Hii! I was just wondering how do you revise for English lit poetry? The Easter holidays are coming up and I need to revise poetry but I don't really know how to, thankyou :))
hi anon! sorry this has taken me so long to answer, I've been so focused on revision lately. Right, my advice for revising English lit poetry is:
- make sure you annotate your poems for important quotes, terminology, effects etc. you can see my annotations here and here
- create summary sheets. for each poem I go with: 3 quotes, techniques used in the quotes, form & structure and context. an example of this is here
- know what poems compared with each other well. It’s better to have more similarities than differences so the essay will be a bit easier to write.
- my essay structure goes like this:
- intro, introduce the poems and poets. Try to include context here so you have that box ticked off in the mark scheme straight away. Also, try to introduce the point of the essay (eg both poems explore the theme of conflict through the use of dialect and colloquial language in order to reiterate their social position which is the result of their anger)
- 1st paragraph, language analysis of the 1st poem
- 2nd paragraph, language analysis of the 2nd poem. try to use comparing and contrasting connectives such as alternatively or similarly
- 3rd paragraph, form and structure analysis of the 1st poem
- 4th paragraph, form of structure analysis of the 2nd poem. again, try to use comparing and contrasting connectives such as alternatively or similarly
- conclusion, sum your essay up. what are the overall achieved effects? are they similar or different? link back to the question.
- learn all quotes, not the whole poem. even if you only remember the quotes you can still base your analysis off that
- have a version of your notes on your phone. when you are out and sitting on the bus or something you can have a read through your notes so you are constantly refreshing your memory
From the 1890s to 1960s, the section of 4th Avenue between Union Square and Astor Place was dominated by one thing: secondhand bookstores. The 48 bookstores that once adorned this stretch of Fourth Avenue, earned it the moniker “Book Row.” The last shop officially part of Book Row shuttered in the late 1980s. Back in the day, these bookstores were often specialized and only sold secondhand or rare items. A very niche market for bibliophiles. Unfortunately time marched on and rents increased immensely, and larger bookstores like Barnes and Noble became the fashion. Additionally, the city sought to ban the “bargain carts” that were so ubiquitously present outside bookshops. This was in 1942, and it inspired 23 shop owners to come together to form the 4th Avenue Booksellers Association. The gradual closing down of Book Row followed a national trend, as the @nytimes, recorded the number of independent bookstores nationwide falling from 2,400 to 1,900 between 2002 and 2011.
80.102.136 Roy Perry Browsing at Second Hand Bookstalls, Ninth Street and Fourth Avenue.
One of the dream festivals
Thousands attend this event yearly
Held in the dusty, bowl of Coachella Valley
I want to play main stage one day. Seeing Alabama Shakes do it two years ago just… ahhh. Dream job within a dream Job!
Could this runner work I do in production just be a step a long the way of manifesting my dreams?
I don’t know BUT atleast I get to see Radiohead this year. “Fake plastic trees” is one of my favorites ever. So honored to do a cover of it at restaurants. They are modern day legends with an amazing back catalog that I’ve only recently been introduced to…
4th year is taking form. I’m on a flight sitting in row 30. That’s my divine number, 3.
Affirmation that this journey will be a creative one. I brought my sketch book and it holds my plans to create new things in my life. I listed off 6 targets I’m shooting for each day to
a) keep my sanity
B) ascend. A lot happens in two weeks
C) vitamin D 🌞
Just about to land to LAX where I will meet my PIC [fellow PA assistant] who will be joining over at the H&M activation. Apparently H&M throws up over 3 million for a sponsorship with Coachella. HUGE advertising. This festival will be colossal.
Also there will be so much EDM. Dem LA kids don’t stop.
The cowpeas have climbed the poles (one kind much more fully than the other, maybe the closer one is a bush variety of cowpeas?) and I love the flowers. We’re having a cold snap here and the cowpeas have developed mildew that you can see, but we’ve sprayed them with copper and are hoping the normal dry and warm florida weather will be back soon. The cold has been really great for everything else!
The tomatoes have come back to life and are fruiting, the coconut palm seedling is doing well, and we have some oranges ripening!
We also have one bokchoy plant that self-seeded for the 3rd time (and came out the best of any we tried to plant earlier). A sweet potato vine also came back to life, and for the 6th time. The 6th time is clearly the charm because it is full of beautiful purple flowers (4th picture form the top)!
Starting to get the hang of edible growing here in SW Florida. Container gardening here is the way to go.
Phoenician Scarab in Gold Swivel Mount, 6th-4th Century BC
The Egyptianising form of art can be seen on this Phoenician scarab with the winged sun disc of the Egyptian god Ra-Horakhty being held aloft by two lion-headed men which may be related to the guardian deities known from Achaemenid art. A cicada is between the two lion-headed men. It’s made of dark green glass or jasper.
Classical Phoenician scarabs were made in Phoenicia in the period of the Achaemenid Empire, from the later sixth century to the mid-fourth century BC. Beside the Etruscan, they are the last major production of scarab seals of antiquity. They are made of green jasper, the color probably being of as much importance as their intaglios since it enhances their amuletic value. Most of the 1500 examples known have been found in the west Phoenician (Punic) cemeteries of Carthage in North Africa, as well as the islands of Sardinia and Ibiza, but there are many also from the east Mediterranean. It was long held that all were western products but it is more likely that they were made in the Phoenician homeland. They served as jewelry, as offerings in tombs and sanctuaries, and for their primary function of sealing. Many, such as this example, were given precious metal mounts. The subjects of the intaglios are the most eclectic of any medium of the period. They include Egyptianising (the common stock of Phoenicia for many years), Levantine (more Syrian in style and subject) and Hellenising (mainly following late archaic Greek subjects and styles, whence many have been called Greco-Phoenician).
Cudder’s 6th studio album, Speedin’ Bullet 2 Heaven, releases tomorrow, December 4th, worldwide in digital form. Physical copies ship out the 18th, followed by a limited amount of vinyls and cassettes that will be made available in early 2016. From the worry and frustration surrounding Cudi’s recently canceled tour to the confusion regarding his drastic musical change away from hip-hop, this album has been an incredibly controversial transition between 2014’s Satellite Flight and the third installment of the Man on The Moon series.
There will undoubtedly be a lot of hate and criticism in response to this production as it diverges even more from Cudi’s previous works. However, it is important for all of us to recognize the importance and meaning of this album to Kid Cudi as a human being, regardless of how one feels about its musical merit. Personally, I adore the album as I see it as an incredibly bold move, yet even I can recognize that Speedin’ Bullet 2 Heaven has its highs and lows. Tracks such as “Melting” blowing away songs like “Judgmental Cunt” in my mind. Yet, throughout it all we see three major themes. The first: an incessant, lingering pain that is aptly captured by Cudi’s cadence and his impassioned moaning and crooning. Secondly: repetitive chords, melodies and lyrics. And lastly: an invocation of his youth experiences. The three of these facets integrate to create an album that is as much of a sonic beauty as it is a deeply saddening traumatic catharsis.
“When I was 11, I saw my dad’s corpse, innocence lost, hanging on the front porch” sings Cudi in one of his most revealing tracks, simply and aptly titled “Trauma”. Just as trauma victims are subjected to relentless repetition of their horrors in their head, Cudi loops the lyrics of this track, and many others, a great amount of times. Just like the character of Norman Bowker in Tim O’Brien’s “Speaking of Courage”, who loops around a lake over and over again as he searches within himself to find the strength to talk to someone about the trauma that he experienced in the Vietnam War, Cudi loops around his lyrics in search of someone who will truly listen to him. One of the central foundations of the healing process for trauma victims is the need for someone else to “bear witness” to the trauma. By sharing the experience that has caused the subject to undergo so much pain, the victim no longer feels the responsibility to hold onto that memory, and is able to let it go and ultimately heal. Cudi, despite having millions of fans worldwide, faces the same kinds of problems that all people who have faced trauma do. If this album isn’t a cry for help and understanding, then I don’t know what it is. Cudi’s pain is apparent even in the modulation of his voice, as he strains it to hit unusual notes and create unusual melodies over the dark backdrop of instruments. On songs such as “The Return of Chip Douglas”, his singing turns to utter wailing in frustration, bringing out the full depth of his emotions. Cudi’s repetitive, dark songwriting and expression showcase the repetitive, dark nature of trauma.
Even through all of the sadness, Cudi is able to show his personal belief that things will get better. The characters of Beavis and Butthead, possibly favorites from Cudi’s youth, help the listener to explore the emotional journey that Cudi, and the listeners, go through. The use of fictional characters to explore very real emotions is typical of trauma literature, as depicted in Kurt Vonnegut’s Slaughterhouse Five, in which the protagonist is only able to cope with his trauma by imagining aliens that convey life messages to him. Likewise, once we are able to look past the ostensible ridiculousness of Beavis and Butthead, we are able to see that they are there to guide us all. “Don’t worry Beavis, we will land safely…Take some of these mushrooms” says Butthead, as he leads the two of them, and us, into an emotional journey. Butthead exclaims, “the world will never be the same…there will be harmony” in his last appearance, at the end of “Red Sabbath”, a track that nears the end of the first disc. By invoking these childhood characters, Cudi makes his work to be even more apparent as a traumatic piece of art, as they act as personal and emotional aids in his path to happiness and understanding.
Ultimately, many people will not like Speedin’ Bullet 2 Heaven. “I’m damaged, I trust no one, sometimes I can be real mean” admits Cudi on a very emotional track, “Handle with Care”. His own insecurities and problems have undoubtedly cut many bridges, as we have seen Cudi beef with a variety of artists, reject coproduction, and even leave the label that helped to establish his fame. But despite this all, you have to admire the man’s authenticity and honesty. My only hope is that those who do not appreciate the album musically can at least appreciate what it stands for. We need to bring awareness to the types of depression that have haunted people like Scott for such a long time. Mental illness demands support, not alienation. Yes, he has expressed his emotional issues clearly over the course of his career, but never so darkly and never so deeply. This is something that warrants respect for his ability to connect with millions of listeners worldwide – people of all ages that look to Cudi, sparking by his emotional honesty and support all the way back in 2010 when he roared “I’m your big brother” on his sophomore album. These fans, myself included, look to Cudi’s pain as a reminder that we can make it through the adversity. That whoever you are, you are not alone. “Never feel alone. We are always here. Even in Death” goes back to the WZRD days. Rather than ridiculing him for the pain that is so clearly depicted in this album (as many have), we need to stand by Cudi as we should stand by any fellow man. This man, however, is someone special. Cudi is a man who has the bravery to depart from a genre that gave him the most commercial success, all in the name of experimentation and personal fulfillment. He has dedicated his entire musical and celebrity presence to help kids, and was even awarded for his role as a mental health ambassador. Actor, songwriter, activist, producer, singer, rapper, guitarist - the accolades continue to stack for Scott Mescudi. He truly is “The Crazy, The Wizard”. Who else has the guts to be so radical by most people’s standards and still make such magic?