How EE Cummings Experiences Influences His Poetry Essay

EE Cummings was and is still one of the most well-regarded and unique poets of all time. His poems were unusual, but his strange way of writing is what grabbed people’s attention and made him so special. Many incidents in Cummings’ life affected his poetry, his experiences and his personality, which could clearly be observed in the poems he wrote. Cummings became such a well-known poet due to the effect of his life events on his poetry, his peculiar writing style and his strong connection with the topics of love and lust. The struggles and successes of his life developed his poetry in a huge manner. EE Cummings lived during a very eventful and historic era. He was born on October 14, 1894 in Cambridge, Massachusetts. When he was a kid,†¦show more content†¦While he was there, he befriended a fellow ambulance driver who would turn out to be an outspoken pacifist. When the French censors found mentions of â€Å"war-weariness† in Brown’s letters home , they recommended both be arrested. Cummings could’ve easily been released but out of loyalty to his friend, he refused to profess his hatred for all Germans. His time in prison became the inspiration behind his first official work, which was an autobiographical novel called â€Å"The Enormous Room†. The title of the book took its name from the huge barracks in France where Cummings slept with thirty other prisoners. In this book, he wrote about his time and prison and all his feelings while he was there. After he wrote his first book, he changed courses and entered the world of poetry. The way EE Cummings wrote his poetry is the main reason why he was such a unique poet. In almost all his poems, he talked about the topic of love and lust, but not in an ordinary manner. He used so much emotion and detail in his poems; it would create images in the reader’s head. When he talked about lust, it was very explicit yet beautiful, leaving a mark on the reader. All of these things made his poems very effective, grabbing the reader’s attention and sucking them right in. In conclusion, Cummings’ approach of writing made his poetry very evocative. Another reason why his poetry was extraordinary was because of his unusual grammar and errors. He revised grammatical and linguistic rules to suit

Bureau of Jails Study-Mental Health Free Essays

Explain what a DSM-IV manual is, and how it was used in the Bureau of Justice (BJS) study? The abbreviation DSM-IV refers to the Diagnostic and Statistical Manual of Mental Disorders, 4th edition. It was used in the BJS study to establish the baseline against which symptoms of mental illness in the study would be evaluated (James Glaze, 2006). 2. We will write a custom essay sample on Bureau of Jails Study-Mental Health or any similar topic only for you Order Now What percentage of inmates in the federal prisons has mental illness problems? How does that number compare with inmates who are in local jails and state prisons? How do these percentages (about mental illness) compare with non-incarcerated people in the USA? According to James Glaze, 45% of federal inmates have mental illness problems, as opposed to 64% in local jails and 56% in state prisons. In comparison, non-incarcerated people in the USA over the age of 18 have an 11% rate of mental illness. 3. What type of â€Å"mental illness† is most prevalent among prison and jail inmates? What symptoms would a person exhibit with this type of mental illness? Among prison and jail inmates, major depression is the most prevalent â€Å"mental illness†, characterized by extreme anger, inability to sleep or excessive sleeping (James Glaze, 2006). 4. Discuss the prevalence of mental illness as it relates to gender and race among incarcerated adults. Overall, according to James Glaze, white females have the highest instances of mental illness among incarcerated adults. 5. Discuss how substance abuse relates to the prevalence of mental illness among incarcerated adults. Substance abuse plays a key role in the prevalence of mental illness among incarcerated adults. In fact, there is a strong link between mental illness and the abuse of illegal drugs and binge drinking in the prison population. Additionally, those who came from families where substance abuse was commonplace were more likely to abuse substances and suffer the accompanying ill effects of that dangerous and often illegal behavior (James Glaze, 2006). 6. What information from the study did you find most interesting? Most interesting in the study was the linking of incarcerated adults and the problems that most likely contributed to their fate, such as mental illness, substance abuse and the like. Showing these associations makes it possible to attempt to address issues with individuals before they become prisoners. 7. What information learned in the study related to family members of incarcerated offenders? It would seem that incarceration runs in families; for example, the study cites the finding that the family members of incarcerated offenders are much more likely to have been or to become incarcerated themselves, as well as much more likely to be involved with substance abuse (James Glaze, 2006). 8. Discuss what the study revealed about crimes being committed while the offender was on drugs. It would seem obvious that being on drugs would lead to the kind of impaired judgment and suppression of conscience that leads to the commission of crimes, but there requires more solid proof to establish this link, which is why the study was cited for an answer to this question. According to James Glaze, 37% of state prison inmates who had a mental health problem said they had used drugs at the time of their offense, compared to 26% of state prisoners without a mental health problem. Also, 34% of local inmates who had a mental health problem said they had used drugs at the time of their offense compared to 20% of local inmates who did not have a mental health problem. 9. Explain what the BJS study found about the prevalence of mentally ill inmates being repeat offenders – when compared with non-mentally ill inmates. Lastly, James Glaze’s findings about the prevalence of mentally ill inmates and repeat offenses as opposed to the non-mentally ill are discussed. In the local jails, 32% of repeat offenders had mental problems as opposed to 22% recidivism among the non-mentally ill. Works Cited James, Doris J. Glaze, Lauren E. (2006). Mental Health Problems of Prison and Jail Inmates. Washington, DC: United States Department of Justice, Office of Justice Programs. How to cite Bureau of Jails Study-Mental Health, Papers

Key characteristics and the pioneers in avant

Key characteristics and the pioneers in avant-garde music Essay Minimalism originated in the sass, as a movement that sought to stray from the previous decade of self-expressionism as well as the contemporary trends of intellectual complexities found in serial music. Marked by repetitive mitotic and rhythmic patterns, it sought to emphasize simplicity in both melodic lines and harmonic progressions. In contrast to serial musics favored chromatic compositional techniques, minimalist music was wholly diatonic and consonant in nature. Textural consistency and layered melodies/rhythms gave way to gradual changes, highlighting the process of music, tater than a particular musical goal or specialized form. Seemingly lacking a climax, each composition unfolded by a series of repeating motives and additive rhythms extended over long periods of time. Influenced by Asian and African music, minimalism understated dramatic structures and sounds, instead emphasizing the reduction of musical structures. During the sass, a group of young American composers vouched for the return of basic elements of music, without dramatic structures and abstract expressionism. Many were influenced by the compositions of John Cage, including several leading gurus of the minimalist movement: Terry Riley, Steve Reich, and Philip Glass. A graduate of Berkeley, Riley opposed the chromatic and twelve-tone writings of serial music. Like many of his contemporaries, Riley experimented with tape loops in his compositions and bridged the gap between the new avian-garden and the piqued interest of rock music. Riley was specifically interested in composing works for live audiences, as these proved more effective in conveying the so-called avian-garden sounds. Successful in its reception, this kind of experimental music appealed to the public as t grew in popularity and acceptance; his music was inclusive and non-elite. Varying degrees of musical experience and backgrounds were encouraged. An excellent example of this can be found in his composition, In C. Written in 1964, In C did not necessarily require the skills of highly trained musicians to be performed. The piece lasts 44 minutes, although one would not suspect it to be so lengthy as it only contains fifty-three modules in total. Any number of instruments could play at a given time either at the original pitch or at any octave transposition. Each of the fifty-three modules were to be looped; in other words, they should be repeated ad labium before moving on to the next module. Moreover, articulations and dynamics were to be performed ad labium. The work finally concluded when all of the performers had arrived at the last module. While it appears that Riley music contains a sort of anything goes mentality, it is quite the contrary in some respects. In choosing instruments for the actual performance, Riley suggested that all players maintain an eighth-note pulse, which was audibly heard by an instrumentalist who played the top octave of CSS, most likely plan n a piano or xylophone. Furthermore, Riley favored more homogeneous sound; thus, instruments that consisted of specific timbres and ranges were discouraged. In C was a prime example in proving that minimalist music was not music void of regulations and rules; rather, it stemmed from algorithms. Riley considered these algorithms fundamental to his music even if they appeared loose by nature. Interestingly enough, the C-pulse in Riley work was not his own idea, but instead that of another contemporary, Steve Reich. Reich was born in 1936 and his compositions were heavily influenced by non- Western traditions. He studied African drumming, which involved complex counterpoint, and Balinese gametal music, with its complex layering and fast interlocking patterns. Quite different in background from Riley, Reich was born into wealthy and high-class family in New York. Having had traditional piano lessons growing up, an impressive education at Cornell with a major in Philosophy, and graduate studies at the Jailbird School in traditional composition, Reich eventually found his path in composing twentieth-century music. Upon listening to recordings of Stravinsky Rite of Spring, Bachs Brandenburg Concertos, and bebop in succession, Riches developed a new musical obsession, what theorists would call, subtractive pulse. It is steady, audible pulse that is practically palpable (found in, In C). Death Metal Music EssayTypically, electronic instruments and pitches were utilized in minimalist music, as these particular sounds highlighted the monotony and reiteration of melodic and rhythmic cells. Prior to the twentieth-century, instruments were played and heard by way of inflection and nuance, whereas minimalist music omitted any sort of variance in expressive sound. Academic surrealist composers often dismissed the work of the non-academic avian-garden minimalists, but to the minimalist composer, music could be void of numbers and musical maps. Past Western traditions were based on rules and structures, cost of which minimalist composers rejected. The ideology that music should stem from reduced musical elements, and that their growth should be gradual and rather organic, pinned this musical genre as experimental and innovative. Transformation was marked by gradual processes and superfluous elements were disregarded and deemed unnecessary. The process of development was more important than the end result, much like the idea that Joy and self-evolution is found in the Journey and not Just in achieving it. Minimalism opposed the conservative or nostalgic and sought no return to older styles.