17 May 2013
Vintage Cigarette Ad Spokespeople - Business Insider
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15 May 2013
» Taming Word 2008′s Paste Special
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Wednesday, May 15, 2013
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13 January 2013
BBC News - Meet the Author: Art Spiegelman
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Sunday, January 13, 2013
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25 September 2012
Why I Don’t Like Joseph Campbell « Rogue Priest
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Tuesday, September 25, 2012
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20 August 2012
'Academically Adrift' | Inside Higher Ed
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Monday, August 20, 2012
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31 May 2012
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31 December 2011
'Academically Adrift' Students are not learning because they don't read.
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Saturday, December 31, 2011
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Provost Gary L. Miller's discussion of the book Academically Adrift, Wic...
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Saturday, December 31, 2011
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EWA Interview: Richard Arum on "Academically Adrift"
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Saturday, December 31, 2011
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13 December 2011
Using Viktor Shklovsky « BIG OTHER
Using Viktor Shklovsky « BIG OTHER
Here is one such example: they distinguished between a narrative’s fabula (story) and syuzhet (presentation). The two need not line up exactly. If someone asks you what the movie Fight Club (1999) “is about,” you might say, “Well, it’s about a guy (Edward Norton) who invents an alternate persona, Tyler Durden (Brad Pitt), in order to give himself the courage to break out of his mundane white collar existence.” But of course that’s not at all how Fight Club presents itself to the audience. The narrative’s presentation begins at its climax, which is interrupted, and only then proceeds to the the story’s chronological beginning. From that point on, the film contains a mix of chronologically-ordered scenes and bits of narrative exposition (Northon’s voiceover) that allow us, ultimately, to return to and understand the climax, which is then resolved in the final minutes of the movie. Furthermore, the narration conceals from us for most of the film’s running time the fact that Tyler Durden is the psychological creation of the nameless narrator/protagonist.
Formalism helps us explain this kind of narrative phenomenon. By separating story from presentation, we can begin to speak of them independently from one another, as well as to understand how they relate. From this follows many other concepts: for instance, we can see how exposition is back story that gets related (narrated) in the narrative present, whereas a flashback is a scene that’s chronologically embedded in the narrative present. And so on...."
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20 October 2011
“We the people” vs. “us the people” | The Grammarphobia Blog
Q: Populists often stress democratic values by invoking the phrase “we the people,” but lately they’ve taken to using it not just as a subject but as an object as well. Thus: “We must never allow [insert villain] to trample on we the people!”
A: “We the people” is a subject; “us the people” is an object. Here’s how they look in sentences:
“We, the people, elect our leaders. Our leaders are elected by us, the people.”
In both of those noun phrases, “the people” is an appositive. It identifies or explains the preceding noun or pronoun by using a different term (like the name in “My son, John”).
We’ve written on the blog before about appositives, which are sometimes surrounded by commas, as in our examples above.
An appositive never changes the case (that is, subject or object) of the pronoun it follows. That’s why the entire phrase “we the people” is always a subject and “us the people” is always an object.
The words “we the people” resonate with Americans because they introduce the preamble to the Constitution:
“We the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defence, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America.”
If ever a phrase deserved proper handling, it’s “we the people.”
It’s demeaned when misused as a grammatical object (as in, “Don’t trample on we the people!”).
Check out our books about the English language
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Thursday, October 20, 2011
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