1: We will start practicing identifying some ways of categorizing variables of communication. Think back or refer back to the Havelock reading: what are some variables that surfaced? For instance, we considered and discussed “tradition”, “mimesis”, “hypnosis”, “audience”, “cultural memory” (etc.) as being important for understanding Plato’s strong opposition to poetic performance as a form of communication. Try to identify a few more such variables or categories and list them here.
2: Use a few of the categories you come up with to assess and comment on Yate’s “Art of Memory” reading. For instance, if “tradition” is one of your categories, how does “tradition” pertain to Yate’s commentary on the historic art of memory in communication? Try for 3-5 categories. (300 words)
As the weeks go on, we’ll collect these variables from each reading (and era), and see which ones seem to persist, and which ones drop away. As we move forward through time in the history of communication, you will slowly recognize some categories as always being present, and others as being new and corresponding only to specific innovations in human communication. As we get to the mid-point of the semester, you’ll have your own matrix through which to critically consider communication history in the present, and have some leverage for how you might go about doing your final history project for the course. So, consider this a practice week for identifying categories, and applying them to a new reading. This is probably a new kind of exercise for most of you, so if you find it challenging, great! And don’t worry, we will work on these together.
3: Based on your understanding of Plato’s critique of epic oral poetry, what do you think he would say about communication technology of 2021?
4: We’ve all had the weird experience of being completely immersed in a communication environment– a gripping speech, an engrossing film, an unbelievably good song, a hypnotizing book, etc. In that moment of total immersion, where does a person go? Take a few moments and think about that state of mind, and comment on it. What is that state of total unselfconsciousness?
Readings and passwords:
- Havelock, Preface to Plato; password: f.a.moretti
- Yates, Frances. The Art of Memory. 1966; password: f.a.moretti
GCSE War Poem Tunes of GCSE war "Light Battle" and "Fall Battle" are on the whole sonnets about war. Alfred Tennyson's "Light Brigade's Accusation" composed on fourteenth November 1854 clarifies one thing in the Crimean war. England and France are stressed that Russia will move south, so assaulted Russia in Balaclava. During the war in September 1914, Lawrence Bingyan expressed "for fall", yet received a one-sided disposition that shows positive and negative outcomes, specifically. . It is a nation. How about we see the necessities of GCSE's English writing. Understudies need to recall the "significant substance" of the 15 books of various lengths and various books, Shakespeare plays (the significant thing is doublespeak). With in any event fiction and show, you realize that you will be controlled - in verse, 13 of the 15 sonnets you recall won't show up in your theory. Pick two refrains as tests, analyze them, and request that the understudies connect them to a particular point Clarify how the uncommon attributes of at any rate two works in Wilfred Owen's sonnets influence one another and impact their responses. The center highlights of Wilfred Owen's war verse incorporate misuse of war, fear of war, and the physical impact of war. These highlights can be found in Owen's correspondence with perusers, verse 'Darce and Decolm Est' pulling in perusers' feelings to officers and 'Destiny to youth of fate'. These sonnets collaborate and investigate understanding "Maryal Mountain in this sonnet" clarifies the characteristic picture. Maybe the most well known contemporary use of this sentence is the title of the sonnet "Dulce et Decorum est" by British writer Wilfred Owen during the First World War. Owen's verse depicts the gas assault during the First World War and is one of his numerous enemy of war sonnets that were not declared until the finish of the war. In the last barely any lines of this sonnet, Horatian phrases are communicated as "old falsehoods". Individuals accept and utilize the first of that sonnet to clarify that Owen is attempting to disparage the sonnet by Jessie Pope (who adulated the war and enlisted in a straightforward enthusiastic verse). "Little accomplice" who is excited about charging and shooting. Like "telephone" The principal sonnet mirrors the picture of war that the vast majority know well. This sonnet "Flanders Battlefield" is likely the most renowned and famous war sonnet. It was first distributed in British 'punch' magazine in December 1915. Surprisingly fast, this sonnet represents the penance of all the battle in World War I. "Flanders Battlefield" was made by a specialist and educator of Canada, John McCrea who worked in the South African War and the First World War. He was moved to the clinical group and relegated to a French emergency clinic. He was dynamic in 1918 and kicked the bucket of pneumonia. His sonnet assortment "Flanders Field" and other verse assortments were distributed in 1919. This sonnet is still piece of a commemoration in Canada and different nations.>GET ANSWER