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Blackcurrant last won the day on January 3

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About Blackcurrant

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    Nov 2008
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  1. the arts

    It's this sort of timidity (the school's) that erodes free speech and thinking. Art should never be censored. If the public does not like it, then it can stay away. Shutting the artist down or tampering with his or her ideas to suit sensibilities is an interference and a cop out.
  2. the arts

    That's a really good point. There are no rules that I can find (I spent a couple of hours looking around) and have never heard of any. I'm pretty sure this is just your school's choice. This is a bit of an odd decision (your school's, I mean) because this is, after all, the arts and nude models are nothing new. If anything, for such a "sensitive" audience (or just school), you could simply do what we is done everywhere now --: warn viewers that they may be "disturbed" from their usual slumbering, monotonous, overly-safe and pampered lives -- in this case, see some "naked flesh." in a school. Good grief. I should have thought no one in Denmark should be offended by something so banal, but then things may have changed with recent events in the news. I hope not. I can't stand PC. A lot of it simply cowardice in face of bullying. And anyway, I thought anything goes in the arts. Now, compare what you are doing and what people see every day: all the really graphic images of blood and gore displayed, every day, on the TV; the promise of sex in our advertising ... just about ALL our advertising ! And there is definitely no shortage of naked butts, breasts and flailing limbs in the movies (in case your audience lives in an unconscious trance: every single Western movie figures a Joe Bloe and Miss So-and-So getting it on -- all this is just plain and simple lust, which we like to think of as "romance"....), and so on and so on. What can possibly offend you audience? So I say, this is your chance to make a stand in the name of art: don't allow yourself to be censored in this way. Your school's timidity should not stop you from achieving your goals and expressing yourself in the way you want. They should respect YOU, not some vague,possibility of disturbance of general opinion. If a Fatwah is pronounced against you, then you can be flattered by the company you share. Salman Rushdie is just one illustrious name, then, more recently all those cartoonists (artists, and good ones) at Charlie. Hopefully, it does not boil down to a question of a religious minority. You'll gain some measure of fame and the IBO will need to take a stand. Maybe that is a good thing for such a safe franchise.
  3. OK, so *very* briefly: Interview as an option is fine for an IOP. But the focus is problematic. How will you talk about Satrapi's literary/stylistic choices? This is one of the categories you will be marked in.
  4. Hi, You *can* and it is "acceptable" -- but is it appropriate for your WT1 aims? For that, you need to check the learning outcomes and decide whether a police report will allow you to do what you need it to do.
  5. There is nothing wrong with your initial idea. The main thing to ask yourself now is: "What is the justification I will be giving for analyzing an album for its literary features? Is my topic worthy of a 4000-word research essay? In what ways could my particular research contribute to English studies (or the study of this work, or whatever)..." Just remember that this is a major *research* essay, and not an extended P1 or just another example of literary analysis. The word "research" is key. i.e. Research-worthy.
  6. Hi Yun, Your WT1 can be on any aspect that you have studied in your course (that means any Part of the course and any of the literary works too, not just from Part 4).
  7. Neither is more favoured. A mix of both kinds is encouraged. One or the other will do,of course; but I daresay it will be rather more interesting for your readers (in this case the History examiners) and a good habit in History, if you can include both -- especially if you are providing an alternative explanation to an event to that given by more traditional / accepted interpretations usually offered by the secondary sources. Presumably, a more subtle reading of primary sources would be required. Or first-hand accounts coming to light. There should be plenty of examples of that interplay of primary-secondary sources in the more scholarly history accounts (I'm thinking Barabara Tuchman in her book_Guns of August or anything by Keegan; or the academic journals, for that matter.)
  8. In an IOP, no one is likely to notice the faulty attribution in the first part of the sentence (symbolism and diction cannot "urge" readers), so it should be OK; but if you were to write the thing out, then: "In this story, Poe urges us to remember that etc.... He underscores this message through his use of symbolism, diction and through characterization."
  9. Hopefully, you will also include what the japanese (rightly or wrongly) thought about American policy and actions (is this what you mean by "influence"?) in the Pacific. They had certain expectations of what the Americans were planning. Then, you may want to reveal what the actual American plans and intentions were (from available documents and media). It could certainly add interest and complexity to your IA -- and not least give some pleasure to your readers as you lead to draw certain conclusions (based on what the Japanese thought) then reveal what the actual facts were. A nice twist. In light of this additional material, you could qualify and complicate your investigation. Just a thought.
  10. Almost. You don't actually analyse literary devices, you analyze the passage or poem. OK, so I'm being a bit pedantic, but it is nevertheless an essential point. The rest you got right: In the process of analyzing the passage you will of course need to identify and explain the effects and purposes of the literary devices. The literary devices are part of what makes the passage/poem work and that is, ultimately, what you are investigating. The two important questions are: How is a passage or poem made to mean? And why does it matter? The *significance* of the passage or of the authorial choices (preferably both) will be implied by your thesis. And that is about it. Now for the hard part of actually putting all this into practice. Good luck with your IOP!
  11. Yes, they do. At least, from what I've heard (from teachers themselves) and seen from sample History and Psychology EEs. You'll see from many samples plenty of ticks and underlining and question marks in the source/bibliography sections that they take a keen interest in which sources you use and how you use them. The second being the one important for your final evaluation. They also are quite particular about correct formatting (MLA, APA), so it is good to take care over these seemingly small things.
  12. It's worth asking your teacher, if you haven't already. I can't suggest any sources for this one, but I do remember going in my first year of DP to the uni and talking to part-time researchers and sometimes lecturers for my EE and IA. They were great sources. The librarians too. So if you live close to a uni., this may be a good option if your question turns trumps. Also, check the bibliographies of any historical account of the attack and you'll find plenty that should get you what you want. It seems obvious, but these days a bit of a lost art.
  13. Hi reylancer, Time hangs heavy on my hands, esp. Xmas time. But that means I can spend a little more time browsing thru these forums Always fun. 1) There is nothing wrong with narration (someone else may have used the term "description") and it will always form some part of your P2 response, but it should not be the mainstay of your P2. Your teacher is encouraging you to create argument. The first step here is to show how what you are saying links to your thesis. Doing this will make your P2 more argumentative and also more focused. You have something like a thesis in the last line of your first par., but it is rather vague. What you mean by "hidden dynamics"? 2) Topic sentence. Having a topic sentence at the start of every paragraph will help to make your writing purposeful and allow your reader to follow the argument. It needn't be at the start of every paragraph, of course. But having a clear statement of purpose at the start of each new paragraph is a good strategy. To help you along a bit, just ask yourself: "HOw does my second paragraph link to the two main ideas in the last sentence of your first par.?" Take your reader by the hand and lead them down the path of your argument... 3) Appreciate the writer's choices. Your two paragraphs tend to reproduce details from the story and talk in terms of general themes and ideas. What you need to do much more is discuss *HOW* Martel and Bach convey their ideas. Do they use dialogue anywhere? symbols? motifs? imagery? What about tone and mood? HOw about choice of perspective? Does it matter whose point of view we share? Is it always the same one? That sort of thing. Argument, argument. That is what the P2 is asking for. YOur writing flows nicely, but your readers are more concerned with a well structured and clear argument. It is quite another kind of writing that is being asked for. Tell me if this helps.
  14. We can't really tell if you don't describe the academic programme first. Pre-IB is usually just a small step toward IBDP (and it can vary somewhat between schools). Pre-IB are mostly normal classes but with an eye to getting you familiar with some aspects of the IB programme.
  15. What's the source of confusion? Spell it out so that we can help...