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The First Rule of Punk

為了解決Collage maker online的問題，作者Perez, Celia C. 這樣論述：

A 2018 Pura Belpr Author Honor BookThe First Rule of Punk is a wry and heartfelt exploration of friendship, finding your place, and learning to rock out like no one's watching.There are no shortcuts to surviving your first day at a new school--you can't fix it with duct tape like you would your Chu

ck Taylors. On Day One, twelve-year-old Mal (Mar a Luisa, if you want to annoy her) inadvertently upsets Posada Middle School's queen bee, violates the school's dress code with her punk rock look, and disappoints her college-professor mom in the process. Her dad, who now lives a thousand miles away

, says things will get better as long as she remembers the first rule of punk: be yourself. The real Mal loves rock music, skateboarding, zines, and Soyrizo (hold the cilantro, please). And when she assembles a group of like-minded misfits at school and starts a band, Mal finally begins to feel a

t home. She'll do anything to preserve this, which includes standing up to an anti-punk school administration to fight for her right to express herself Black and white illustrations and collage art throughout make The First Rule of Punk a perfect pick for fans of books like Roller Girl and online m

agazines like Rookie. "Armed with a microphone and a pair of scissors, this book is all about creating something new and awesome in the world. Mal rocks " --Victoria Jamieson, author and illustrator of the New York Times bestselling and Newbery Honor-winning Roller Girl Celia C. Pérez is the awar

d-winning author of The First Rule of Punk, a 2018 Pura Belpré Author Honor Book. Celia is a longtime maker of zines inspired by her love of punk music and writing. Her favorite zine supplies are a long-arm stapler, glue sticks, and watercolor pencils. She’ll never stop picking cilantro out of her f

ood at restaurants, and she owns two sets of worry dolls because you can never have too many. Originally from Miami, Florida, Celia lives in Chicago with her family where she works as a community college librarian.

What I Remember Most

為了解決Collage maker online的問題，作者Lamb, Cathy 這樣論述：

In a new novel rich in grace, warmth, and courage, acclaimed author Cathy Lamb tells of one woman's journey of reinvention in the wake of deep betrayal. Grenadine Scotch Wild has only vague memories of the parents she last saw when she was six years old. But she's never forgotten their final, panick

ed words to her, urging Grenadine to run. The mystery of their disappearance is just one more frayed strand in a life that has lately begun to unravel completely. One year into her rocky marriage to Covey, a well known investor, he's arrested for fraud and embezzlement. And Grenadine, now a successf

ul collage artist and painter, is facing jail time despite her innocence. With Covey refusing to exonerate her unless she comes back to him, Grenadine once again takes the advice given to her so long ago: she runs. Hiding out in a mountain town in central Oregon until the trial, she finds work as a

bartender and as assistant to a furniture-maker who is busy rebuilding his own life. But even far from everything she knew, Grenadine is granted a rare chance, as potentially liberating as it is terrifying--to face down her past, her fears, and live a life as beautiful and colorful as one of her pai

ntings. . . Outstanding Praise For Cathy Lamb And Her NovelsIf You Could See What I See"Lamb's story is earnest, heartwarming and, at times, heartbreaking." --RT Book ReviewsThe First Day Of The Rest Of My Life"The blending of three or more generations and the secrets they harbor keeps this story mo

ving briskly, culminating in a satisfying ending that makes us believe that despite heartache and angst, there can be such a thing as happily ever after." --New York Journal of BooksSuch A Pretty Face"Stevie's a winning heroine." --Publishers WeeklyHenry's SistersAn Indie Next List Notable Book"A st

ory of strength and reconciliation and change." --The Sunday Oregonian"If you loved Terms of Endearment, the Ya Ya Sisterhood, and Steel Magnolias, you will love Henry's Sisters. Cathy Lamb just keeps getting better and better." --The Three Tomatoes Book ClubThe Last Time I Was Me"Charming." --Publi

shers WeeklyJulia's Chocolates"Julia's Chocolates is wise, tender, and very funny. In Julia Bennett, Cathy Lamb has created a deeply wonderful character, brave and true. I loved this beguiling novel about love, friendship and the enchantment of really good chocolate." --Luanne Rice, New York Times b

estselling author Cathy Lamb is the bestselling author of twelve novels, including The Man She Married, No Place I’d Rather Be, What I Remember Most, The Last Time I Was Me, Henry’s Sisters and Julia’s Chocolates. She lives with her family in Oregon and can be found online at cathylamb.org.

美國式詩學拼貼：論鮑勃·迪倫〈荒蕪街區〉中結構、語文和歷史的破碎感

為了解決Collage maker online的問題，作者蕭百倫 這樣論述：

This thesis is an in-depth examination of Bob Dylan’s “Desolation Row” in order to examine the song’s use of the ballad form, collage, and fragmentation in verse, structure and metaphor. Though scholars such as John Gibbens, Clinton Heylin, Christopher Ricks, Lawrence Wilde, Andrew Gamble, Michae

l Gray, Anne Margaret Daniel, John Hughes, Thomas S. Johnson, Mark Polizzotti and Donald Brown have researched the history of the song’s composition as well as performed lyrical analysis, only one chapter has been dedicated to examination of the song, in Gibbens’s work. As of May 20th 2016, no singl

e analysis has ever attempted to probe as deeply into the poetics of “Desolation Row” as this thesis. This thesis aims to approach its study from three different angles spanning over three chapters. In the first chapter, “Ballad Form, Folk History, Cubist Collage and the Structure of ‘Desolation Row

’”, the thesis examines the rhymes, structure and metre of the song. It argues that “Desolation Row” is not only a ballad but also a cubist collage. This structural fusion not only alludes to the mythos and practices of the American folk music tradition but also generates structural fragmentation as

a means of expanding the song’s narrative and metaphors. The second chapter “Metaphysical Fragments, Modernism, Beat Poetics and Literary Collage in ‘Desolation Row’” performs an extended close reading of the song while examining its literary references and influences. Collage is again revealed to

be the song’s central device, one which functions not only as a means of narration, but also as the means of assembling its central metaphor, that of “Desolation Row” as a metaphysical space. Placement of the song’s cast on or off of “Desolation Row” both broadens the symbolic depth of the space its

elf and deepens the poetic commentary linked to each character. The third chapter, “Ever Occurring Issues: 1960s America and Historic Collage in ‘Desolation Row’” examines the song’s linguistic ability to suspend itself from linear chronology and position its events, some of which are peppered with

loose historical references, in a timeless, ever occurring state. The chapter also asserts that the song utilizes lyrical ambiguity to strip away temporally anchoring specificities and distil its symbolic narratives to abstract embodiments of poetic and social issues. Finally, the chapter examines s

everal historical movements and events within the decade wherein the song was written in order to apply these poetic issues to a historical context. However, the chapter never makes the argument that the song makes reference to any specific historical event. All three chapters generate the unifying

argument that through its collaged, fragmentary structure and lyrics, as well as its abstract, timeless depiction of social issues, “Desolation Row” creates a fragmentary poetic cipher, or series of interpretive tools, which permit the listener to abstractly better comprehend America on a macro and

micro poetic level simultaneously.