Creative Writing


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creative writing English Vs Math

English Vs. Math

To most people English or Language Arts is a creative course and math is just a logical, you get it or you dont class. My purpose writing this paper is to change your mind. I believe that Math is just as, or more creative than English. I will demonstrate this through a couple of examples.

First, we must understand what is behind the creative aspect in English. Most people consider that English is the, creative, subject because of titles such as creative writing and creative thinking and in contrast there is no creative something in math. In English when we are, lets say, going to write a creative short story we use our imaginations and there are no limits. Now on the other hand in math when faced with a problem such as; if you have 300 meters of fence and have to enclose a rectangular field. What would be the dimensions of the field that would yield the largest area? When mathematicians go to solve one of these they have to be creative in their problem solving.

Perhaps, one of the best ways to demonstrate creativity in math is through an identity question. An identity question is where you have an equation and you try to manipulate each side individually without touching the other side and get them to be equal. We start off with something like sin squared theta over cos theta plus cos and the objective here is to prove that it is identical to sec theta. At first looks there is no connection but by using creative methods and hours of work eventually we figure out the way to do it.






Sin? + Cos ?  |  Sec ?
Cos ?  |


First I would make everything over Cos  ?

Sin ? + Cos ?   | Sec ?
   Cos ?       |            


Then I would apply a law

1     |   Sec ?
    Cos ?    |  


Then a simple law

Sec ?    |   Sec ?


You can prove that it is creative because a computer cant solve this equation, (a computer thinks logically). Technically a computer could solve this equation but it could just tell you if they were equal and not to the same level of accuracy. A computer would input a value for ? on both sides and if the answer is equal then the equation is equal. The problem with this is that when you get into trigonometry there could be a difference in the decilionth decimal place. A computer cant work with the abstract which is what is in my example. A computer may take 2 seconds or a million years to find an answer or it may give the wrong answer! The other point is that a computer can only perform things in a certain order it cant guess or have a feeling about a question, which brings in the creative aspect.

Another example happened during one of my Calculus classes that I believe to be the most abstract and creative of the maths. A fellow student and me figured out pie. We figured out that the integral from 0 to1 of the square root of x minus 1 is equal to half of pie. We had huge problems figuring out this equation but persistence eventually won out and we solved it. Later we found out that this was a University Calculus level question and we shouldnt have been able to solve it due to our lack of skills in this area. Creativity then can be the only culprit for our derivation of the solution.

 

Finally one of my strongest points is that on some of the more creative math units the more creative people usually the artsy type do a lot better than in the other units and by no means because these units are easier. Remember that I am not saying that English isnt creative, just that Math is more creative than anyone gives it credit for. ... more

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Hemingway and Camus: Construction of Meaning and Truth

Once we knew that literature was about life and criticism was about fiction--and everything was simple. Now we know that fiction is about other fiction, is criticism in fact, or metaphor. And we know that criticism is about the impossibility of anything being about life, really, or even about fiction, or finally about anything. Criticism has taken the very idea of "aboutness" away from us. It has taught us that language is tautological, if it is not nonsense, and to the extent that it is about anything it is about itself.-Robert Scholes One of the fascinations of reading literature comes when we discover in a work patterns that have heretofore been overlooked. We are the pattern finders who get deep enjoyment from the discovery of patterns in a text. And true to the calling we have noticed a pattern in and around A Farewell to Arms which, to our knowledge, no one has seen before. Although there are many editions of the novel, and as a result the pagination is slightly different in various editions, it is the case that all editions have forty-one chapters to be found in five books. Here is what we have discovered: if you multiply 41 by 5 you get 205. And now if you take the number of letters in Frederic's name (8) and add that to the number of letters in Catherine's name (9) you get 17. 205 + 17 = 222. And if you grant that the time of the events in the novel, counted properly, is three years, then the pattern we have discovered starts to emerge as figure on ground or as lemon juice ink on a secret message when held over a candle. For what is the product of 222 and 3 but the infamous 666 of Revelations 13:18? Imagine now our delight when we discovered a similar 666 pattern in The Outsider. If you multiply the number of letters in Meursault's name times the number of letters in `Albert' times the number of letters in `Arab' you get 216. Add to that the 6 of `Albert' and multiply by 3 (which is the number one gets when dividing the number of chapters in Part one (6) by the number of books (2) that make up The Outsider) and surprise of surprises: the meaning revealing number `666' once again emerges! Clearly, when seen in this light, these two novels take on new meaning, and this pattern discovery provides a conclusive way to counter all earlier critics who have failed to see this talisman of interpretation, this key to understanding the complexities of Hemingway's A Farewell to Arms and Camus's The Outsider. `666' offers a key to understanding in that it clearly refers us back to the text which these texts are "playing" with and are in some way about, if "aboutness" is a viable concept and if they are about anything at all. "Wait a minute, here!" shouts Bickford Sylvester, "there is some nonsense even Hemingway scholars will not condone." And of course this pattern of 666 is a bit of nonsense which could be discovered almost anywhere by someone forcing the facts into the pattern. Good 666 sleuths can find that devilish number anywhere; if you don't believe us just ask the soap company. But what are the legitimate limits to interpretations? Does anything count? How can we know when the interpretation we are working on or reading has slipped into the realm of nonsense? There are facts to be observed by the act of looking at the text and then there are interpretations to be deduced using those facts plus everything else one knows about what counts as a fact and what is to be counted as important in producing a coherent and consistent reading. Just as there are different interpretations of quantum theory which must deal with the same facts (taking a fact to be what is) there are different interpretations of A Farewell to Arms and The Outsider. In fact, the difference between science and art may be teased out just here: when a scientific interpretation becomes the accepted one it achieves a privileged status (e.g., evolution), but in ... more

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