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No There needs to be a central theme to the paragraph
The first two sentences refer to the music of Beethoven as relating to disabilities. The last sentence refers to your emotions when listening to the music and also to the quality of Beethoven's music.
The first two sentences fit together but the last sentence does not.
A possible example
Beethoven's music is an inspiration to all people especially those with disabilities. Beethoven played his graceful and peaceful music,"Moonlight Sonata, to inspire a blind girl. Beethoven continued to compose and play music even after he became deaf.
I admire that Beethoven did not allow his disability to stop him from playing music.
The central theme is that Beethoven's music is an inspiration to those with disabilities. All the sentences relate to that theme.
Asyndeton speeds up the pace of a sentence and adds emphasis to a passage.
Asyndeton is the usage of lists without conjunctions such as "and." Without these extra words, the author can effectively quicken the pace of the sentence, which could create a dramatic effect, especially in a suspenseful scene. Without the distraction of "and" between words, the author places more emphasis on the important parts in the list.
On the other hand, syndeton and polysyndeton do use conjunctions between words in a list.
Syndeton is the use of only one conjunction to connect related clauses. "The girl yells, cries, and begs the boy to go" is an example of syndeton.
Polysyndeton would be "the girl yells and cries and begs the boy to go." Syndeton and polysyndeton both slow down the pace of the sentence; they make the sentence sound more uneven and drawn out.
Consider the effect of asyndeton on this sentence:
The girl yells, cries, begs the boy to go...
Can you see how asyndeton changes the pace of the sentence?
Additionally, authors can use asyndeton to emphasize a repeated phrase.
Here's a quote from Winston Churchill that uses asyndeton:
“...we shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our Island...” – Winston Churchill
In this case, Churchill repeats the phrase "we shall" and omits any conjunctions, so that the audience can focus on the important words.
Hope this helps!
The Hearth and the Salamander : Waking up to the Emptiness of the world where no one can be offended or made to think.
The Sieve and the Sand : Montage realizes the immensity of trying to change the world, or even Mildred.
Burning Bright; The destruction of Montage's world personal and city.
The Hearth and the Salamander Montage is told how the firehouse society is built to avoid offending any minority. No one is to be allowed to be superior to anyone else. This results in an emptiness of human spirit and relationships.
The Sieve and the Sand: Montage tried to change his wife to rebuild a relationship with her, but she was too tied to her "family". He tried to wake Mildred's friends but only makes them angry and cry. His plans with the professor seem doomed to have much affect.
Burning Bright. Montage's house is burned down along with his relationship with Mildred. Beatty is burn along one hound and his career. Then the entire city is burned in an atomic war. This opens the possibility of building a new world.
Yes, there are many! See below for a few examples :)
First, we should know what asyndeton is!
Asyndeton is the usage of lists without conjunctions such as "and." Without these extra words, the author can effectively quicken the pace of the sentence, which could create a dramatic effect, especially in a suspenseful scene.
Without the distraction of "and" between words, the author places more emphasis on the important parts in the list. Additionally, authors can use asyndeton to emphasize a repeated phrase.
Hope this helps!
To put realism in perspective you must realise that art, that had been representing wild animals and hunting scenes on the walls of dark caverns, as soon as it evolved into a means of subsistence for the artist, was no longer intended to be realistic.
Artists, from the beginning of communal societies, were paid by the rich and the powerful to glorify their wealth and clout.
Obviously such people were not interested in paying for a reality that they despised and had continually before their very eyes.
They preferred to be themselves the represented subject, they wanted their image to be splendid, their homes to be ostentatious and their military victories overwhelming. Artists, most obligingly, obliged.
Comparisons with Olympian gods or legendary heroes were therefore common if not the norm.
Another source of income for artists were religious institutions that, because of the many legs bequeathed to their coffers for the benefit of the bequeather’s soul, were also eminently provided.
Churches and temples (before Reformation) were therefore richly decorated to beautify the home of the Lord and instruct and attract the faithful. Religion, prone to metaphors and supernatural events, is mostly not in need of realistic representations of the world and of its inhabitants.
Artists sculpted and painted in consequence visions, apparitions and epiphanies to their purse content. The real world, made of problems and sufferance staid out of their work.
Things changed with the empowering of the bourgeoisie towards the 16th century. These new class had different values, a different way of living and, most of all, had money. Artists adapted to their wishes and, particularly in the reformed United Provinces, painters such as Vermeer began to represent his patrons in their normal homes, with their normal apparel, tools and servants.
Counterreformation also had a realistic effect as, painters like Caravaggio, felt that to give poignancy to his religious representations, intended to impress the masses into inescapable belief, it was best to make the masses part of the supernatural demonstration. He was notably chastised for having chosen a young whore to pose for the Virgin Mary and for having used the corpse of a murdered criminal as the model for the crucified.
Hence realism can be traced to the establishment of bourgeoisie as the power house of our society and to its tangible, material values as opposed to the heroic and metaphysical ones of nobility and clergy. As of the middle of the 19th century politics entered the field and the artists, spurred by the new Romantic ideals of natural beauty, patriotism and social justice, enthusiastically left their secluded attics and went out to the open fields and to the street to paint people as they were and the world as it is. Such tendency did not last long.
By the early 20th century new patrons and new concepts altered the cultural and economic symbiosis to produce a new one and art moved away from realism. But this one is a different and as beautiful story.
(The three images are from Masaccio, Caravaggio and Vermeer)
Some ideas on how to build and use the appendix:
It sounds like your Chemistry teacher is giving you license to make an appendix that will work for you and that the format isn't as important.
I don't know Chemistry but I do know Algebra, so I'll describe how an appendix could work in an Algebra paper and I'll let you get creative with the Chemistry.
The purpose of the appendix will be to get rid of duplications of explanations and things in your paper. You'll be able to make mention of a rule in the body of the paper and have the definition in the appendix.
For example, in my Algebra paper, in showing how to solve a variety of problems, I need to use the Commutative Law (the one that says that
To make this work, the way to set up the appendix will be to take the terms you want to use in your paper repeatedly and simply list them in alphabetical order with a brief explanation of what it is. For my Algebra paper, I could have:
And if you have a base graph you need to include, and using my Algebra example, perhaps the graph of
You can put that into the appendix (so in my example between Associative and Commutative).
It can help to have in the body of the paper those terms you have defined in the appendix highlighted in some manner - perhaps bolded or italicized to let the reader know there is more information in the appendix. Make sure when referring to the items in the appendix that you use the term exactly as listed in the appendix. For the base graph of
Those are some ideas. I hope it helps and good luck on the paper!
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