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Tutor profile: Noah S.

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Noah S.
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Questions

Subject: Writing

TutorMe
Question:

Take a look at the following few sentences from a personal essay. How could they be made more clear, conceptually, grammatically, punctuation wise, or through any other means? Why would these changes work better, in your opinion? --------------- "We got to the end of the cliff. It didn't go down far enough. It was that way because we needed to find places to put rocks down by throwing them into the canyon that was out there and we wanted to hear how long the wait was between when we threw them and when we heard them hit the river."

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Noah S.
Answer:

I would rewrite these sentences to say the following, instead: "When we arrived at the edge of the cliff, we realized that our plan wasn't going to work; the ravine wasn't deep enough to hear the pregnant pause between our thrown rocks' descent and the splashes they made in the winding river below. It just wouldn't sound the same with this diminutive drop off." In my opinion, combining the first two sentences into one separated by a semicolon made the writing feel less choppy and jarring for the reader. It also helps convey the fact that the "plan" of the first sentence is technically being described in the second clause of this new version, as opposed to being briefly alluded to and not named necessarily in the following sentence, as occurred in the original version. I also shortened the final sentence for clarity's sake, partly by changing it from a run on sentence into a more succinct and visualizable one with less unnecessarily drawn out description, and more concrete nouns such as "ravine" and "pause," along with the inclusion of adjectives to make the images "pop" more (and therefore become more interesting and engaging) for the reader.

Subject: Political Science

TutorMe
Question:

Keeping in mind the distinct types of state formations utilized by historically conflicting actors such as The United States and the former Soviet Union -- In what fundamental ways have shared geopolitical adversaries of both of the latter bodies operated in ideologically and economically threatening ways to the representative democratic and dictatorial rules of each, respectively?

Inactive
Noah S.
Answer:

Two primary, shared adversaries of these aforementioned powers and systems have been non-industrialized colonial subjects (such as Native Americans in one context, and Makhnovite communes in the other) and decentralized organizations of communal and anti-authoritarian character (such as Anarcho-Syndicalists in the USSR and movements such as the Black Liberation Army in the U.S). Present here in this ideologically nuanced space opposing both capitalist relations as well as state relations, are historically entrenched radicalisms asserting village/band/community autonomy and negating hierarchal relations such as political parties and voting itself, in favor of consensus or consent in horizontally organized groups engaging in subsistence activity as opposed to wage labor, and councils or kinship elder wisdom over policing and border enforcement of myriad kinds.

Subject: Film and Theater

TutorMe
Question:

Name three contemporary filmmakers considered to be "auteurs," whose bodies of work focus thematically, contextually, and/or aesthetically on matters of nostalgia in the post-war American context? How do they embody such traits?

Inactive
Noah S.
Answer:

Three such filmmakers would arguably be the writer/directors Wes Anderson, Guillermo Del Toro, and Quentin Tarantino. The first qualifies as such due to his films' thematic fixation upon the longing for previous eras of history in general; namely, those of pre-war europe and the 1960's French New Wave film movement milieus, in which pop music, radical politics, and the generally "twee" were widely celebrated. Anderson's continual inclusion of non-diegetic sound through music of artists such as The Rolling Stones and Francois Hardy within his films -- along with immaculately detailed set design within frequent period pieces in his oeuvre are testament to this observation. Del Toro qualifies for a slightly differing reason; his films exhibit a visual and material interest in preserving and updating the wonders of pre WWII era horror and fantasy films, specifically. The director's heavy involvement in everything from set design to makeup, and practical effects, to CGI creature design, lean heavily on gothic and pagan imagery; those also commonly seen in the naive or intentional camp and genre fiction of the 20th century. Lastly, Tarantino is perhaps the most obvious paragon of such tendencies. With his early, three, pre- 21st century films, the filmmaker spent much effort homaging both the aesthetics and character masculinities of early noir cinema and pulp crime writing; whereas his later film "Django Unchained," pays tribute in its style to the bizarre, singular phenomenon of "Blaxploitation cinema" of the 1970's; and his most recent "Once Upon s Time... In Hollywood" acts as a love letter to the aforementioned city's star studded past, as well as a --perhaps unintentional -- self indictment -- by way of its identity grapplings with everything from gendered violence to ageism.

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