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alexb2016's picture

A Necessary Evolution of Writing: An Appeal to the High School English Teacher

                I have never considered myself to be a personable narrator, and before this semester, have never been encouraged to be one. My reluctance to write in the first person narrative stems from my own experience as a reader who has been berated and patronized by authors who are unable, or unwilling, to place themselves at my level of comprehension, and had been reinforced by my high school teachers who insisted that I write in the traditional third person narrative—my mother being one of them, might I add. As a result, I’ve developed into a writer who is hard pressed to find literary merit to a thesis based solely in opinion, let alone my own. However, throughout the semester of “Ecological Imaginings”, I have realized that there was a need for my writing to evolve, and I therefore made an effort to rediscover my personal voice in my writing. After analyzing the works of authors such as Terry Tempest Williams and those of my classmates, I’ve begun to be able to piece together the formula imperative to the successful implementation of the first person narrative, which I believe is imperative in the development of a writer who is able to write at the collegiate level. Although most college essays will generally be written in the third person narrative, teaching students to locate their own voice at the high school level sets a foundation of understanding that will translate to college.

Hannah's picture

Intimacy and the Earth

 From a distance, I could only see one color green when I approached this field. It wasn’t until I got up close when I realized there were flowers in the field and it took a while for me to count over a dozen different species of plants hidden in plane sight in a field I had walked by many times but only now stopped to lay in. During a course I took this semester called “ecological imaginings”, we read a number of texts discussing ecological and environmental issues. An idea that was brought up during our discussions and that I connected with and feel is important to share is the idea of intimacy with the land being the key to the health of our environment. Terry Tempest Williams’ An Unspoken Hunger, Timothy Morton’s “Ecology without Nature”, and Thomas Berry’s “The Dream of the Earth” are texts we read during the course that touched on this concept each in their own unique way. Morton illustrates how we can be cognitively intimate with nature, Berry suggests ways in which we could be more intellectually intimate with the earth, and Williams shows us how becoming physically intimate with the land will fix our relationship with the environment.

ZoeHlmn's picture

The End of the Beginning, or is it?

First semester is just about over, the cold weather has crawled in. The rain droplets posing at the tips of the branches ready to fall at any second when they shatter the silence. Calling, "attention! Attention! Look at me!" But no one is really watching them. They sit there in utter despair until they either dry up or fall to the ground. When that one drop does fall to the ground, it is taken in, abosorbed by the luscious, green blades of grass. As they are soaked into the ground, cared for and sheltered they are spread out to quench the thirst of the starved organisms inside the earth. Feeding the flowers and edible vegetables. They breathe out the oxygen we need and we breathe out the carbon dioxide they need. Who needs who more?

mtran's picture

Eco-Happiness

My dear freshman friends, final week is coming and stress seems to be unavoidable. Just like you, I have been buried in work, papers and exams. However, perhaps such busy schedules also signal the time for us to take a break in order to achieve full power for the fight.  I am recommending one way to do so is to attend to nature. We all are lucky to be living in this wonderful green campus, so why don’t we just go out and experience a bit of ecological happiness? It is a precious state of the mind that needs to be maintained by protecting the environment.

Anne Dalke's picture

Towards Day 26 (Mon, Dec.10): Ecology without Nature (?)

Sasha De La Cruz's picture

Eva's crazy way of keeping silent for protection

            While reading Eva’s Man, I grew more and more frustrated when her writing became more complex. I became frustrated because I lost access to a transparent storyline; as I got more confused, I got to a point where I realized that I did not have to understand what was going on. I had an epiphany that Eva’s Man seemed to be the quintessence of Doris Sommer’s piece Advertencia/Warning. Doris Sommer claims that readers “feel entitled to know everything as they approach a text … with the conspiratorial intimacy of a potential partner” in this case I became the reader who was trying to know and understand everything that was going on. She then proceeds to write, “the slap of refused intimacy from uncooperative books can slow readers down, detain them at the boundary between contact and conquest”. At first I found myself slowing down and re-reading the passage, until I realized that no matter how many times I read it, the text was meant to make me confused and to get the sense of confusion and craziness.

Sarah Cunningham's picture

Spirit and Academia

As I and my fellow first-year students at Bryn Mawr College approach the end of a semester of reading, thinking, talking and writing about “Ecological Imaginings,” I find myself reflecting on something that applies not only to our topic, and not only to our class, but to the broader community, of our own institution and of higher education in general. Despite the broad range of our readings and discussions about ecology, one word which has rarely been mentioned is spirit, or spirituality. Once one notices this lack, it becomes glaring, conspicuous in its absence, since in many instances it proposes the resolution to our dilemmas, the center which would hold together our ethics and our analysis.

Over the last half century or so, the impact of our civilization on our planet has become more and more a cause for concern. Despite the many voices warning of the consequences of over-population, pollution, deforestation, ozone depletion, greenhouse gases, loss of species diversity, depletion of resources, environmentally caused health problems, climate change, and general looming disaster, it has been difficult for us as a species, either globally or nationally, to change our direction. The assumptions underlying our way of life are deeply entrenched, even as ever more people suffer as a result of these assumptions, and despite the growing awareness that we need to change.

mbackus's picture

Last(?) Site sit

So, here I am. The last site sit of the semester. And while I'm sitting here I can't help but wonder if this will be the last one of the year? I hope not. I know that I am in complete control of whether or not that continues, but I am in control of a lot of other things that tend to fall by the wayside. Taking a break from the library or my dorm room or whatever other pressures of college that I'm facing has been immeasurably beneficial. Even on this cold, brisk morning I am enjoying the peace and quiet that the moon bench has always provided me with. I will miss it, something I didn't expect myself to be saying at the beginning of the semester. Pulling myself away from everything for a little while every week is a huge relief. My view and perspective of and towards the moon bench has not changed much, but my appreciation of it definitely has. The moon bench is a wonderful site on campus, and it is also a resource. One that I have utilized every week to sit a while and ruminate, and one that I hope to continue to use to take a little break and get some fresh air once and a while.

Salt of this Sea

About the Film
Year Released: 
2008
Running Time: 
109
Documentary/Fiction: 
Fiction
Synopsis: 

Born and raised in Brooklyn, Soraya (spoken-word artist Suheir Hammad) travels to Palestine to retrieve her grandfather's savings, frozen in a Jaffa bank account after his 1948 exile. Struggling to feel at home in the land of her ancestors, she meets Emad, a young Palestinian whose ambition, contrary to hers, is to leave forever. When confronted with unwieldy official policies that deny her access to the fruit of her grandfather's life's work, she must take things into their own hands, even if it's illegal. Stubborn, passionate, and determined to reclaim what's theirs, she and Emad set out on a road trip for poetic justice across a lush Palestinian (now Israeli) landscape—after which there is no return. 

Annemarie Jacir's award-winning directorial debut represents a fresh, viscerally affecting, and definitive statement from second-generation Palestinian Americans. Rife with symbolism, director of photography Benoit Chamaillard's color-saturated lensing of Palestinian landscapes and composer Kamran Rastegar's evocative score make palpable the yearning and frustration of a quest to reclaim what was stolen.

~Roya Rastegar, Tribeca Film Festival

Poster Image: 
Director
Film Director: 
Production Info
Reported or Estimated Budget: 
€800,000
Location: 
Ramallah, France
Other Interesting Production Info: 
Since Palestinians are not allowed to travel from one town to another, unless provided with permits by Israeli authorities, the entire cast and crew were denied permission to move about. Due to such hindrances, the film had to be completed in France.
Categories About the Film
Genre: 
action
drama
romance
Keywords: 
activism and social justice
education
family
immigration
sexuality
state violence and security
Racial/Ethnic Affiliation: 
Arab American
Filmmaking Team
Writer's Name: 
Annemarie Jacir
Producer: 
JBA production of France, Clarity Production, Augustus Film, Louverture Films, Mediapro, Philistine films, Tarantula, Thelma Film
Cinematographer: 
Benoit Chamaillard
Primary Cast: 
Suheir Hammad, Saleh Bakri, Riyad Ideis, Shelley Goral
Exhibition/Distribution Info
Distributor: 
Pyramide International (all media), Lorber Films (USA, 2010- theatrical), Shooting Star Filmcompany BV (2009-Netherlands, theatrical), trigon-film (2008, Switzerland, theatrical), New Star (2009, Greece, all media).
Box Office Earnings: 
$556913
Where to find it/How to get it: 
DVD widely available
Festivals/Awards: 

CANNES - OFFICIAL SELECTION, Un Certain Regard, 2008; FIRST PRIZE - BEST FILM

Sguardi Altrove Film Festival, Italy 2009; SPECIAL JURY PRIZE- Osians Asian & Arab Film Festival, 2008; BEST FIRST FILM- Traverse City Film Festival, 2009; SPECIAL JURY PRIZE - Oran International Festival of Arab Cinema, 2009; RANDA CHAHAL PRIZE - Journées Cinématographiques de Carthage, 2008; AUDIENCE CHOICE AWARD- Houston Palestine Film Festival, 2009; AUDIENCE CHOICE AWARD - BEST FEATURE- Chicago Palestine Film Festival, 2009; BEST FILM- Cairo Refugee Film Festival, 2009; BEST ACTRESS (Suheir Hammad) - Amal EuroArab Film Festival, 2009; PALESTINE'S OFFICIAL OSCAR ENTRY FOR BEST FOREIGN-LANGUAGE FILM, 2008; SOPADIN FINALIST.

World premiere was in May 2008 as an Official Selection at Cannes Film Festival (Un Certain Regard)

Analysis
Personal Film Review and Cultural Context: 

An intimate portrayal of the complexity of Palestinian identity, Salt of This Sea traces Soraya’s visceral confrontation with her family’s emotional and material heritage. Part road film and part adventure, the journey traces the characters’ struggle to find their places in a forbidden landscape where writer and director Annemarie Jacir develops a stark, yet endearing atmosphere based on the dire circumstances that engulf Soraya’s psyche. The chord struck by Soraya’s relationship with Palestine resonates powerfully in the film’s most sensitive moments and the camera’s eye renders her tribulations to be memorable long after the film is over. Moreover, the observational standpoint of the cinematic apparatus allows Jacir to give viewers a larger picture of Soraya as an individual, a symbol of occupied Palestine’s oppression and a powerful voice against a country that still denies its citizens many basic freedoms.

~Farhat Rahman

Readings: 

Terri Ginsberg, “Palestinian Women Filmmakers in the New World Diaspora,” accessed December 17, 2012, http://www.academia.edu/1268981/Palestinian_Women_Filmmakers_in_the_New_World_Diaspora

Just Another Girl On The I.R.T

About the Film
Year Released: 
1993
Running Time: 
92
Documentary/Fiction: 
Fiction
Synopsis: 

Chantel is a seventeen-year-old Brooklynite who is beautiful, smart, popular and absolutely full of attitude. Like most girls her age, she wants it all and is determined to get it. Endearing - not. She is as insulting to the uptight Manhattanites who frequent the grocery store where she is employed, as she is to the Jewish high-school professor determined to teach an African American student body about the Holocaust, as she is to her boyfriend, who just doesn't have the right car Midway through the film, her joy ride takes a turn for what appears to be the worse, but she reacts to a life-changing event not with introspection and remorse, but with denial, narcissism, and renewed, well, attitude.

Bound to be compared with Spike Lee's She's Gotta Have It. Leslie Harris's portrait of a contemporary young African American woman rings perhaps truer in that she is an unidealized character created by a female filmmaker. Harris has the courage in this film to invent a character whom certain audiences may find unlikable. but that dislike may spring from envy. Chantel is a girl who may or may not act appropriately at all times. She is also a woman with incredible drive, generosity, insecurity, and the know-how ultimately to get everything she wants. "It's time for African American women to tell their stories in cinema." claims Harris. Perhaps this film will signal to audiences that it is time to listen.

-Andrea Alsberg

Source: Written by Andrea Alsberg, http://history.sundance.org/films/390 

Poster Image: 
Director
Film Director: 
Production Info
Reported or Estimated Budget: 
130000
Location: 
New York City, New York
Categories About the Film
Genre: 
comedy
coming of age
drama
highschool
Keywords: 
coming of age
education
family
sexuality
urban life
Racial/Ethnic Affiliation: 
African American
North American
Filmmaking Team
Writer's Name: 
Leslie Harris
Producer: 
Leslie Harris, Erwin Wilson
Cinematographer: 
Richard Conners
Primary Cast: 
Ariyan A. Johnson, Kevin Thigpen, Ebony Jerido, Chequita Jackson, Jerard Washington, Tony Wilkes, Karen Robinson, and Johnny Roses
Exhibition/Distribution Info
Distributor: 
Miramax Films, Artisan Home Entertainment, Cipa, Live Home Video
Box Office Earnings: 
$479169
Where to find it/How to get it: 
Streaming (Netflix or other online sites)
Festivals/Awards: 

Special Jury Recognition In Sundance Collection at UCLA

Analysis
Personal Film Review and Cultural Context: 

Chantel Mitchell , brought to life by actress Ariyan Johnson Mcdaniel, has her head in the books but her mind on the boys in this 1992 film. Aware of her own erotic power from the sway in her walk to the pout of her lips, this seventeen year old girl is sure that she can have any man she wants. When she goes too far she puts her dreams of leaving her Brooklyn housing project and making a better life for herself at stake. Book smart and street savvy, for Chantel, what many young women need to be taught about self respect comes as common sense, for she is fallible but never weak.  She fulfills Director Leslie Harris’s storyline, emphasizing that not every Black teenager is the same and pregnancy doesn't have to be the end of a life. With an early 1990’s Hip-Hop and R&B soundtrack and the audience as her diary, Chantel along with her boisterous and fun friends give us insight into the way Black teenagers talk about and understand sex. Through this film Leslie Harris brings viewers back to an age when we all thought we knew all there was to know about living. Just Another Girl On The IRT will have you laughing and eager to give Chantel all the right answers.

Written by Quela Jules

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