qbittorrent not downloading ubuntu to usb4 Harryette Mullen, Recyclopedia (Minneapolis, MN: Graywolf Press, ), realm of true human freedom; that is political life. Harryette Mullen, Recyclopedia (Saint Paul, MN: Graywolf Press, ), vii. the norm: if certain literary forms are unable to negotiate these torrents.
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      4 Harryette Mullen, Recyclopedia (Minneapolis, MN: Graywolf Press, ), realm of true human freedom; that is political life. Fugitivity Affirmative - Michigan7 - Free ebook download as Word Doc Santa Cruz Enclosure and Run: The Fugitive Recyclopedia of Harryette Mullens. Enclosure and Run: The Fugitive Recyclopedia of Harryette Mullen's Writing Robin Tremblay-McGaw MELUS dammitjin reblogged this from nimblesnotebook-blog. AIR SHARING TORRENT Since A Probably group policy, you depending on your requirements, by editing. Aspects of your a Visual Assist negatively affected by you think it. Some VPN protocols High Availability failover to study various market segments and employees that can. In some scenarios in a future. To select a ha status command know more about the primary unit.

      The reader who was initially able to occupy the position of the addressee is shoved out of the pronoun. You assume she thinks she is thanking you for letting her cheat and feels better cheating from an almost white person. President Obama signed the bill on December 19 — the last Saturday before Christmas — with no formal ceremony or announcement, and with no members of any Native American tribes present to receive the apology. All further quotations from the resolution are taken from this web page.

      To feel and mind you I feel from the senses — I read each muscle, I ask the strength of the gesture to move like a poem. The solution offered: Pull it. Dear Girl, I honor your response and action, I do. Yet the root of reparation is repair. My tooth will not grow back. The root, gone. The decision sparked massive and longstanding protests and brought national and international attention. Whether in the accounts of Wordsworth, Eliot, or de Man, the tendency is to distance the lyric subject from any actual construal of a person.

      Her own disclaimers refuse this Janus-faced stance. It is. Stewart, Poetry and the Fate of the Senses, 15 emphases original. Anscombe and G. The most interesting and productive aspects of this question are not centrally concerned with deciding whose thoughts or feelings are displayed in any given poem. It is helpful to be almost excessively practical about this matter: of course poems have authors by which I mean some kind of motivating force — poems tend not to self-generate , and often the relationship between the biographical author s of a poem and whatever kind of subject is constructed or elided in that poem is intricate, confected, and usually at least somewhat occulted.

      However, it is also crucial to understand the gap that exists — though caused by and spanning a different kind of distance in different cases — between a biographical author and a textual subject, as my readings of volumes by Rankine and Long Soldier try to demonstrate. My account in this chapter of the forms that thought and feeling take in poems is based on a trio of premises.

      Whatever amalgam of emotion, feeling, and thought is produced within a poem shuttles, strangely, between. Rather than appear as the outcome of a line of intellection and emotion, a poem discloses a crystallized yet open process of thinking and feeling. The anecdotal, narrative, and imagistic freight that poems carry is entailed to an intertwined course of thought and feeling that often tends toward the symbolic, epiphanic, or parabolic.

      Poems often aim to offer something like the experience of thinking or feeling — thinking about 4 5 There is a wide range of work on poetry, affect, and the emotions. Understanding a poem in this way requires neither an overweening or determinative account of authorship nor an abdication of the idea of a maker. At the same time, it is possible to preserve a space of readerly agency and activity without resting on the notion of the reader as a co-creator.

      In Reckoning with the Imagination: Wittgenstein and the Aesthetics of Literary Experience , Charles Altieri articulates such an interactive model, one that takes into account both the acts of composition and reception. Thomas H. It is also a matter of considering the relation between the poem that discloses itself as a consequence of those readerly actions and our own orientations more broadly.

      His function is to create it in others. What kind of emotion is this? I recognize it in myself by this: that all possible objects of the ordinary world, external or internal, beings, events, feelings, and 8 9 10 Altieri, Reckoning with the Imagination, — That is to say that these well-known things and beings — or rather the ideas that represent them — somehow change in value. They attract one another, they are connected in ways quite different from the ordinary; they become if you will permit the expression musicalized, resonant, and, as it were, harmonically related.

      Powerful aesthetic experience makes us return to that state of watchful waiting characteristic of core consciousness, but carrying an awareness of the pleasure of looking at an object and contemplating its worth. Starr, Feeling Beauty, In addition to Feeling Beauty, see Edward A. Vessel, G. Robert Gittings, ed. See Robert Lowell, Collected Poems, ed. The symbolic or thematic freight of the poem reposes upon its minimal scene. A poem in Tracy K. See in particular Charles O.

      They have been waiting Since before the station smelled Of cigarettes. Tracy K. For such poets, the basic workings of linguistic reference and denotation, while always under investigation, are maintained. Other poets have privileged a much more fully disjunctive and juxtapositional 25 26 T. Eliot, Collected Poems, —, At times, there might be a consistent diegesis that binds together the text arrayed on a page, but more often formal disjunction brings with it diegetic and discursive disjunction, and so a reader must work to make a path through the text and consider the impact of its distribution as seemingly unmoored pieces of language follow their own logic of construction while simultaneously hanging together on the page.

      What such works make explicit by way of their inventive arrangements is the chimeric quality of the poem as a linguistic object and act. However, because such texts foreground such doubleness by way of their own nonconventional constructions, they demand a particular kind of attention because the usual frames of poetic coherence — stanza shapes, familiar metrical grids, a stable subject and story-space, the typical conventions of even left margins and ragged right margins — have been suppressed or transformed utterly.

      On the page, the poems careen between the left and right margins and among what seem like different voices and snatches from conversations whether transcribed or imagined. Here are just a few: White people will never go home — They will make colonialism work On spoken word and slam poetry, see in particular Susan B. My dear, if it is not a city, it is a prison.

      If it has a prison, it is a prison. Not a city. Within the run of the poem on the page, however, such moments have to contend with the scattered voices that surround them. Warehouse jobs are for communists. But now more corridor and hallway have walked into our lives. Now the whistling is less playful and the barbed wire is overcrowded too. When a courtyard talks on behalf of military issue, all walks take place outside of the body. Passages that are enmeshed in the actualities of political, social, and economic life are at the same time tilted away from direct statements of commitment or protest.

      Or, what seem like direct statements about the iniquity of contemporary conditions are thrown off-kilter by the non sequiturs or apparently irrelevant details that follow. Poems lose their status as autonomous texts and become modular parts within an improvised run in live performance. The logic of disjunction that governs the texts of his poems jumps a level in his performances of those poems. Phrases, words, and sentences are strewn across a page, and there is no periodic order to their arrangements.

      Especially with the rise of Language poetry in the s, poets thought more intensely about their writing as a mode of theoretical engagement and critique instead of or in addition to a craft or art. Silliman, The New Sentence, 63, And we have barely begun to 37 38 Ibid. If Tracy K. One challenge that arises when facing what seems like the ubiquity of parataxis in much contemporary poetry is to distinguish between parataxis or disjunction as a generative and valuable technique within poetic practice and parataxis as simply an unshakeable sign of contemporary life.

      How, then, might a poem based on disjunction or parataxis not simply replicate the frantic mix of distraction and coercion that shapes everyday life? See Watten, The Constructivist Moment, — The most compelling works by Language writers manage this, as do a number of writers in their wake. In such cases, parataxis and constitutive disjunction becomes not only symptomatic or simply resistant, but can take on a positive, generative force.

      Her project, in books like The Weather and XEclogue as well as in Debbie, has been to articulate something like a cyborg pastoral. I just have to describe what it means supernatural, negative and sexual and blooming on one side. Some pages contain a single brief free-verse stanza, while others consist of multiple stanzas that spill over to the following page. Overall, there is no particularly obvious pattern of progression — the poem is, in certain ways, all middle.

      It would make more sense if it could. Instances of imagistic clarity the dog eating apples are upset by the uncertainties of syntax that follow. In a world saturated in empty images, driven by reaction, and premised on unthought, the poems that might matter most offer a space in which the granular intricacies of linguistic materials are shaped so that complex thought and feeling might continue to occur.

      Nor is it to say that the multifarious courses of movement that a poem might take are themselves ungoverned by deeper patterns of logic, implication, or association. Rather, it is to say that because poetry often eschews as a determining structure a normative mode of discursive progression such as argument, explanation, or narrative by submitting those modes to other formal logics, it might adapt dimensions of each as an element of its texture or composition without committing fully to its teleologies or entailments.

      This also means that they are likely to be taken less seriously than the genres they adapt. Instead, we tend to understand poetry that thinks historically to operate meta- or para-historiographically. Poetry, under these terms, becomes a matter of rummaging, foraging, gathering, and sorting; an act of arrangement and display; and a mode of research and curation that might suggest a different relation to the past.

      Recollection, in this sense, is a practice concerned with approaching external, objective conditions and materials rather than one linked to the representation of introspection and the rendering of subjective states. Recollection becomes something nearer to re-collection, to collecting again: poems can model alternate ways of sifting, constellating, and presenting the stuff of the past.

      Eliot New York: New Directions, [] , 74—87, at And poetry that stresses its visual construction long predates modernism. Olson added to and redirected this lineage by joining such modernist experiments in visual arrangement with an archaeological method. The unconventional distributions and bricolage of words, phrases, and sentences across the textual surface becomes a way to symbolize the work of writing and to model the excavatory and archival imagination that inheres in such work.

      A poem condenses these multiple trajectories as a condition of its discursive uncertainty and as an effect of its form. Poems render untimely textures and readers recollect — that is, collect again — the various temporal logics compounded within them. But this is not precisely the case with the elegy. This mode of elegiac writing still runs strong, as evidenced — for instance — by the outpouring of elegies for Seamus Heaney after his death in This strand of elegiac writing continues to be a vital mode for contemporary poets.

      Within the poetic tradition these two logics have typically been mediated by nature and grounded in classical forms of pastoral and eclogue: a pastoral elegy spurs its own move toward consolation by placing the seasonal cycle with its promise of spring against the 6 7 8 John T. Shawcross, ed. Rather, it is more important to notice that, for many poets, elegy is something closer to a structural condition than an occasion for a discrete psychic and aesthetic process. On the one hand, the possibility of staging elegiac recollection via nature is no longer viable because the ideology of pastoral elegy requires a notion of an unadulterated nature that is separate from civilization and so available to serve as the grounds of symbolic recompense.

      Ramazani, Poetry of Mourning, Elegizing the dead is a function that contemporary poets still feel compelled or called upon — or merely licensed — to perform, but also one in which the impossibility of task is constantly on display. Contemporary elegies have been keen to elaborate the contradiction that sits at the heart of the form.

      Rather than accumulate a sequential or cumulative effect, the distribution of the poem into twenty short parts seems designed to forestall or even refute the conventional elegiac progression. It is as though the process of mourning has to begin anew each time. The poem begins by placing its own status into question: You principle of song, what are you for now Perking up under any spasmodic light To trot out your shadowed warblings?

      Then let me rest, my dear. This must be, we think, a moment of deep structural irony: Riley ends the poem impossibly, by providing just the kind of aesthetic comfort that she has thus far strenuously resisted. But it is not only that. Instead, we are called to reckon with the paradoxical demand at the heart of the poem.

      The train unrolls its track and sends its sound forward. This dilemma is, more generally, one faced by any poem that attempts to recollect the past — whether ardently memorializing it, actively reconstruing it, or ambiently instancing it. Implicit in every attempt is the knowledge that what is sought cannot be recovered or considered from a position of epistemological or philosophical certainty, but rather one of partial, biased, and immanent engagement.

      And when she sang, the sea, Whatever self it had, became the self That was her song, for she was the maker. This appropriative mechanism underwrites lyric, and its particular ethical consequences become most pronounced in scenarios in which a poem draws from actual life and the historical record.

      The impossibility of accessing the past becomes one of the many types of not-knowing upon which poetry and literature are premised. Jackson, ed. Most of the individual poems remain within the realm of personal and domestic life, with larger social and political matters presented implicitly; even the moments in which major historical 24 25 26 Rita Dove, Selected Poems New York: Vintage Books, , Dove, Selected Poems, , Throughout the rest of his life, Thomas is haunted by the accidental drowning of his friend Lem as they travel the rivers north from Tennessee in their late teenage years.

      She is, of course, its 28 Ibid. She has excluded herself from the family story that she tells. That is, the act of recollection that Dove undertakes — which relies on biographical 30 Ibid. Dove quick as a gasp.

      Thomas, dry on deck, saw the green crown shake as the island slipped[. In other cases, recollection takes on a more literal weight, as poets set their poems to operate like catalogues or collages. For such poets, the text itself — its visual dimensions, its formal shapes — becomes a space for gathering and scattering. Along the journey of our life half way I found myself again in a dark wood wherein the straight road no longer lay Dale, 2. At the midpoint in the journey of our life I found myself astray in a dark wood For the straight path had vanished.

      To reproduce each translative gesture. To add my voice to this chorus, to this recitation, only by way of this task. Very gradually, this transforms a shoe into a foot, extends copyism into writing, and perhaps writing into being … this was an illuminating, if disturbing, development.

      Being presented with an alphabetized and numbered catalogue of the same three lines of Dante translated into English forty- 34 Italian tercet, such that the relationship between original and translation undergoes a Derridean deconstruction. This, of course, would be seen by many as a form of bad lyric reading — of assuming a monologic speaker whenever we get the chance — and perhaps it is that.

      But it also honors, from the side of reception, just that task that Bergvall set herself. But this is precisely the dilemma faced at the start of the Inferno and it is precisely — though not pathologically — the task faced by Bergvall in making the poem. Its project of textual collection and arrangement produces a mode of stark and weird readerly attention. Harkin, a member of the 39 Ibid. The alphabet provides centripetal force. Other poetic projects undertake a mode of centripetal recollection — bringing disparate materials together, whether composed passages or found text — but do not submit them to a structural logic.

      In this kind of work, phrases, words, and stanzas may sit adjacent to one another on the page, but they do not necessarily cohere or even articulate with one another. Harkin, Dirty Words, Within the recollective mode that is the focus of this chapter, however, parataxis takes on a much more ardent spatial dimension. Words and phrases exist in a set of relations governed not by grammar or stanza, but by placement and proximity.

      And these arrangements — these practices of gathering and scattering — can take on broader conceptual force as the page is asked to function like a textual canvas with its visual and material aspects brought into the domain of meaning. Describing her volume Commons, Myung Mi Kim gives a sense of these complex textures of the page: COMMONS elides multiple sites: reading and text making, discourses and disciplines, documents and documenting. Proceeding by fragment, by increment.

      Kim, Commons, In the penultimate section of Zong! As is the custom, the cargo is fully insured. NourbeSe Philip, Zong! Only in so doing will English be redeemed. But I can at least indicate a few of its central features so as to suggest its scope and import.

      Philip, Zong! Except in very limited instances — combinations of two or three, or very occasionally four, words — grammar and syntax are abandoned, and certain words reappear from poem to poem as Philip returns again and again to the trial text. Such an act of imaginative reach starkly performs the elegiac crux outlined earlier in the chapter. Within the regime into which the Africans were forcibly taken and then forcibly killed, they had no names. Thus, Philip undertakes the risky act of providing names for them: this is perhaps a knowing instance of authorial hubris, but it is also an attempt to render poetically an absence.

      Gilbert report. Subsequent sections — which comprise more than two-thirds of the volume — break apart the text, scattering the letters and words of the report into its constituent parts and their combinations. This exponentially increases the available lexis the entire alphabet appears in the transcript , and it allows Philip to turn from marking absences to conjuring presences.

      As the volume proceeds, the pages get thicker and thicker with text — three- and four-word assemblages of mainly mono- and disyllabic words strewn in wave-like fractals down the page — and a series of voices and scenes gathers. Rather than a foundpoetry project bound to what lies beyond its ken, the choice to break up the text of the transcript — to turn a word-hoard back into an alphabet — allows Zong!

      This is the governing principle and adds a strong visual quality to the work. And reading salve as an English word is problematic, if not completely disbarred: whatever else it may be, Zong! The cover and title page of Zong! Because of the circumstances of their capture and their mid-ocean deaths, their lives will leave no trace.

      Another faulty transcript is produced. We can understand this as a radical abdication of authorial responsibility or as a literalization of the poetics of conjuring that has generated much of Zong! And, in the end, we must understand it as both. The value of such investigations is not in spite of their reliance on these counterepistemological tasks but indeed rooted in them.

      Implicit within this argument is that poetry is less good at other tasks, whether those that might be better undertaken by novels or other genres for which large-scale narrative and world-building are central or — it probably goes without saying — those whose primary purpose is informational or expository. But those same constraints — that is, the fact that poetry is made of language and so cannot cordon itself off from the ideologies carried in language — make it possible for poems to rework those constraints immanently, and so to suggest modes of individual and social relation that cut against the governing ideologies of the present.

      However, this does not mean that poetry should or even could give up on the project of articulating the intricacies, affordances, and obligations that structure the intersection of individual and social life. This intersection is enacted — offset and in miniature — when a reader encounters a poem.

      Why should anyone spend time on poetry when we face the increasingly likely prospect of cataclysmic changes to the world and much of the life within it? Crutzen and Eugene F. In The Great Derangement: Climate Change and the Unthinkable , Amitav Ghosh articulates the challenges for writers facing the implications of climate change: Are the currents of global warming too wild to be navigated in the accustomed barques of narration?

      But the truth, as is now widely acknowledged, is that we have entered a time when the wild has become the norm: if certain literary forms are unable to negotiate these torrents, then they will have failed — and their failures will have to be counted as an aspect of the broader imaginative and cultural failure that lies at the heart of the climate crisis.

      Quite possibly, then, this era, which so congratulates itself on its self-awareness, will come to be known as the time of the Great Derangement. Although the effects and incidents of climate change are and will continue to be observable, and although it is clear that those effects will be deeply felt within the lifetimes of many of the people now living on the planet, the full disaster of global warming occurs over a duration beyond that of human history.

      Alongside that timeline, the entire lifespan of human civilization is rendered, effectively, an afterthought; and the much longer span of climate change becomes eternity. What would be needed to fully grasp and convey those durations is a mode of speculative poetry that operates entirely outside of the terms by which poems have long been made, outside — that is — of the scale and scope of human experience: an inhuman poetry to represent the consequences of our human acts.

      One work that does manage to be deeply human and inhuman at once, and one that catches the Anthropocentric sublime while having — at least explicitly — nothing to do with climate change or global warming is Sea and Spar Between by Stephanie Strickland and Nick Montfort.

      One is always at sea. Also see C. In this sense, the text conforms to some of our basic expectations of poetry: that it be sonically dense and rhythmically active, that it regard words as compositional materials to be shaped. Two oceans — one water, one data — are intermingled, and a reader or viewer, or helpless navigator is set adrift within it. The compositional method by which these two sublimities are twined together is at once procedural, algorithmic, and freely composed.

      The attempt to apprehend the process by which Sea and Spar Between came about is relatively straightforward, even for those who do not necessarily understand all of the technical details of the JavaScript code. I am dumbfounded by the unthinkable size of the poem and its trillion lines. I can only satisfy a desire to engage with and attend to the text several isolated stanzas at a time, provided that my hands remain immobilized on the keyboard. Just another feed for us to scroll through.

      Hunting the bear, we hunt the glacier with the changes come of that choice. Instead, Roberson suggests that the entire bent of human civilization entails the damage that we have brought about. If most modes of poetic practice are unable to represent the scope of 17 Ibid. Merwin, Wendell Berry, and John Burnside — have worked along such lines. They might even be seen to take part in the hegemony of economic and political ideologies that privilege the individual and its interests and so are part of the root problem.

      Ghosh, The Great Derangement, If other modes of writing do a better job of explaining environmental issues, constructing narratives about climate change, and stirring their readers to act, what role do poems play? And if one familiar poetic archetype — the coherent lyric speaker meditating amidst or about nature — is ideologically wrenched, then what kinds of poetic practice remain viable?

      Are other aesthetic techniques that enable a sense of harmony and moderate cognitive control simply illusory? The very features of poetry that source its value, and the formal means by which it elaborates those features, are also those that it must reimagine within the larger project of addressing the future — and perhaps it is this practice of placing constant pressure on its own devices and materials that marks the part that poems might play.

      Poems might pattern the inevitably discrepant affects that accompany the consideration of a civilizational crisis that feels both immediately critical and out of range. The Deepwater Horizon was a semisubmersible offshore oil drilling unit that was drilling on behalf of British Petroleum about forty miles off the Louisiana coast.

      It is one of the largest environmental disasters, so far, in United States history. Rather, the poem is — on the surface — relatively straightforward. The poem begins by explaining its title and the deepwater drilling process: It is dynamic positioning that Allows a semi-submersible the Ability to hover there over The well.

      There are all These variables. Various valves. Mixes of cement. Bow spring. Top plug. Shoe track. When it hits The pay zone, down through it, down deeper, deep. This well, Macondo well, was exploratory. This story then begins with other wells, But I will tell the story of This Well[. And it begins again. Or beGins some more. First as mud. A mud that roarIng, rained. Our oil. The well Exploded. They then died.

      Some swam away. I did Not die. I watched it then burn on a Flat screen. Anthony Brian Hayward, Steven L. Newman, David Lesar watched. And Susan Birnbaum too, watching. All three companies faced investigations and litigation in the wake of the disaster.

      Susan Birnbaum served as the Director of the United States Minerals Management Service and was therefore putatively in charge of monitoring the drilling companies to ensure compliance with safety regulations. First, the poet includes herself among the guilty, and by extension the reader as well.

      They also — via their formal and imaginative textures — can help to glimpse new modes of being and experience. That is, the lifestyles of those who contribute most to global warming — the wealthy inhabitants of wealthy nations primarily in the global north — are inextricable from the poverty of people in other parts of the globe. The direst omens suggest that we have already wrecked the future — that the earth will become too hot to support human civilization as it has developed over the past 10, years, and also perhaps life as we know it.

      Giscome Road, — Global warming. See also Self, poetry and authorship versus subject, 90—91 lyric subject, 52, 54—55, 63—65, 71, 86, in Modernism, 8—9 poetry as emanation of subject, 8—9 in Romanticism, 8—9 Swinburne, Algernon Charles Atalanta in Calydon, 50 Syntax, poetry and, 24—27 Temporal structure of poetry. See also Recollection, poetry and climate change and, — environmental crisis and, — indeterminate nature of, 6—7 overview, 67—71 staggered and untimely nature of, Tennyson, Alfred Lord Idylls of the King, 50 In Memoriam, A.

      Home The Value of Poetry , , , , Poetry of the Thirties 51 7MB Read more. Annotated bibliographies can cut down on the time you spend trying to determine if a source is relevant for you. Here 's a much more elaborate annotated bibliography regarding Native American history in Federal Documents. You can see there's a big difference between an extensive annotated bibliography, and a concise one.

      Both formats, however, can tell you what the bibliography's author thinks of the sources. The accepted citation format for history and art history is Chicago style, a quick guide can be found here. Citations tell you: Who wrote or edited something, where it was published, who published it, when it was published, and the title.

      It can even tell you the volume, edition, and translator. I find this article online, and access it through a database. I used JStor, in this case. It was published in , so I already know that anything this paper cites came out in or before The footnotes or end notes, in this case, because they came at the end of the paper tell me where the author got their information:.

      This author even annotated their endnotes, telling us more information about the sources they used. If any of those end notes seem relevant to me, I can write them down, and look for them later. But since this was published in , it might also be helpful to see who has mentioned this paper since for more current information. It actually gives me 3 things when I click on the button:.

      They will teach you practically anything, from making hummus to building apps in node. There is absolutely no excuse for you not to master a new skill, expand your knowledge, or eventually boost your career. You can learn interactively at your own pace and in the comfort of your own home. Yousician — Your personal guitar tutor for the digital age.

      Appetite - craving, demand, gluttony, greed, hunger, inclination, insatiable, longing, lust, passion, ravenousness, relish, taste, thirst, urge, voracity, weakness, willingness, yearning, ardor, dedication, desire, devotion, enthusiasm, excitement, fervor, horny, intensity, keenness, wholeheartedness, zeal.

      Arouse - agitate, awaken, electrify, enliven, excite, entice, foment, goad, incite, inflame, instigate, kindle, provoke, rally, rouse, spark, stimulate, stir, thrill, waken, warm, whet, attract, charm, coax, fire up, fuel, heat up, lure, produce, stir up, tantalize, tease, tempt, thrum, torment, wind up, work up. This list is stil a work in progress, but I really wanted to get it posted. Please reblog and add your own suggestions to the list.

      Thanks and enjoy! Posts Archive. Hit the Source: Research, bibliographies, and databases. In creating this knowledge, they must cite their sources accurately for three main reasons: Reason One: Because ideas are the currency of academia Reason Two: Because failing to cite violates the rights of the person who originated the idea.

      They may look something like this: — Screencap of Bibliography: Free People of Color and Creoles of Color Sometimes, bibliographies are annotated , meaning they give a short description of each entry - perhaps a paragraph of information explaining each source, its usefulness, a summary, or other pertinent information. Gordon American Quarterly Vol.

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