I work in a mixed classroom of second and third graders all of whom have varying degrees of visual impairments. When I started there were nine students, but one student recently joined our class, so the class has grown to ten students. Two of these

readers are drawn to certain poems such as From The Nursery. Jane Kenyon’s From The Nursery is the first segment of nine in a poem about depression. When I began to dissect this poem, I learned more about myself and the poet with the way she uses her line breaks, her use of metaphors and images, style, and word choice. The analysis doesn’t begin with the actual poem but, instead, with the title itself. “From The Nursery” is the first section. It is the beginning of a fight with depression that visits

Roger Rosenblatt developed an article to publish in the Time Magazine titled, "The Man in the Water." After flight ninety, which carried seventy-four individuals, dove into the Fourteenth Street bridge in Washington DC, there was one person whose heroic act stood out from the rest. As he and five other survivors clung on to the wing of the plane, instead of saving himself, this anonymous man, with an extravagant mustache, aided the others. Every time the lifeline came down, he would pass it over

title: I am not what you see I am Ashlynn I am 17 I am a sister, a daughter I am not my height, all 200 cm of it I am not my brown eyes that cry only sad tears and I am not my wild hair tangled with waves and curls, and red when the day is long I am the way I slouch in hopes of appearing shorter, more petite I am the bags under my tired eyes, evidence of my hard work I am the messy bun atop my head, or perhaps a half up hairstyle if I am feeling adventurous I am stronger than I appear I am the

childhood at his aunt’s house when he was a kid. The poem also weaves in a lot of imagery and symbolism with its six stanzas, nine lines per stanza, and unusual meter. Although the poem may represent the romantic period with innocence, the poem has much more volume and meaning when you look at it closely. The poem first opens up with, “Now as I was young and easy...,” line 1. We can see that the speaker is an adult male, most likely Dylan Thomas himself, recalling his childhood. In the first two stanzas

an analysis of algebra that was current then. Rene also paid particular attention to the theory of tangents to curves. Back then the current definition of a tangent at a point was a straight line through the point such that between it and the curve no other straight line could be drawn, that is the straight line of closet contact. Rene described his theory by giving the general rule for drawing tangents and normals to a roulette. The method that Rene used to find the tangent or normal at any

the exception of some, and this line strongly portrays that. It made me question whether the author realized that when he was a young man, and how it made him feel. The last couple of stanzas in this poem were again full of emotion, imagery and a sense of disappointment. Hoagland talks again about how the inside of a young man’s body could be described as a tractor, “revving their engines, chewing up the turf.” I think there’s a lot of frustration behind this line, because the idea of a tractor

Eltruda and An Ode to the Peace. In 1786, Helen Maria Williams published a two-volume poetry collection. The collection was titled Poems and A Song is featured there. A Song has six sections. Each section consists of one stanza that has four lines and an ABAB rhyme scheme. The metre is similar to that of an iambic trimeter. Moreover, there is a great use of punctuation. The poem’s central theme is love and how a particular emotional relationship affects the lyrical voice. The first stanza

An Ode to the Peace. In 1786, Helen Maria Williams published a two-volume poetry collection. The collection was titled Poems and A Song is featured there in that area. A Song has six sections. Each section consists of one stanza that has four lines and an ABAB rhyme scheme and the metre is similar to that of an iambic trimeter. Moreover, there is a great use of punctuation. The poem’s central theme is love and how a particular emotional relationship affects the lyrical voice. The first stanza

Thomas Gainsborough presents a fabulous portrait of Grace Dalrymple Elliott. This is a full-length painting believed to be commissioned by her lover, Earl of Cholomondeley in 1777 (Major, 2016). This portrait goes beyond a simple painting of a mistress. Rather, Gainsborough’s portrait of Grace is a study of striking and noble beauty versus a celebration of female sexuality as a commodity. Gainsborough accomplished this art piece by using several uncommon practices in his portrait making techniques