A client with metastatic colon cancer is receiving chemother…
Questions
A client with metаstаtic cоlоn cаncer is receiving chemоtherapy every 3 weeks for 4 months. During follow-up visits, the nurse monitors for common chemotherapy-related complications. Which assessment findings should the nurse recognize as expected adverse effects of chemotherapy? (Select all that apply.)
ENG 653: MIDTERM EXAM Pаrt I: Identificаtiоn. (35 pоints) Chоose five quotes аnd two terms. For a key quote, identify the poet, the title of the poem, and explain the significance. For a key term, define the term and illustrate it using an example from a poem we have read. Write a well-crafted paragraph for each.ImagismOpen-form poetryOnomatopoeiaAnaphora“if I in my north room/dance naked, grotesquely/before my mirror/”“Can the spice-rose/drip such acrid fragrance/hardened in a leaf?”“What spot could have merits of equal importance/for bears, elk, deer, wolves, goats, and ducks?”“I’ve drunk of the bitter river/And its gall coats the red of my tongue,/Mixed with the blood of the lynched boys/From its iron bridge hung,”“how do you like your blueeyed boy/Mister Death”“wade/through black jade”“rea(be)rran(com)gi(e)ngly”“He made that poor piano moan with melody.”“All Greece reviles/the wan face when she smiles”“the patient horses no one/could take that/from him ”“Boogie-woogie,/Rolling bass, Whirling treble/Of cat-gut lace.”Part II. Essay. (65 points) Choose one of the following questions. Write a focused, detailed, well-organized, and well-supported essay. Use only poems from the syllabus.1 . How does structure parallel theme? Choose two poems by two different poets. Write a thoughtful and well-supported essay analyzing how the technical design and structural experimentation of the poem reinforce the message developed by the poet. Choices: William Carlos Williams (“Queen Anne’s Lace,” “The Dance,” “The Great Figure,” ”This Is Just To Say), H.D. (“Sea-Violet,” “Sea-Rose,” “Oread”), Marianne Moore (“The Fish,” “An Octopus,” “The Steeple-Jack”), e.e. cummings (“in Just—,“ “next to of course god America I,” “r-p-o-p-h-e-s-s-a-g-r,””the Cambridge ladies who live in furnished souls”), Langston Hughes (“The Weary Blues,” “Dream Boogie,” “Po’ Boy Blues”), Alan Ginsberg (“Howl,” “Sunflower Sutra”).2 . Many modern poets were influenced by innovations in the visual arts, including the technological innovations and breakthroughs made in modern painting, ready-mades, collage art, photography and cinema. Modern art allowed the spectator to observe an object of study from numerous angles and points of view. How do modern poets create an “art of seeing” in their poems? (e.g.--How do they bring together images that mimic collage or montage techniques in order to juxtapose different images or variations of the same image? How does the modern poet capture different perspectives of a scene or object? How do they create new ways of seeing a familiar object?) How does the poet’s focus on the image help deliver the poem’s message? Choose three poets. Discuss how each poet develops an experimental modern poetic that is modeled after innovations developed in modern visual art. Use at least three different poems by three different poets.3 . Lyric poetry originated in ancient Greece, but it has been reincarnated in different ways. A lyric poem can be characterized as a subjective poem by a single speaker who communicates personal emotion using imagination and melody. At its core, it is an individual expression of personal emotion. Critics tend to define the aesthetic of modern poetry as impersonal, hard, and cold. How do the modern poems of H.D. challenge this idea? How does she reincarnate the Sapphic tradition? How do her poems combine Sapphic allusions with modern poetic innovations to produce a verse replete with modern expressions of gender and sexual difference? 4 . In “The Negro Artist and the Racial Mountain” (1926), Langston Hughes describes the importance of jazz music as an expression of the depth and breadth of emotions characterizing the African-American experience: “But jazz to me is one of the inherent expressions of Negro life in America; the eternal tom-tom beating in the Negro soul—the tom-tom of revolt against weariness in a white world, a world of subway trains, and work, work, work; the tom-tom of joy and laughter, and pain swallowed in a smile.” In this seminal essay, Hughes argues that blues and jazz offer the African American artist a model of “individuality in the face of American standardization” (965). How does Hughes incorporate blues and jazz as a means to express the African American experience? In what sense do Hughes’s innovations with blues and jazz work to confront social inequities, resist assimilation, celebrate African American cultural legacies, and promote social solidarity? (In your answer, consider the poet’s use of poetic structure and device--tempo, imagery, diction, repetition, onomatopoeia, irony, tone, mood, and so on.) Use three of Hughes’s poems from our syllabus.
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