This is a collection of poems.

No description available.

No description available.

No description available.

No description available.

No description available.

To associate leading with teaching the effect which four grade of pupils creates the poem of children concurrently the one that tests consensual assessment technique of Amabile is proper. Hsiu-Tsu Chang ABSRACT It is the motive power of promoting social progress too to create and think it is mankind's unique natural talent . In strange and changeful and changeable era, ' the intention ' grasps parameters , opens the new chances . Train student's creativity, become the important subject for education at present. In order to which kind of method is taken to promote students' Chinese creativity? This research mainly aims at leading pupils of grade four to create the poem of children by associating teaching technology, and the one that study its impact on pupil's creativity and concurrently test Amabile1983 consensual assessment technique(CAT) is proper. This result of study is as follows: First , three different group of nine experts of groups evaluate creativity of poem works CAT of 68 pupil children consent quantity Up to. More than 90. Second, the pupil's children poem works creativity displays and is correlated with their children poem writing motives.( r =. 410, p<. 01). Third, accept the pupil dealing with the experiment and behave in children poem creativity, there is difference of showing in the groups, associate and lead the pupil of teaching group to display and is obviously superior to contrasting the group pupil .(F =7.77, p<. 05, d =.68) Key word: to associate leading, consensual assessment technique, Children poem creates, form of motive amount of children poem writing

The purpose of the research presented here is to discover the central concept of "The Rhyming Poem," an Old English Christian work known only from a 10th-century manuscript, and to establish the poem's natural place in the body of Old English poetry. Existing critical literature shows little agreement about the poem's origin, vocabulary, plot, or first-person narrator, and no single translation has satisfactorily captured a sense of the poem's unity or of the purposeful vision behind it. The examination of text and context here shows that the Old English poet has created a unified vision in which religious teachings are artistically related through imagery and form. He worked in response to a particular set of conditions in early Church history, employing both pagan and Christian details to convey a message of the superiority of Christianity to idol-worship and, as well, of the validity of the Augustinian position on Original Sin over that of the heretical Pelagians.

No description available.

Composers of the 20th century express through intimate and personal language the conditions of the present, utilizing compositional techniques, forms, pitch and rhythmic language, and characteristics of Western composers, as well as looking towards non- Western music for the same. Each musical language, be it tonal, twelve-tone, modal, pitch-class, or derived from folk and non-Western material, is contained in a structural framework which is audibly recognizable, and controls the musical tapestry, processes, and results. Frequently composers use distinctive musical languages to portray different atmospheres, and thus allow each musical language to dominate the texture in order to create the desired contrast. But, jumping directly from one pitch language to another can create a sense of cacophony and loss of cohesion to the composition as a whole. In my composition I intend to show that by superimposing the structural parameters of one musical language onto another, it is possible to attain consistency and coherence, despite the underlying diversity. The composition is based on the story Heimferðin (The Journey Home) by Sigurður Rúnar Þrastarson (1961-1998). The composition is in five movements: I. Dawn; II. Dance and Devotion; III. Frolic; IV. Fury, V. Farwell. Each movement describes particular settings and events of the story. Internal events have been slightly reordered, but otherwise the composition follows the storyline from beginning to end. The final two minutes and twenty seconds of the composition are an original arrangement of a song, written in 1820, by the Danish composer P. C. Krossing (1793-1838).