The correct answer is B) deciding on the scope of the topic.
<em>The task that is part of narrowing down a subject paper is deciding on the scope of the topic. </em>
It is very important for the writer to know the extension and the variables of the topic it is going to write about. Knowing the scope of the topic means that the writer limits the information to what is necessary and important for the reader to know. This way the writer will know what data or information to include that is important for the comprehension of the topic and what is not. This is the way to ensure that the information is clear, specific and to the point.
Answer:
Identity is the profile of somebody's life. In other words, it can be the account to who somebody is and/or their past experiences. Identity is how people call us or how we prefer ourselves to be.
In an essay published in 1961, Robert Kelly coined the term "deep image" in reference to a new movement in American poetry. Ironically, the term grew in popularity despite the critical disapproval of it by the group's leading theorist and spokesperson, Robert Bly. Speaking with Ekbert Faas in 1974, Bly explains that the term deep image "suggests a geographical location in the psyche," rather than, as Bly prefers, a notion of the poetic image which involves psychic energy and movement (TM 259).1 In a later interview, Bly states:
Let's imagine a poem as if it were an animal. When animals run, they have considerable flowing rhythms. Also they have bodies. An image is simply a body where psychic energy is free to move around. Psychic energy can't move well in a non-image statement. (180)
Such vague and metaphorical theoretical statements are characteristic of Bly, who seems reluctant to speak about technique in conventional terms. Although the group's poetry is based on the image, nowhere has Bly set down a clear definition of the image or anything resembling a manifesto of technique. And unlike other "upstart" groups writing in the shadow of Pound and Eliot, the deep image poets-including Bly, Louis Simpson, William Stafford, and James Wright-lacked the equivalent of the Black Mountain group's "Projective Verse," or even, as in the Beats' "Howl," a central important poem which critics could use as a common point of reference. This essay, then, attempts to shed some light on the mystery surrounding the deep image aesthetic. It traces the theory and practice of Robert Bly's poetic image through the greater part of his literary career thus far.
