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<html>
<head> <title> FIRST HOMEWORK </title> </head>


<body>
<h1>Poems</h1>
<hr><a href="https://www.poetryfoundation.org/poetrymagazine/poems/41241/appetite">
<h2>Appetite</h2></a>
<p style="color :#888888"> Author: <br> Paulann Petersen </p>
<p>
<a href="https://www.poetryfoundation.org/poetrymagazine/poems/41241/appetite">
<img alt="Appetite" src="appetite.jpg"width=250 height=250 align="left"> </a> </p> <br>
<p>Description:<br>Originally the closing poem of The Animal Bride, “When I
Walk” precedes the last one of The Wild Awake, “Appetite,” a tightlyfocused description of eating honeycomb. Pleasure’s arrow at the
9
book’s start included “honey’s one sharp drop,” an image hinting
at ejaculation. Here the honeycomb, sensuous in the eating, signals
both time’s passing and the need to satisfy “your own yellow hunger.”
This hunger, however imperative, is large and diffuse.</p><br><br><br><br><br><br><br><br><br>


<hr><a href="https://www.poetryfoundation.org/poems/42535/february-evening-in-new-york">
<h2>February Evening in New York</h2></a>
<p style="color :#888888"> Author: <br> Denise Levertov </p>
<p>
<a href="https://www.poetryfoundation.org/poems/42535/february-evening-in-new-york">
<img alt="February Evening in New York" src="newyork.jpg"width=250 height=250 align="left"> </a> </p> <br>




<p>Description:<br>This poem is so carefully put together.
It has the appearance of being so free and easy like a February evening itself might be stretching and changing,
and yet I think one of the reasons it has such an impact on me is Levertov’s careful use of structure.
The triple repetition of the phrases ‘As the…’ (good things always come in threes of course!) and then the change
in that pattern (again many poems that move us suddenly ‘shift’ at the end – shift in direction or go
‘into another gear’ – that’s the feeling anyhow) with ‘To the multiple disordered tones…’
Imagine if she had separated this poem out into stanzas,
three beginning with ‘As the…’ and a final one at ‘To the multiple…’, what would be the effect on us as readers?
How would the poem feel different? For me I think her choice to present the poem
as one whole chunk (what poets sometimes called a ‘strophe’) is a considered one.</p><br><br><br><br><br><br><br>
<hr>
<br><br>


</body>
</html>
47 changes: 47 additions & 0 deletions Student Works/rkocev/Assigments/Assigment1/firstsite1.txt
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<html>
<head> <title> FIRST HOMEWORK </title> </head>


<body>
<h1>Poems</h1>
<hr><a href="https://www.poetryfoundation.org/poetrymagazine/poems/41241/appetite">
<h2>Appetite</h2></a>
<p style="color :#888888"> Author: <br> Paulann Petersen </p>
<p>
<a href="https://www.poetryfoundation.org/poetrymagazine/poems/41241/appetite">
<img alt="Appetite" src="appetite.jpg"width=250 height=250 align="left"> </a> </p> <br>
<p>Description:<br>Originally the closing poem of The Animal Bride, “When I
Walk” precedes the last one of The Wild Awake, “Appetite,” a tightlyfocused description of eating honeycomb. Pleasure’s arrow at the
9
book’s start included “honey’s one sharp drop,” an image hinting
at ejaculation. Here the honeycomb, sensuous in the eating, signals
both time’s passing and the need to satisfy “your own yellow hunger.”
This hunger, however imperative, is large and diffuse.</p><br><br><br><br><br><br><br><br><br>


<hr><a href="https://www.poetryfoundation.org/poems/42535/february-evening-in-new-york">
<h2>February Evening in New York</h2></a>
<p style="color :#888888"> Author: <br> Denise Levertov </p>
<p>
<a href="https://www.poetryfoundation.org/poems/42535/february-evening-in-new-york">
<img alt="February Evening in New York" src="newyork.jpg"width=250 height=250 align="left"> </a> </p> <br>




<p>Description:<br>This poem is so carefully put together.
It has the appearance of being so free and easy like a February evening itself might be stretching and changing,
and yet I think one of the reasons it has such an impact on me is Levertov’s careful use of structure.
The triple repetition of the phrases ‘As the…’ (good things always come in threes of course!) and then the change
in that pattern (again many poems that move us suddenly ‘shift’ at the end – shift in direction or go
‘into another gear’ – that’s the feeling anyhow) with ‘To the multiple disordered tones…’
Imagine if she had separated this poem out into stanzas,
three beginning with ‘As the…’ and a final one at ‘To the multiple…’, what would be the effect on us as readers?
How would the poem feel different? For me I think her choice to present the poem
as one whole chunk (what poets sometimes called a ‘strophe’) is a considered one.</p><br><br><br><br><br><br><br>
<hr>
<br><br>


</body>
</html>
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40 changes: 40 additions & 0 deletions Student Works/rkocev/Assigments/Assigment1/poem1.html
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<html>
<head> <title> Appetite </title> </head>


<body>

<hr><a href="https://www.poetryfoundation.org/poetrymagazine/poems/41241/appetite">
<h1>Appetite</h1></a>
<p style="color :#888888"> Author: <br> <a href="https://en.wikipedia.org/wiki/Paulann_Petersen" <h2>Paulann Petersen</h2> </p></a>
<p>
<a href="https://www.poetryfoundation.org/poetrymagazine/poems/41241/appetite">
<img alt="Appetite" src="appetite.jpg"width=450 height=450 align="left"> </a> </p> <br>
<p><br>
Pale gold and crumbling with crust<br>
mottled dark, almost bronze,<br>
pieces of honeycomb lie on a plate.<br>
Flecked with the pale paper<br>
of hive, their hexagonal cells<br>
leak into the deepening pool<br>
of amber. On your lips,<br>
against palate, tooth and tongue,<br>
the viscous sugar squeezes<br>
from its chambers, sears sweetness<br>
into your throat until you chew<br>
pulp and wax from a blue city<br>
of bees. Between your teeth<br>
is the blown flower and the flower's<br>
seed. Passport pages stamped<br>
and turning. Death's officious hum.<br>
Both the candle and its anther<br>
of flame. Your own yellow hunger.<br>
Never say you can't take<br>
this world into your mouth.<br>
</p><br>


<hr>
<br><br>
</body>
</html>
40 changes: 40 additions & 0 deletions Student Works/rkocev/Assigments/Assigment1/poem1.txt
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<html>
<head> <title> Appetite </title> </head>


<body>

<hr><a href="https://www.poetryfoundation.org/poetrymagazine/poems/41241/appetite">
<h1>Appetite</h1></a>
<p style="color :#888888"> Author: <br> <a href="https://en.wikipedia.org/wiki/Paulann_Petersen" <h2>Paulann Petersen</h2> </p></a>
<p>
<a href="https://www.poetryfoundation.org/poetrymagazine/poems/41241/appetite">
<img alt="Appetite" src="appetite.jpg"width=450 height=450 align="left"> </a> </p> <br>
<p><br>
Pale gold and crumbling with crust<br>
mottled dark, almost bronze,<br>
pieces of honeycomb lie on a plate.<br>
Flecked with the pale paper<br>
of hive, their hexagonal cells<br>
leak into the deepening pool<br>
of amber. On your lips,<br>
against palate, tooth and tongue,<br>
the viscous sugar squeezes<br>
from its chambers, sears sweetness<br>
into your throat until you chew<br>
pulp and wax from a blue city<br>
of bees. Between your teeth<br>
is the blown flower and the flower's<br>
seed. Passport pages stamped<br>
and turning. Death's officious hum.<br>
Both the candle and its anther<br>
of flame. Your own yellow hunger.<br>
Never say you can't take<br>
this world into your mouth.<br>
</p><br>


<hr>
<br><br>
</body>
</html>
44 changes: 44 additions & 0 deletions Student Works/rkocev/Assigments/Assigment1/poem2.html
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<html>
<head> <title> February Evening in New York </title> </head>


<body>

<hr><a href="https://www.poetryfoundation.org/poems/42535/february-evening-in-new-york">
<h1>February Evening in New York </h1></a>
<p style="color :#888888"> Author: <br> <a href="https://en.wikipedia.org/wiki/Denise_Levertov" <h2>Denise Levertov</h2> </p></a>
<p>
<a href="https://www.poetryfoundation.org/poems/42535/february-evening-in-new-york">
<img alt="February Evening in New York" src="newyork.jpg"width=550 height=550 align="left"> </a> </p> <br>
<p>
As the stores close, a winter light<br>
opens air to iris blue,<br>
glint of frost through the smoke<br>
grains of mica, salt of the sidewalk.<br><br>
As the buildings close, released autonomous <br>
feet pattern the streets<br>
in hurry and stroll; balloon heads<br>
drift and dive above them; the bodies <br>
aren't really there.<br><br>
As the lights brighten, as the sky darkens,<br>
a woman with crooked heels says to another woman <br>
while they step along at a fair pace,<br>
"You know, I'm telling you, what I love best <br>
is life. I love life! Even if I ever get<br>
to be old and wheezy—or limp! You know? <br>
Limping along?—I'd still ... " Out of hearing. <br><br>
To the multiple disordered tones<br>
of gears changing, a dance<br>
to the compass points, out, four-way river. <br>
Prospect of sky<br>
wedged into avenues, left at the ends of streets, <br>
west sky, east sky: more life tonight! A range <br>
of open time at winter's outskirts.<br>

</p><br>


<hr>
<br><br>
</body>
</html>
44 changes: 44 additions & 0 deletions Student Works/rkocev/Assigments/Assigment1/poem2.txt
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<html>
<head> <title> February Evening in New York </title> </head>


<body>

<hr><a href="https://www.poetryfoundation.org/poems/42535/february-evening-in-new-york">
<h1>February Evening in New York </h1></a>
<p style="color :#888888"> Author: <br> <a href="https://en.wikipedia.org/wiki/Denise_Levertov" <h2>Denise Levertov</h2> </p></a>
<p>
<a href="https://www.poetryfoundation.org/poems/42535/february-evening-in-new-york">
<img alt="February Evening in New York" src="newyork.jpg"width=550 height=550 align="left"> </a> </p> <br>
<p>
As the stores close, a winter light<br>
opens air to iris blue,<br>
glint of frost through the smoke<br>
grains of mica, salt of the sidewalk.<br><br>
As the buildings close, released autonomous <br>
feet pattern the streets<br>
in hurry and stroll; balloon heads<br>
drift and dive above them; the bodies <br>
aren't really there.<br><br>
As the lights brighten, as the sky darkens,<br>
a woman with crooked heels says to another woman <br>
while they step along at a fair pace,<br>
"You know, I'm telling you, what I love best <br>
is life. I love life! Even if I ever get<br>
to be old and wheezy—or limp! You know? <br>
Limping along?—I'd still ... " Out of hearing. <br><br>
To the multiple disordered tones<br>
of gears changing, a dance<br>
to the compass points, out, four-way river. <br>
Prospect of sky<br>
wedged into avenues, left at the ends of streets, <br>
west sky, east sky: more life tonight! A range <br>
of open time at winter's outskirts.<br>

</p><br>


<hr>
<br><br>
</body>
</html>
71 changes: 71 additions & 0 deletions Student Works/rkocev/Assigments/Assigment2/Norman.html
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<!DOCTYPE html>
<html>

<head>
<title>Tribute to Dr. Norman Borlaug</title>
<link rel="stylesheet" type="text/css" href="rk.css">
<link href="https://fonts.googleapis.com/css?family=Montserrat|Roboto&display=swap" rel="stylesheet">
<meta charset="UTF-8">
<meta lang="hu">
<meta name="description" content="Dr. Norman Borlaug tribue page">
<meta name="keywords" content="">
<meta name="viewport" content="width=device-width, initial-scale=1">
</head>

<body>
<header>
<h1>Dr. Norman Borlaug</h1>
<p><cite>The man who saved a billion lives</cite></p>
</header>

<main>
<figure> <section>
<div class="yearsContainer">
<a href="#1910s" style="color: white; font-family: Arial; background-color :grey; padding: 12px 3%; font-size: 30px; text-decoration: none;">1910s</a>
<a href="#1930s" style="color: white; font-family: Arial; background-color :grey; padding: 12px 3%; font-size: 30px; text-decoration: none;">1930s</a>
<a href="#1940s" style="color: white; font-family: Arial; background-color :grey; padding: 12px 3%; font-size: 30px; text-decoration: none;">1940s</a>
<a href="#1950s" style="color: white; font-family: Arial; background-color :grey; padding: 12px 3%; font-size: 30px; text-decoration: none;">1950s</a>
<a href="#1960s" style="color: white; font-family: Arial; background-color :grey; padding: 12px 3%; font-size: 30px; text-decoration: none;">1960s</a>
<a href="#1970s" style="color: white; font-family: Arial; background-color :grey; padding: 12px 3%; font-size: 30px; text-decoration: none;">1970s</a>
<a href="#2000s" style="color: white; font-family: Arial; background-color :grey; padding: 12px 3%; font-size: 30px; text-decoration: none;">2000s</a>



</div> </section>
<figure>
<img src="norman.jpg" alt="Dr. Norman Borlaug">
<figcaption>Dr. Norman Borlaug, third from the left, trains biologists in Mexico on how to increase wheat yields - part of his life-long war on hunger.</figcaption>
</figure>
<section>
<section><section>
<h2>Here's a time line of Dr. Borlaug's life:</h2>
<ul>
<li id="1910s"><strong>1914</strong> - Born in Cresco, Iowa</li>
<li id="1930s"><strong>1933</strong> - Leaves his family's farm to attend the University of Minnesota, <br>thanks to a Depression era program known as the "National Youth <br>Administration"</li>
<li ><strong>1935</strong> - Has to stop school and save up more money. Works in the Civilian <br>Conservation Corps, helping starving Americans. "I saw how food changed <br>them", he said. "All of this left scars on me."</li>
<li ><strong>1937</strong> - Finishes university and takes a job in the US Forestry Service</li>
<li><strong>1938</strong> - Marries wife of 69 years Margret Gibson. Gets laid off due to <br>budget cuts. Inspired by Elvin Charles Stakman, he returns to school study <br>under Stakman, who teaches him about breeding pest-resistent plants.</li>
<li id="1940s"><strong>1941</strong> - Tries to enroll in the military after the Pearl Harbor attack, but is <br>rejected. Instead, the military asked his lab to work on waterproof glue, DDT <br>to control malaria, disinfectants, and other applied science.</li>
<li><strong>1942</strong> - Receives a Ph.D. in Genetics and Plant Pathology</li>
<li><strong>1944</strong> - Rejects a 100% salary increase from Dupont, leaves behind his <br>pregnant wife, and flies to Mexico to head a new plant pathology program. <br>Over the next 16 years, his team breeds 6,000 different strains of disease <br>resistent wheat - including different varieties for each major climate on <br>Earth.</li>
<li><strong>1945</strong> - Discovers a way to grown wheat twice each season, doubling wheat <br>yields</li>
<li id="1950s"><strong>1953</strong> - crosses a short, sturdy dwarf breed of wheat with a high-yeidling <br>American breed, creating a strain that responds well to fertilizer. It goes on <br>to provide 95% of Mexico's wheat.</li>
<li id="1960s"><strong>1962</strong> - Visits Delhi and brings his high-yielding strains of wheat to the <br>Indian subcontinent in time to help mitigate mass starvation due to a rapidly <br>expanding population</li>
<li id="1070s"><strong>1970</strong> - receives the Nobel Peace Prize</li>
<li><strong>1983</strong> - helps seven African countries dramatically increase their maize and <br>sorghum yields</li>
<li><strong>1984</strong> - becomes a distinguished professor at Texas A&M University</li>
<li id="2000s"><strong>2005</strong> - states "we will have to double the world food supply by 2050." <br>Argues that genetically modified crops are the only way we can meet the <br>demand, as we run out of arable land. Says that GM crops are not <br>inherently dangerous because "we've been genetically modifying plants <br>and animals for a long time. Long before we called it science, people were <br>selecting the best breeds."</li>
<li><strong>2009</strong> - dies at the age of 95.</li>
</ul>
<p><i><italian>"Borlaug's life and achievement are testimony to the far-reaching <br>contribution that one man's towering intellect, persistence and scientific <br>vision can make to human peace and progress."
</br></br>-- Indian Prime Minister Manmohan Singh</i></strong></p>
</section></section>
</section>
</main>

<footer>
<p><strong>If you have time, you should read more about this incredible human being on his <a href="https://en.wikipedia.org/wiki/Norman_Borlaug" target="_blank">Wikipedia entry</a>.</strong></p>
</footer>
</body>

</html>
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