Graffiti from Pompeii I.10.4 (near the rear entrance vestibule of the House of Menander); 8356: At Nuceria, look for Novellia Primigenia near the Roman gate in the prostitute’s district. I.10.4 (exterior of the House of Menander); 8304: Satura was here on September 3rd I.10.7 (House and Office of Volusius Iuvencus; left of the door); 8364: Secundus says hello to his Prima, wherever she is. I ask, my mistress, that you love me. II.2.1 (Bar of Astylus and Pardalus); 8408: Lovers are like bees in that they live a honeyed life II.2.3 (Bar of Athictus; right of the door); 8442: I screwed the barmaid II.3.10 (Pottery Shop or Bar of Nicanor; right of the door); 10070: Lesbianus, you defecate and you write, ‘Hello, everyone!’ II.4.1 (bar; left of the door, near a picture of Mercury); 8475: Palmyra, the thirst-quencher II.7 (gladiator barracks); 8767: Floronius, privileged soldier of the 7th legion, was here. II.7 (gladiator barracks); 8792: On April 19th, I made bread VI.14.20 (House of Orpheus); 4523: I have buggered men
5 Tips for Writing Kick-Ass Characters Bryan Cranston as Walter White Characters make the story. They are the most difficult aspect of any work in progress, and the most crucial to its success. There are so many elements to be considered when dealing with characters, especially when your cast is many. And let’s face it; your characters are in need of some tender loving care. Have no fear! 1. What was the last book you read, film you watched, or game you played where you were rooting for the main character, wishing you were by her side to help in the struggle? Now ask yourself why you felt this way about that character. Relatable characters are the ones that you can identify with, the ones you want to see succeed, and the ones who make your throat tighten when they are in jeopardy. That level of emotion is what you want your audience to experience during the trials and tribulations of your characters. 2. So, where do you begin? Start with a role that needs to be filled, and then work around that. 3. 4. 5. See Also: Codey Amprim
The 3 Types of Irony Irony is a literary technique & rhetoric device that has been used for many years in speech, art and everyday life. Although irony has been used for a long time, there hasn’t been an exact definition of irony. There have been hundreds of definitions suggested over the years, however, a general consensus is that: Irony Definition Irony is a figure of speech which is a contradiction or incongruity between what is expected and what actually occurs. Most of the definitions of irony are something along these lines, though there is often disagreement about the specific meaning of this term. Verbal ironySituational ironyDramatic irony Verbal Irony Verbal irony is the use of words to mean something different from what a person actually says. The main feature of verbal irony that sets it apart from the other different types of irony is that it is used by a speaker intentionally. Examples of verbal irony include: “Thanks for the ticket officer you just made my day!” There are two types of verbal irony:
Passionate Reason the blog of author L.E. Henderson: How I Lost My Guilt and Became Addicted to Writing Since early childhood, I wanted to be a writer. I wrote exuberant stories about vampires, hidden treasure, and animals. Over the years, teachers, friends, and relatives read my stories, smiled, and encouraged me. They told me I wrote well, and so I should write more. By adolescence, writing was not just something I wanted to do. It was a sacred calling. It became even more serious after high school graduation. With the intensity of a pilgrim, I marshaled my energies and earnestly began to plan. However, with all my ambitious planning, I had a big problem: I rarely ever wrote. I did have scattered episodes of exhilarating inspiration, and I would hurry to my notebook and scribble down my thoughts. Writing felt too important, too sacred, to even begin. At the same time, I was uncomfortably conscious of the monstrous gap between my plans and actions. When this strategy failed to make me prolific, I was led to an unsettling conclusion: I must have poor character. These efforts never worked.
Symbolism by Elizabeth Schlosser on Prezi Escapist fiction Escapist fiction is fiction which provides a psychological escape from thoughts of everyday life by immersing the reader in exotic situations or activities. The term is not used favorably, though the condemnation contained in it may be slight. Those who defend works described as escapist from the charge either assert that they are not escapist—such as, a science fiction novel's satiric aspects address real life—or defend the notion of "escape" as such, not "escapism"—as in J. Genres which can include elements of escapist fiction include: The Necklace by Guy de Maupassant The Necklace (1884) is a famous short story and morality tale that is widely read in classrooms throughout the world. Get more out of the story with our The Necklace Study Guide The girl was one of those pretty and charming young creatures who sometimes are born, as if by a slip of fate, into a family of clerks. She dressed plainly because she could not dress well, but she was unhappy as if she had really fallen from a higher station; since with women there is neither caste nor rank, for beauty, grace and charm take the place of family and birth. Mathilde suffered ceaselessly, feeling herself born to enjoy all delicacies and all luxuries. When she sat down to dinner, before the round table covered with a tablecloth in use three days, opposite her husband, who uncovered the soup tureen and declared with a delighted air, "Ah, the good soup! She had no gowns, no jewels, nothing. "There," said he, "there is something for you." "What do you wish me to do with that?" "True!
Semiotics Semiotics frequently is seen as having important anthropological dimensions; for example, Umberto Eco proposes that every cultural phenomenon may be studied as communication.[2] Some semioticians focus on the logical dimensions of the science, however. They examine areas belonging also to the life sciences – such as how organisms make predictions about, and adapt to, their semiotic niche in the world (see semiosis). In general, semiotic theories take signs or sign systems as their object of study: the communication of information in living organisms is covered in biosemiotics (including zoosemiotics). Syntactics is the branch of semiotics that deals with the formal properties of signs and symbols.[3] More precisely, syntactics deals with the "rules that govern how words are combined to form phrases and sentences".[4] Terminology[edit] Ferdinand de Saussure, however, founded his semiotics, which he called semiology, in the social sciences: History[edit] Formulations[edit] Branches[edit] Notes
julieteacher / All Summer in a Day by No one in the class could remember a time when there wasn't rain. “Ready?" "Ready." "Now?" "Soon." "Do the scientists really know? "Look, look; see for yourself!" The children pressed to each other like so many roses, so many weeds, intermixed, peering out for a look at the hidden sun. It rained. It had been raining for seven years; thousand upon thousands of days compounded and filled from one end to the other with rain, with the drum and gush of water, with the sweet crystal fall of showers and the concussion of storms so heavy they were tidal waves come over the islands. "It's stopping, it's stopping!" "Yes, yes!" Margot stood apart from these children who could never remember a time when there wasn't rain and rain and rain. All day yesterday they had read in class about the sun. I think the sun is a flower, That blooms for just one hour. That was Margot's poem, read in a quiet voice in the still classroom while the rain was falling outside. "Aw, you didn't write that!" "I did," said Margot.