Sunday 26 February 2017

Metaphors, Similes and Analogy- Asher, Anisha, Tamar (Year 1)

Metaphor- Asher-Lee Tulip Downer

Dictionary Definition-

The English word metaphor has its roots in Old French, Latin and Greek, dating back as far as the late 15th century. The French word métaphore is practically identical. The Latin metaphora means "carrying over" while the Greek metaphero combines the terms "meta" - between - and "phero" - to bear or carry.

Why do we use Metaphors in poetry or prose? 


The use of a metaphor serves to accomplish two objectives:
  1. it injects colour into your language
  2. it adds depth and power to your description, helping other people visualise precisely what you mean
An example of a metaphor being used in poetry:

A metaphor can be as simple or as complex as you want it to be, It can be short and precise or become an  extended metaphor where an entire story or poem is used to compare one thing to another, such as in Carl Sandburg's poem Fog.

The fog comes
on little cat feet.     ← Metaphor
It sits looking
over harbor and city
on silent haunches
and then moves on.

Shakespeare was no stranger to using Metaphors. The opening line from Sonnet 18 - "Shall I compare thee to a summer's day?" - this is technically a rhetorical question but inside of it is a comparison. We are comparing someone to that of a summer's day. 



Metaphors are meant to create an impact in the minds of the readers. The aim of this literary tool is to convey a thought more forcefully than a plain statement would.
They are exaggerated expressions no doubt, but they are exaggerated because they are supposed to paint a vivid picture or become a profound statement or saying.


Simile

A Simile is defined in the Oxford dictionary as a figure of speech involving the comparison of one thing with another thing of a different kind, used to make a description more emphatic or vivid (e.g. as brave as a lion). The originates from the latin word 'Smilies' which means like, which then developed in the late Middle English into the term simile still used in the modern English language today 

A simile is a figure of speech that uses the words "like" or "as" to compare two, unlike objects. The purpose of the simile is to give information about one object that is unknown by the reader by comparing it to something with which the reader is familiar. It helps the reader to gain more vivid imagery. Without the comparison, the reader would not be able to understand the emphasis of certain emotions or situations, for example;

Friends are like chocolate cake
You can never have too many.
Chocolate cake is like heaven -
Always amazing you with each taste or feeling.
Chocolate cake is like life with so many different pieces.
Chocolate cake is like happiness, you can never get enough of it.”

All similes have been highlighted in bold, this poem was written by an unknown author but it shows how similes can be successful in poems. By using the comparison it gives the reader a larger understanding. by the author likening their friends to chocolate cake which they then describe as being happiness and full of life it gives positive imagery to the reader showing a successful use of simile. Famous simile poems also include 'Twinkle Twinkle Star'

Analogy

The Oxford English Dictionary defines analogy as “a comparison between one thing and another, typically for the purpose of explanation or clarification”.

The overall effect of a good analogy is to make the writing clearer, more persuasive and more interesting.

Analogies draw on metaphors and similes to create more extensive and detailed descriptions that take complex subjects and simplify them through comparison. This simplification helps the reader to understand the original concept.
For example:
“Structure of an atom is like a solar system. Nucleus is the sun and electrons are the planets revolving around their sun.”
The first sentence of this analogy is a simile and the second sentence is a metaphor. When combined, they explain the structure of an atom in a simplified and more familiar way.

Showing something in a similar situation can be very persuasive as the reader is forced to apply what they know about one situation to the other.
Baz Luhrmann’s Everybody’s Free (to Wear Sunscreen), for instance, there is the following line:
“... worrying is as effective as trying to solve an algebra equation by chewing bubble gum.”
Because we already know that chewing bubble gum will in no way help to solve an algebra equation and it would be foolish to think otherwise, we can see that Luhrmann is suggesting that worrying is equally as foolish and unlikely to affect the situation.

Finally, analogies simply add a more engaging tone to a piece of writing and make everything a little more colourful. The Lemony Snicket books use vivid analogies quite liberally, such as “Fate is like a strange, unpopular restaurant filled with odd little waiters who bring you things you never asked for and don’t always like.” This analogy not only gives a simplified idea of the concept of fate, but provides the reader with something interesting to spark their imagination.

The Ivory Woman - Beth Ashley (year 2)



She’d appeared as a flickering light above a hazy skyline, fluttering and distant. The air fell out of place upon her arrival, her silhouette filling the empty space in the garden. She was rooted into the concrete, porcelain and stiff. Her chapped skin held a long body, all limbs and little torso, booted in heels and draped in a feathered coat. It was floor length. Framed carelessly around her vacant expression, her ragged black hair, skimmed her waist while hiding her eyes. 

She held a gun in front of her. It didn’t look misplaced. It was part of her; a tumour. The barrel pointed to Sam, a dog who mindlessly wagged his tail and slurped on the end of it, excited for potential food. She peered at it the weapon, as discomforted by its presence as we were. 

I made myself known. 

“Excuse me, what are you-“ 

“How did she even get in here?” James was terrified, delivering lukewarm utterances. He fears almost everything. 

“Shut up,” I whispered.

“What are you doing?” I asked again. 

The woman, who was completely absent of any light absorption, replied. 

“I’m doing my job,” 

“No, this is not your job,” I explained. “It can’t be your job. You don’t have to do this.”
 
“Are you sure? I was told that-”

“No. Put the gun down. You can come inside… we can talk.” 

The ivory woman suddenly sprung into my arms; fluttering like a raven, crying like a child. James quietly removed the gun from the ground, still shaking. He patted Sam on the head, and quickly lured him inside. 

I ran my hands through the fur of her coat and stroked her hair. 

“What’s wrong? Tell me.” 

“I just want to live,” she replied, her voice straining, breaking into shatters in her throat. “I don’t want to keep doing this anymore. I want to live. I want to be life.” 

She dropped to her knees, cased in velvet and called Sam to her. She stroked his ears and he immediately ran his tongue along her face. “He’s cute. I’m sorry I tried to hurt him. I wasn’t even here for him,” she said. “What’s his name?” 

“Sam,” I replied. 

“Why are you giving her information,” James whispered in accusatory angst. I hit him in the stomach and turned back to her. 

“Sorry, what was your name again?”



Saturday 25 February 2017

KFC by candelight - Liam Acornley Year 1


Here's to another 6 months
I won’t buy you a diamond ring
I can’t afford it love,
and god forbid we ever wed
there would be no doves.

I shan’t budget a turkey roast
or take you out to dine,
I can only really afford
the pride to call you mine.

I might buy you some games on steam,
granted, they’re on sale.
I’d try and steal the moon for you
but I’d end up in jail...

So fuck expenses, cuddles are free
and so is Popcorn time.
I’d even let you have the last chip
even though it’s clearly mine!

Let’s just read comics, that’s fairly cheap
though you prefer DC…
I’m more of a marvel fan myself;
but ill deal with it for you and me.

Let them keep their stretch limos
they take to their romantic night,
all I want is you and I,
and KFC by candlelight

Friday 24 February 2017

Fresher Fear - Fran Sutton Year 1


When motivation is shit
I’ll pretend that maybe I got hit.
If it was by a moving truck
Then I guess I wouldn’t give a fuck
My brain might be mush on the street
But I wouldn’t have to do any work for a week.

They say that ‘Uni is the dream’
But I can hear my brain scream
I never wanted the graduation cape
Now it feels I will never escape
I signed myself up for this way of life
Not realising then it would be fraught with strife.

But back to the point of this rhyme
I think that I’m running out of time
Personal point: I think poetry sucks
I’d rather just spend all my money in Starbucks
Hopefully coffee will get me through
I apologise to my teachers, I’m not trying to offend you.

I don’t hate Uni, I just hate doing work
I’m starting to feel like a bit of a jerk,
How do I know if I’m on the right course?
I’d rather just be having intercourse - 
Maybe then I wouldn’t have anxiety
About having to become a functional member of society.

I don’t think I’ll volunteer for workshop again
I really didn’t mean to be such a pain
It’s just what with all these deadlines and shit
I feel like I’m falling into a pit,
This crushing weight of great pressure
Will only get worse when I’m not a fresher.



Thursday 23 February 2017

Bodies - Paige J Mader - Year 1

When you touch me
You give me little dreams,
Fragments,
Like the fog you wake up to
at 3 AM when you know
You were dreaming about something,
You just can’t remember what,
You just remember it consuming you for that brief,
little moment.

When I touch you,
It’s like reading a map.
Your skin is your geography,
Your bones the topography,
The slope of your shoulders,
Giving way, like bluffs, into oblivion,
The irregular ribbing of your ribcage,
Pressed up against my molehills,
Don’t hide, you say.
We’re climbing these mountains together.

Your hands guide my hands
Here.
            and     Here.
Showing me the rhythm in my hips.
Telling your version
of Our Story
of Intimacy
and Fear
and Insecurity
and Acceptance.
Finally, Acceptance.

Nestled in the valley of your chest,
We made high ground today.
And as we came down,
Your fingers laced in mine the whole way,
I felt a shudder overtake me,
The way a person shudders
When they know they’ve got something extraordinary.
Something electric.

That sets fire to my skin,
And pulls me by my hair,
But I don’t really notice,
And I don’t really care.
Just hold me that much closer
For that much longer.
I’ll dream my little dreams,
And then we’ll come back tomorrow.



Monday 20 February 2017

Untitled Script- Sophie Holmes Year 2

This is the script I used when we were working with the lovely actors. It's untitled as I am crap with names. I couldn't decide whether to post scene one or two so just did both. I tried to format it properly but Blogger doesn't seem to like me. Enjoy!


Scene One- In a traditional family living room, a teen is sitting on the sofa, watching television. Mum has just come home from work.

Mum: Wow, that was a stressful day. Hey Charlie, you’re home early. Class cancelled?

Charlie: Nah, couldn’t be bothered.

Mum: Again?! Charlie, you can’t keep skipping class. Are you even listening to me? Charlie? (turns television off)

Charlie: Hey! I was watching that! Give me the remote!

Mum: Firstly, where are your bloody manners? I’m your mother, not a maid. Secondly, you and me need to have a serious talk. (pause) Don’t roll your eyes at me.

Charlie: We can try and have a ‘serious talk’ (air quotes) but we both know your phone will ring, you’ll look at me say sorry and answer it. Conversation over before it’s even begun. I don’t get why you even bother anymore.

Mum: (starting to get angry) And what’s that supposed to mean?

Charlie goes to leave the room but is prevented from doing so by Mum.
Mum: Sit down, Charlie.

Charlie: (mimics) Sit down, Charlie

Charlie tries to leave again but is forced to sit down by Mum.
Mum: Drop the attitude and sit down! When I say we need to talk, I mean it. (Mum sits down) Now, 
what do you mean you don’t know why I bother?

Charlie: (sarcastic laugh) You don’t give a shit about anything apart from your stupid job. I can do just about anything and you wouldn’t even notice, let alone care.

Mum: That’s what you think. I noticed you’re failing your classes, you know, the ones you barely turn up to. I notice that you don’t hang out with your friends anymore. I notice you never tell me when we’ve run out of milk. I notice a lot more than you think, Charlie.

Charlie: So? Do you want a fucking medal?

Mum: Language!

Charlie: Whatever, like you’re one to talk.

Mum: I’m getting sick of this behaviour. Since the divorce, you’ve been acting like a spoilt brat and it needs to stop. Now. I’m doing the best I can with everything that’s happened. The least you can do is cut me some slack.

Charlie: (Sarcastic) Aww, poor you. Can you not cope with the fallout of the divorce you wanted because your work is more important to you? Are you finding things a bit hard?

Mum: ENOUGH! You think everything is so simple but it’s not. You’re seventeen, what do you know about anything. All you have to do is turn up to college three days a week and you can’t even manage that!

Charlie: I’d like to see you study A-Level psychology. It’s a living hell.

Mum: You know nothing about a living hell.

Charlie: I mean, I live with you, so yeah, I kinda do.

Mum: No one said you had to live here. You ungrateful—

Charlie: And where else would I go? I never asked to be born, I never asked for any of this. 
Everything has to be your way or no way and it’s getting stale. I’m seventeen, I’m not a child anymore, I have a mind of my own.

Mum: It’s my way because I pay all of the bills. I try and give you everything you need, so excuse me if I want things done to a certain standard, not that it matters to you.

Charlie: Eugh, no because nothing matters to me, does it? Stop pretending like you know everything that’s going on with me. You have no clue!

Mum sits with their eyes closed for a few seconds before speaking.
Mum: I can’t deal with this right now.

Charlie: Surprise, surprise. Why don’t you drown your sorrows in a bottle of cheap wine? Or better yet, go back to work and fail trying to stop some petty criminal going to prison.

Mum: Don’t you dare criticise my work! I’d like to see you work six days a week as a defence lawyer. It’s bloody hard. 

Charlie: Couldn’t do a worse job than you, could I?

Mum: Why don’t you go and lock yourself in your room as always? You’re giving me a headache.

Charlie gets up and goes to leave the room.
Charlie: With fucking pleasure.

Mum: (sighs) I give up. Maybe I will treat myself to some wine.

Scene Two- The breakfast table, the following morning. Mum is sitting at the table on the phone.

Mum: (on the phone) –Yes, yes. I understand. I know this case is near impossible to win (pause) No, I’m not dropping it (pause) money is money, especially since the divorce (pause) I really can’t afford not to Laura.

Charlie enters the kitchen and sits at the table
Mum: Okay, um, well. I’m going to have to go. (pause) something’s come up. I’ll speak to you later, I’ll be at the office soon (pause) yes, okay. Bye (pause) bye now.

Charlie: You forgot to buy milk again.

Mum: You forgot to tell me we’d run out of milk again. You know, Charlie, you could always—
Charlie: It’s too early for this.

Mum: I’m not trying to start anything. I’m just saying, money is tight right now. If you had a job, things might be easier. For the both of us. At least then, we’d always have milk (small laugh).

Charlie: I’ve tried getting a job. It’s hard. They don’t want students. They don’t want me.

Mum: Don’t take it personally, Charlie. That’s just the way the world works. It took me ages to find a job when I was your age. Just keep looking, I’m sure you’ll find something soon enough.

Charlie: I suppose.

An awkward silence fills the air
Charlie: Why are you being nice? I thought I gave you a headache yesterday?

Mum: (laughs) You’re always giving me headaches.

Charlie: (sarcastically) gee, thanks.

Mum gets up and hugs Charlie before sitting down again
Mum: I’m sorry, Charlie. You were right. Lately, my work has been coming before everything else, before you. I’m a crap parent. It’s just…It’s…Everything has been so hard since the divorce. Sometimes it’s hard to cope with it all.

Charlie: yeah, it sucks

Another small silence
Charlie: Can I ask you something?

Mum nods
Charlie:  How did you know that I’m failing my classes? I really didn’t think you cared.

Mum: Of course I care, idiot. (pause) Your teacher phoned me yesterday, she’s concerned about you.

Charlie: oh.

Mum: Why aren’t you going to college, Charlie? You’re so smart, you can do anything you want if you just put some effort in.

Charlie: You might find it hard to believe but the divorce has been hard on me too. My parents, who have been together my whole life just split up, out of the blue. Everyone treats me like a china doll, there’s too much sympathy. I feel like a charity case. I can’t take it.

Mum: I hadn’t thought of it like that…

Charlie: Meaning?

Mum: Well, I knew it would be tough on everyone but I had no idea it would affect you this much. I…I probably wouldn’t have filed for divorce if I’d have known this would happen.

Charlie: You can’t predict the future and besides, you’d be unhappy.

Mum: And you’d be happy. You’re my only child. I’d do anything to make you happy.

Mum’s phone rings. They ignore it. It rings again.
Mum: Fuck off, Laura.

Mum turns the phone off.
Mum: I need me a proper day off. Fancy a spontaneous shopping spree, Charlie? I know we can’t really afford it but god do we deserve it.

Charlie gets up to leave the kitchen.
Charlie: Just because we’ve poured our hearts out to each other, it doesn’t mean I want to go shopping with you. Besides, I have class.


END

Sunday 19 February 2017

Character and Characteristics - Katie, Krystal, Paige - Poetry and Poetics Year 1

A well-developed character is important in all forms of literature, movies, plays etc. especially for the narrative. The better the audience knows the character, the better the character development. [i]
In regards to the primary character, it is imperative that the audience/reader can depict some kind of personality that makes them noticeable- or if the narrative case is, unnoticeable.
However there are two ways character development can be directed into the narrative, either indirect or direct.
Direct or explicit characterisation:
The author/director/narrator literally tells the audience what a character is like.
This direct method, is usually presented within films. For example Wanted, with James Mcavoy, the character narrates his personality when he says he knows his girlfriend is having an affair but chooses to do nothing about it, saying that he is a ‘pussy’- henceforth depicting him as weak.
Indirect or implicit characterisation:
The audience must decode the character for themselves what the character is like through the character’s thoughts, actions, speech, looks and interaction with other characters.
One character I think this is presented with is Hermione Granger in HP- she is seen as being a very thoughtful girl, seen with her relationship with both Ron and Harry, but also someone who cares about her education.
           
Christopher Vogler, in his seminal book The Writer’s Journey (1998) talks about archetypes when he talks about character. The phrase archetype was initially used by the Swiss psychologist Carl G Jung to mean patterns of personality that can be found throughout history that are shared by or universal to all humans. This is what Vogler draws on when he discusses character archetypes as “personified symbols of various human qualities” [Vogler, 26].
        Continuing in this vein of thinking, Vogler says that each archetype has a psychological function and a dramatic function; the psychological function being a representation of a part of the “hero’s” personality, and the dramatic function being how the archetype advances the story. Because of this Vogler employs us to regard character archetypes as functions rather than fixed characters.
“The archetypes can be thought of as masks, worn by the characters temporarily as they are needed to advance the story” [Vogler, 26].
        McKee describes something similar when he says, “Characters are not human beings.” He goes on to say they are “a metaphor for human nature” [McKee, 375].
In The Writer’s Journey Vogler highlights many of what he considers the most common or useful archetypes as follows:
·      The Hero
·      The Mentor
·      The Threshold Guardian
·      The Herald
·      The Shapeshifter
·      The Shadow
·      The Ally
·      The Trickster
The two key archetypes, however, are the “Hero,” and the “Shadow.” Simply put the Hero represents the ego, but more importantly has the dramatic function of giving the audience “a window into the story” [Vogler, 30]. The idea is that we as the audience are able to identify with the hero in order to engage with the story and maintain interest. On the other hand the Shadow’s dramatic function is to challenge the Hero and create conflict. The Shadow is often what we would consider to be the “villain,” or the “antagonist.” On a psychological level the Shadow represents “the power of repressed feelings” [Vogler, 65]. Vogler highlights the Shadow as “a useful metaphor… for grasping the unexpressed, ignored, or deeply hidden aspects of our heros” [Vogler, 69].
Following on from archetypes is the importance of the Character Arc or “The Hero’s Journey”. The American scholar Joseph Campbell coined this term in the 20th century in his book The Hero with a Thousand Faces. This book was a huge influence with storytelling and still has an impact on today’s cinema and literature. However, nothing about this concept is new, Campbell simple combined these ideas and named them giving us the neat 12 part structure we have today:
  1. The Ordinary World – the hero is introduced, audiences are shown his background, heredity and personal history. However, struggles in the hero’s life is pulling in different directions, causing stress.
  2. The Call to Adventure – something changes the situation and the hero must face the “beginnings of change”
  3. Refusal of the Call – the hero turns away from the adventure briefly/another character expresses the danger that lies ahead.
  4. Meeting with the Mentor – the hero is trained and helped by a more experienced traveler who he turns to for wisdom.
  5. Crossing the Threshold – (the end of act one) the hero commits to leaving his home and enters a new land with unfamiliar rules/values
  6. Test, Allies and Enemies – the hero is tested and finds both allies and enemies in this new world.
  7. Approach – the hero and his allies prepare for the challenge/battle in the new world.
  8. The Ordeal – (near the middle of the story) the hero must face a grave danger or fear (eg. Death) and from this comes new life.
  9. The Reward – good triumphs over evil and takes possession of the treasure.
  10. The Road Back – (3/4 through the story) the hero takes the treasure home from the new world, there is often a chase to show the urgency and danger of the mission.
  11. The Resurrection – (at the climax) the hero is tested one more time at the boarder of home, there is a similar scenario to The Ordeal on a greater level resulting in the struggles from the beginning have been resolved.
  12. Return with the Elixir – the hero returns with some element of treasure that has “the power to transform the world as the hero has been transformed”.



[i] http://www.ohio.edu/people/hartleyg/ref/fiction/character2.html

FURTHER READING:
The Writer’s Journey - Mythic Structure for Writers (Third Edition) by Christopher Vogler (1998)
Story - Substance, structure, style, and the principles of screenwriting by Robert McKee
Inside Story - The Power of the Transformational Arc by Dara Marks