★BLAST THAT SOUND★
UNIQUENESS
YE OLD COMMANDMENDES
1.Thou shalt not undergoe pheeshing
2.Thou shalt not use vulgerites
3.Thou shalt behaveth
4.Thou shalt not spammeth
5.Thou shalt not flammeth enarder youzer
6.Thou shalt not be sujjestiveth
7.Thou shalt not be sicke
8.Thou shalt not lye
9.Thou shalt not complaineth aboute computere speede
10.Thou shalt not cheate, not copie, tagge withoute thinkingeth ofe consequenceth
11.Thou shalt be filliale
12.Thou shalt not hacke into mye accounte
13.Thou shalt not SMSeth me stupide thinge
14.Thou shalt not go to Helle, but go to Heaveneth
15.Thou shalt complye withe the aboveth Commandmendeth
THE LINGO
CONNECTIONS
ELIASIANS★natalie
★deborah
★sherlynn
★celine
★peizhen
★dawn
★hannah
★faith
★shanice
★sabrina
★shiqing
★jingying
★merry
★xiaoqi
★reyna
★nicholasyeo
★vincent
★jingkai
★brian
★kevin
★
★
★
HWA CHONGIANS★justin-personal
★1i3 ' 09
★xavier
★jeremy
★aloysius poh
1I3 ROCKK★aloysius oh
★yi zhe
★ernest
★cheng yao
★ming en
★zi ying
★adrian
★jin yang
★rayson
★justin-school
★darrel
★dexter
★timothy lung
★matthew
★yi pin
★aloysius poh
★han wei
★samuel
★wei ren
★wei yang
★mark
★timothy toh
★shi lin
★chun jie
★zhu cheng
NANYANG★clare
OTHERS★Mr Tan KK Social Networks
★Miss Chen Science
★Mathematics
★Music
★InfoComm Wikispace @ HCI
NOSTALGIA
January 2009
February 2009
March 2009
April 2009
May 2009
June 2009
July 2009
August 2009
X O X O X O
PLEASE DO NOT REMOVE THIS :D
DESIGNER`SASA:D
IMAGE`natalie (edited) codes`jiahui;
Saturday, August 8, 2009, 11:23 AM
-National Day official song-Here are the lyrics of this years theme song, What Do You See?
Verse 1:
There’s a jewel on the ocean,
a gem upon the sea
Where the future is an open book
A land of destiny
We could set our sights into the wind and sail the seven seas
or climb the highest mountain top as long as we believe
What do you see? What do you see?
Chorus:
See the moon and the stars, look how far we have come
Look around at our faces, they shine brightly in the sun
With our hopes and dreams, imagine what tomorrow it may bring
What do you see? What do you see?
Verse 2:
Now the time has come to reach out,
To open up to see
That we stand together in this land
Cos we are family
As thoughts of reaching to the sky are carried on a dream
With hearts and minds united, our dreams we will achieve
What do you see? What do you see?
Chorus 2:
See the moon and the stars, look how far we have come
Look around at our faces, they shine brightly in the sun
With our hopes and dreams, imagine what tomorrow it may bring
What do you see…
Bridge:
What do you see when life makes you take on a mountain
You’ll see that nothing’s gonna stand in your way
Together we can share
The strength of a million
and the courage of a million more
Chorus End:
See the moon and the stars, look how far we have come
Look around at our faces, they shine brightly in the sun
With our hopes and dreams, imagine what tomorrow it may bring
Cos the sky’s the only limit when you’re not afraid to dream
What do you see? What do you see..
Wednesday, July 22, 2009, 6:48 PM
-NATIONAL DAY PARADE-The National Day Parade is a national ceremony in Singapore that, as its name implies, includes a parade on Singapore's national day on August 9, in commemoration of Singapore's independence that is usually held in the Singapore National Stadium or the Padang. For the first time in 2007, it was held in Marina Bay and future parades will be held there until the new sports hub is completed in around 2011. Singapore celebrated its first National Day in 1966, one year after Singapore's independence from Malaysia on 9 August 1965.
The first National Day Parade started in the morning at 0900. People came as early as 0700 in order to get good vantage points. Singapore's first President, Mr Yusof bin Ishak and Singapore's first Prime Minister, Mr Lee Kuan Yew, were seated with members of the government at the grandstand on the steps of City Hall.
Over the years, the Parade has become the biggest national event in Singapore. What is perhaps most memorable at each celebration is the fireworks display marking the climax of the parade; the sky would be bursting with the wonderful colors of the visual vista, dazzling it as well as the hearts of fellow Singaporeans. On this very special occasion, most Singaporeans would be decked out in patriotic colours - namely, red and white.
The Parade has gained enormous popularity and support from the people that it is not unusual to find massive number of citizens trying to get their hands on a ticket, which is released free-of-charge. In the past, it has been known that people would arrive hours before the ticket booths even open, such as the one in 1998, where some arrived as early as 36 hours before the actual release of tickets.
This proved to be problematic for obvious reasons and as such, the government set up the e-balloting ticketing system in 2003, in order to tackle the problem of overcrowding and possible problems that might result. Such ticketing system enables citizens to stand a chance at winning the tickets by registering their e-mail addresses or mobile numbers at the NDP website or phonelines.
Nearly 50,000 Singaporeans among the first to watch this year's NDP after 3 years of setting up the e-balloting ticketing system in 2003.
The venue of the parade is usually at the historical grounds of the Padang, where the declaration of Singapore's independence was held. Since the first parade in 1966, all the way to 1975, the venue was located in this central area to bring the parade closer to the people. In 1976, the parade was held for the first time at the newly completed National Stadium, where the much larger capacity allowed for more to view the parade live.
Although offering about 60,000 seats in the National Stadium, the demand for tickets remained high. Hence there were several attempts to decentralise the venue to bring the celebration closer to more Singaporeans. From 1975 to 1983, celebrations were alternated between a decentralised event and one centered at the Padang or stadium. From 1984, the parade was held twice at the stadium before being brought back to the Padang. This three year cycle was repeated up to 1994.
From 1995, it was decided that the Padang would be used as the venue every five years. The Padang, although historically important, posed a greater logistical challenge and also offered fewer seats for spectators. The event and rehearsals also required the closing of surrounding roads. There was a need to construct temporary spectator stands around the field. The site remained, however, the only feasible venue for the mobile column, as the heavy vehicles could not be driven onto the stadium track. The Padang was used as the main performance venue for the 2005 parade, with fringe activities decentralised to Marina South, Jurong East, Yishun and Tampines.
Arrangements needed review by the early 2000s when plans were made to rebuild the National Stadium. Several alternate locations were mooted, including the utilisation of the Marina Padang, which is physically bigger and less likely to disrupt daily functions in the city.
I really look forward to the 2009 NDP and expect something fresh and new from the previous "mundane" and "typical" parades.
6:34 PM
-Racial Harmony Day-
Racial Harmony Day (Chinese: 种族和谐日) is celebrated annually on 21 July in Singapore. The event is to commemorate the 1964 Race Riots, which took place on 21 July 1964.Racial Harmony Day also represents a day for schools to reflect on, and celebrate Singapore's success as a racially harmonious nation and society built on a rich diversity of culture and heritage. In schools all across the nation on that day, students are encouraged to be dressed in their traditional costumes such as the Cheongsam and the Baju Kurung. Traditional delicacies are also featured in the celebrations. Traditional games such as Kutih-kutih and zero point are played in schools, where inter-class competitions are sometimes organised.
On 21 July, 1964, about 25,000 Malays gathered at the Padang, Singapore to celebrate the Muslim prophet Muhammad's birthday. After the speeches, the procession went on to Geylang. Along the way, a policeman asked a group that was dispersed to rejoin the main procession. Instead of obeying the orders, the group attacked the policeman. This incident led to a race riot after the group of Malays attacked ethnic Chinese-Malay passers-by and spectators. The riots were reported to have started at about 5:00 p.m. between Kallang and Geylang Serai. The government declared a curfew at 9.30 p.m. to restore order, but in the first day of rioting, four people were killed and 178 injured.
After the curfew was lifted at 6 a.m. the next morning, the conflict grew even more tense, and another curfew was imposed - it was only lifted for short periods to allow people to buy food. The curfew was not completely lifted until 2 August, 11 days after the start of the riots.
After the riots, goodwill committees were set up made up of community leaders from the various racial groups. The main job of these leaders was to help restore peace and harmony between the Malays and ethnic Chinese by addressing the concerns of the residents. About 23 people were killed and 450 people were injured during the July riots. There was significant damage to property and vehicles.
The government arrested about 3,000 people, including 600 secret society members and 256 people charged with possession of dangerous weapons. The rest were arrested for violating the curfew.
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Tuesday, June 30, 2009, 9:01 AM
- My Favourite Poet -
I'm utterly spoilt for choice. Seems like choosing a favourite poet from zillions around the world, present and past is not an easy one to make. Since choice is out of the question, I'm going to go by instinct.
The first poet that flashed in my mind was William Wordsworth.
Wordsworth, I know that poet. I read in magazines and other sources quoting "If you want to be the second Wordsworth, join..."
A Brief History of William Wordsworth
William Wordsworth (7 April 1770 – 23 April 1850) was a major English Romantic poet who, with Samuel Taylor Coleridge, helped to launch the Romantic Age in English literature with the 1798 joint publication Lyrical Ballads.
Wordsworth's magnum opus is generally considered to be The Prelude, a semiautobiographical poem of his early years which the poet revised and expanded a number of times. The work was posthumously titled and published, prior to which it was generally known as the poem "to Coleridge". Wordsworth was England's Poet Laureate from 1843 until his death in 1850. Wordsworth's father, although rarely present, did teach him poetry, including that of Milton, Shakespeare and Spenser, in addition to allowing his son to rely on his father's library. Wordsworth made his debut as a writer in 1787 when he published a sonnet in The European Magazine. That same year he began attending St John's College, Cambridge, and received his A.B. degree in 1791. He returned to Hawkshead for his first two summer holidays, and often spent later holidays on walking tours, visiting places famous for the beauty of their landscape. In 1790, he took a walking tour of Europe, during which he toured the Alps extensively, and visited nearby areas of France, Switzerland and Italy. His youngest brother, Christopher, rose to be Master of Trinity College.
His works
I doubt anyone would have a favourite poet and being severly handicapped when asked for his or her works. Here is a Wordsworth I really like.
I Wandered Lonely As A Cloud
I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
The waves beside them danced, but they
Out-did the sparkling leaves in glee;
A poet could not be but gay,
In such a jocund company!
I gazed—and gazed—but little thought
What wealth the show to me had brought:
For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.
Summary
The speaker says that, wandering like a cloud floating above hills and valleys, he encountered a field of daffodils beside a lake. The dancing, fluttering flowers stretched endlessly along the shore, and though the waves of the lake danced beside the flowers, the daffodils outdid the water in glee. The speaker says that a poet could not help but be happy in such a joyful company of flowers. He says that he stared and stared, but did not realize what wealth the scene would bring him. For now, whenever he feels "vacant" or "pensive," the memory flashes upon "that inward eye / That is the bliss of solitude," and his heart fills with pleasure, "and dances with the daffodils."
Form
The four six-line stanzas of this poem follow a quatrain-couplet rhyme scheme: ABABCC. Each line is metered in iambic tetrameter.
Commentary
This simple poem, one of the loveliest and most famous in the Wordsworth canon, revisits the familiar subjects of nature and memory, this time with a particularly (simple) spare, musical eloquence. The plot is extremely simple, depicting the poet's wandering and his discovery of a field of daffodils by a lake, the memory of which pleases him and comforts him when he is lonely, bored, or restless. The characterization of the sudden occurrence of a memory--the daffodils "flash upon the inward eye / Which is the bliss of solitude"--is psychologically acute, but the poem's main brilliance lies in the reverse personification of its early stanzas. The speaker is metaphorically compared to a natural object, a cloud--"I wandered lonely as a cloud / That floats on high...", and the daffodils are continually personified as human beings, dancing and "tossing their heads" in "a crowd, a host." This technique implies an inherent unity between man and nature, making it one of Wordsworth's most basic and effective methods for instilling in the reader the feeling the poet so often describes himself as experiencing.
Here's a second one.
The Solitary Reaper
Behold her, single in the field,
Yon solitary Highland Lass!
Reaping and singing by herself;
Stop here, or gently pass!
Alone she cuts and binds the grain,
And sings a melancholy strain;
O listen! for the Vale profound
Is overflowing with the sound.
No Nightingale did ever chaunt
More welcome notes to weary bands
Of travellers in some shady haunt,
Among Arabian sands:
A voice so thrilling ne'er was heard
In spring-time from the Cuckoo-bird,
Breaking the silence of the seas
Among the farthest Hebrides.
Will no one tell me what she sings?--
Perhaps the plaintive numbers flow
For old, unhappy, far-off things,
And battles long ago:
Or is it some more humble lay,
Familiar matter of to-day?
Some natural sorrow, loss, or pain,
That has been, and may be again?
Whate'er the theme, the Maiden sang
As if her song could have no ending;
I saw her singing at her work,
And o'er the sickle bending;--
I listened, motionless and still;
And, as I mounted up the hill
The music in my heart I bore,
Long after it was heard no more.
Summary
The poet orders his listener to behold a "solitary Highland lass" reaping and singing by herself in a field. He says that anyone passing by should either stop here, or "gently pass" so as not to disturb her. As she "cuts and binds the grain" she "sings a melancholy strain," and the valley overflows with the beautiful, sad sound. The speaker says that the sound is more welcome than any chant of the nightingale to weary travelers in the desert, and that the cuckoo-bird in spring never sang with a voice so thrilling.
Impatient, the poet asks, "Will no one tell me what she sings?" He speculates that her song might be about "old, unhappy, far-off things, / And battles long ago," or that it might be humbler, a simple song about "matter of today." Whatever she sings about, he says, he listened "motionless and still," and as he traveled up the hill, he carried her song with him in his heart long after he could no longer hear it.
Form
The four eight-line stanzas of this poem are written in a tight iambic tetrameter. Each follows a rhyme scheme of ABABCCDD, though in the first and last stanzas the "A" rhyme is off (field/self and sang/work).
Commentary
Along with "I wandered lonely as a cloud," "The Solitary Reaper" is one of Wordsworth's most famous post-Lyrical Ballads lyrics. In "Tintern Abbey" Wordsworth said that he was able to look on nature and hear "human music"; in this poem, he writes specifically about real human music encountered in a beloved, rustic setting. The song of the young girl reaping in the fields is incomprehensible to him (a "Highland lass," she is likely singing in Scots), and what he appreciates is its tone, its expressive beauty, and the mood it creates within him, rather than its explicit content, at which he can only guess. To an extent, then, this poem ponders the limitations of language, as it does in the third stanza ("Will no one tell me what she sings?"). But what it really does is praise the beauty of music and its fluid expressive beauty, the "spontaneous overflow of powerful feeling" that Wordsworth identified at the heart of poetry.
By placing this praise and this beauty in a rustic, natural setting, and by and by establishing as its source a simple rustic girl, Wordsworth acts on the values of Lyrical Ballads. The poem's structure is simple--the first stanza sets the scene, the second offers two bird comparisons for the music, the third wonders about the content of the songs, and the fourth describes the effect of the songs on the speaker--and its language is natural and unforced. Additionally, the final two lines of the poem ("Its music in my heart I bore / Long after it was heard no more") return its focus to the familiar theme of memory, and the soothing effect of beautiful memories on human thoughts and feelings.
"The Solitary Reaper" anticipates Keats's two great meditations on art, the "Ode to a Nightingale," in which the speaker steeps himself in the music of a bird in the forest--Wordsworth even compares the reaper to a nightingale--and "Ode on a Grecian Urn," in which the speaker is unable to ascertain the stories behind the shapes on an urn. It also anticipates Keats's "Ode to Autumn" with the figure of an emblematic girl reaping in the fields.
And here's the last one.
London, 1802
Milton! thou shouldst be living at this hour:
England hath need of thee: she is a fen
Of stagnant waters: altar, sword, and pen,
Fireside, the heroic wealth of hall and bower,
Have forfeited their ancient English dower
Of inward happiness.
We are selfish men;
Oh! raise us up, return to us again;
And give us manners, virtue, freedom, power.
Thy soul was like a Star, and dwelt apart:
Thou hadst a voice whose sound was like the sea:
Pure as the naked heavens, majestic, free,
So didst thou travel on life's common way,
In cheerful godliness; and yet the heart
The lowliest duties on herself did lay.
Summary
The speaker addresses the soul of the dead poet John Milton, saying that he should be alive at this moment in history, for England needs him. England, the speaker says, is stagnant and selfish, and Milton could raise her up again. The speaker says that Milton could give England "manners, virtue, freedom, power," for his soul was like a star, his voice had a sound as pure as the sea, and he moved through the world with "cheerful godliness," laying upon himself the "lowest duties."
Form
This poem is one of the many excellent sonnets Wordsworth wrote in the early 1800s. Sonnets are fourteen-line poetic inventions written in iambic pentameter. There are several varieties of sonnets; "The world is too much with us" takes the form of a Petrarchan sonnet, modeled after the work of Petrarch, an Italian poet of the early Renaissance. A Petrarchan sonnet is divided into two parts, an octave (the first eight lines of the poem) and a sestet (the final six lines). The Petrarchan sonnet can take a number of variable rhyme schemes; in this case, the octave (which typically proposes a question or an idea), follows a rhyme scheme of ABBAABBA, and the sestet (which typically answers the question or comments upon the idea) follows a rhyme scheme of BCCDBD.
Commentary
The speaker of this poem, which takes the form of a dramatic outburst, literally cries out to the soul of John Milton in anger and frustration. (The poem begins with the cry: "Milton!") In the octave, the speaker articulates his wish that Milton would return to earth, and lists the vices ruining the current era. Every venerable institution--the altar (representing religion), the sword (representing the military), the pen (representing literature), and the fireside (representing the home)--has lost touch with "inward happiness," which the speaker identifies as a specifically English birthright, just as Milton is a specifically English poet. (This is one of Wordsworth's few explicitly nationalistic verses--shades, perhaps, of the conservatism that took hold in his old age.)
In the sestet, the speaker describes Milton's character, explaining why he thinks Milton would be well suited to correct England's current waywardness. His soul was as bright as a star, and stood apart from the crowd: he did not need the approval or company of others in order to live his life as he pleased. His voice was as powerful and influential as the sea itself, and though he possessed a kind of moral perfection, he never ceased to act humbly. These virtues are precisely what Wordsworth saw as lacking in the English men and women of his day.
It is important to remember that for all its emphasis on feeling and passion, Wordsworth's poetry is equally concerned with goodness and morality. Unlike later Romantic rebels and sensualists, Wordsworth was concerned that his ideas communicate natural morality to his readers, and he did not oppose his philosophy to society. Wordsworth's ideal vision of life was such that he believed anyone could participate in it, and that everyone would be happier for doing so. The angry moral sonnets of 1802 come from this ethical impulse, and indicate how frustrating it was for Wordsworth to see his poems exerting more aesthetic influence than social or psychological influence.
That's all.
Acknowledgements - http://www.wikipedia.org/ under Williams Wordsworth
http://www.sparknotes.com/
Monday, June 29, 2009, 8:11 AM
-- e-Learning L.Arts Day 1 Assignment 1 --
This is the first e-Learning assignment I am doing on this blog.
Poem By Robert Frost - The Road Not Taken
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I-
I took the one less traveled by,
And that has made all the difference.
About Robert Frost...
Robert Lee Frost (March 26, 1874 – January 29, 1963) was an American poet. He is highly regarded for his realistic depictions of rural life and his command of American colloquial speech. His work frequently employed settings from rural life in New England in the early twentieth century, using them to examine complex social and philosophical themes. A popular and often-quoted poet, Frost was honoured frequently during his lifetime, receiving four Pulitzer Prizes for Poetry.
Q1. How are the figurative language used in the poem? Give the specific word(s), explain what type of figurative language it is and why the poet chose to use this figurative language?
First, one of the figurative languages used is Hyperbole. What is hyperbole, you may ask. Basically, it is an exaggerated statement used to invoke an emotion in an image. In the poem above, the hyperbole lies in the line " Oh, I kept the first for another day!" The word "oh" is an exaggeration of the traveler's thoughts.
Secondly, the figurative language 'Personification' is also used in this poem. The line ''because it was grassy and wanted wear'' gives the elementof life into the seemingly lifeless road. Due to the simple fact that the road "wanted wear" gives the impression that the road actually possessed some thoughts. Robert Frost did this to inject some oomph into the poem, and that the poem would appeal to young children.
Q2. Tell us why you like this poem in no less than 100 words.
This poem by Robert Frost is a load of creativity and thought, and I believe it is the reason why I like this poem, The Road Not Taken. When we think of poem, we think standard stanzas, every single line rhyming, and most of all, boring.
This one is different. I mean, it's quite obvious that not all of its line rhyme, which makes it stand out among the rest. Frost did put in some rhyming words, which makes it more of a poetic poem, but though the words(some) do not rhyme, it still oozes the lyrical feel of a great poem.
Secondly, this poem is moderately long, describes a moment in the traveler's thoughts, but it has almost all of the figurative language use in it. Moreover, it has a hint of humour in the poem, plus a little contradiction in the thoughts, as seen on the lines where the traveler was wandering which road to take.
This is the first e-Learning assignment I am doing on this blog.
Poem By Robert Frost - The Road Not Taken
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I-
I took the one less traveled by,
And that has made all the difference.
About Robert Frost...
Robert Lee Frost (March 26, 1874 – January 29, 1963) was an American poet. He is highly regarded for his realistic depictions of rural life and his command of American colloquial speech. His work frequently employed settings from rural life in New England in the early twentieth century, using them to examine complex social and philosophical themes. A popular and often-quoted poet, Frost was honoured frequently during his lifetime, receiving four Pulitzer Prizes for Poetry.
Q1. How are the figurative language used in the poem? Give the specific word(s), explain what type of figurative language it is and why the poet chose to use this figurative language?
First, one of the figurative languages used is Hyperbole. What is hyperbole, you may ask. Basically, it is an exaggerated statement used to invoke an emotion in an image. In the poem above, the hyperbole lies in the line " Oh, I kept the first for another day!" The word "oh" is an exaggeration of the traveler's thoughts.
Secondly, the figurative language 'Personification' is also used in this poem. The line ''because it was grassy and wanted wear'' gives the elementof life into the seemingly lifeless road. Due to the simple fact that the road "wanted wear" gives the impression that the road actually possessed some thoughts. Robert Frost did this to inject some oomph into the poem, and that the poem would appeal to young children.
Q2. Tell us why you like this poem in no less than 100 words.
This poem by Robert Frost is a load of creativity and thought, and I believe it is the reason why I like this poem, The Road Not Taken. When we think of poem, we think standard stanzas, every single line rhyming, and most of all, boring.
This one is different. I mean, it's quite obvious that not all of its line rhyme, which makes it stand out among the rest. Frost did put in some rhyming words, which makes it more of a poetic poem, but though the words(some) do not rhyme, it still oozes the lyrical feel of a great poem.
Secondly, this poem is moderately long, describes a moment in the traveler's thoughts, but it has almost all of the figurative language use in it. Moreover, it has a hint of humour in the poem, plus a little contradiction in the thoughts, as seen on the lines where the traveler was wandering which road to take.
Saturday, June 27, 2009, 10:22 AM
-Reflections at Bukit Chandu- On June the 16th, my groupmates and I went to Reflections at Bukit Chandu which was situated at Pepys Road. We arrived there at about 9am and began touring the site.
A brief introduction of Reflections at Bukit Chandu and the hill itself:
Reflections at Bukit Chandu is a World War II interpretative centre developed and managed by the National Archives of Singapore, located on Bukit Chandu (Opium Hill) off Pasir Panjang Road in Singapore. The Centre was officially opened Dr Tony Tan (then Singapore Deputy Prime Minister & Minister for Defence) on 15 February 2002. This date also marks the 60th anniversary of the fall of Singapore in 1942, this year 2009 being the 67th anniversary.
The bungalow in which the permanent exhibition is housed is one of the last remaining bungalows in Singapore, built at the turn of the 20th century for British senior officers.
The building was restored to preserve its original structure and design, retaining the original style of arches and windows but altering the roof for safety reasons.
Bukit Chandu hill was the site of one of the fiercest and last significant battles, the Battle of Bukit Chandu, before the British surrendered Singapore to the Japanese on 15 February 1942. The battle took place just two days before the surrender. The battle saw Malay Regiment soldiers, led by British Commanders, defending the western sector of Singapore, forced to retreat to this hill. For 48 hours, the Malay Regiment C Company and remnants from the 1st and 2nd Battalions engaged in one of the fiercest battles fought in Singapore. They were greatly outnumbered, and when they ran out of ammunition, they resorted to hand-to-hand combat to defend this hill. Many soldiers died on the hill. Those who survived were captured and massacred by the Japanese.
The museum's exhibition gallery covers the history of World War II in Malaya, detailing the late 1930s socio-political climate of the Malay Peninsula, Japan’s invasion plans, and the British strategy for defending Singapore. There are exhibits of photographs, maps and artefacts. The recruitment, training, principles, and values of the Malay Regiment are represented, including through documentaries commissioned by the National Archives of Singapore, World War II paraphernalia, and witness testimony from survivors.
Sunday, May 10, 2009, 8:34 PM
Hi all.
lalala
I shall be posting on the Animal Farm Chapter 5 stuff. Those who are actually interested in Animal Farm can read on, otherwise don't bother to. I shall be doing this for quite a few posts, so yea, bear with me!
- Chapter 5
The defection of Mollie marks her as an even greater materialist that she had to be earlier in the novel. The fact that she is bribed away from Animal farm with sugar and ribons - two items that Snowball condemned as unnecessary for liberty in Chapter 2 - shows her desire for luxury without making the necessary sacrifices to obtain it.
lalala
Literary Device...
The windmill itself is a symbol of technological process. Snowball wants it to be built because he thinks it will bring to the farm a certain degree of self-sufficiency - which accords with the principles of Animalism. Napoleon, on the contrary, cares and does nothing for the windmill because he is obsessed with implementing and establishing his totalitarian rule.
For more, visit http://en.wikipedia.org/wiki/Animal_Farm