...Mrs. Johnson AP English 5 Period 1, 21 November 2014 Is “Safe” by Miranda Lambert the theme song for Nora or Hedda? Miranda Lambert’s song “Safe” is a better representation of Nora from Henrik Ibsen’s A Doll’s House than Hedda from his Hedda Gabler. The song begins with, “Just like the fringe on my boots, you move with every step I take” (Lambert). Likewise, Nora and her husband have equal dominance and work together; Torvald refers to them as, “We two…” rather than stating that it is only because of him that they are not in debt (Ibsen 2). In Hedda’s case, she and her husband could not even spend enough time together on their honeymoon, and therefore are not on “the same page”. The next lines, “You walk in front of me to make sure that I don’t fall” also relates to Nora because she confides in Mrs. Linde for advice, has the maid to take care of the children, and Helmer to provide money for the family, meaning she is rather dependent (Lambert). On the other hand, Hedda prefers to have control over everything by threatening and manipulating people and is independent. Additionally, the line, “We get prettier with time” represents how Nora and her family are finally starting to make money and have nice things, while Hedda and her husband seem rather distant, even on their honeymoon (Lambert). Since Hedda prefers to be superior, she would not, “find a way to free [her husband’s] hands [and] wash them clean” (Lambert). However, Nora cares a lot about helping her family, as Torvald...
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...prod listeners to champion for social change, the rock music market has fragmented so dramatically that rock and roll has lost the ability to impact mass sections of the population and has therefore, lost its unique voice and ability to effect real social change in US society. The turbulence of the 1960’s, due to the escalation of the conflict in Vietnam to a full out war, the assassination of both President John F. Kennedy and Martin Luther King Jr. and the push for civil rights for all people made for fertile ground for songwriters to encourage change for the better through their music. (Hibbard and Kaleialoha, p 122) Lyricists and composers worked in tandem to write songs to both inform the public and, in some cases, incite the public to take action against what was happening in, around and to the world. Songs such as “Blowin in the Wind, written by Bob Dylan in 1962 and “Ball of Confusion (that’s what the world is today)”, written by Norman Whitfield and Barrett Strong in 1970 for the Temptations spoke to the listener about war and the stress of living during the confusion of the late 1960’s and 1970’s. A survey of Top-40 rock stations in Los Angeles, the second largest radio market in the United States shows that in the 1960’s there were 3 major stations that appealed to teenagers and young...
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...Separate these by boy songs vs. girl songs Want Love Songs Love Somebody- Maroon 5 All the Single Ladies I Don’t Want to be Alone- The Frantic I Wanna Dance with Somebody- Whitney Houston All You Need is Love- The Beatles Crush Songs- Crush- David Archuleta You Belong With Me- Taylor Swift One Thing- One Direction I want to Hold Your Hand- Glee Love Bug- Jonas Brothers One Time- Justin Bieber Hello, is it Me you’re Looking For Girlfriend- Avril Lavigne Boy’s Like Girls Teardrops on My Guitar- Taylor Swift CrushCrushCrush- Paramore PYT- Michael Jackson I’ll Be There- Michael Jackson Attraction Songs Stole My Heart – One Direction Loved You First- One Direction Boom Clap- Charlie XCX Just the Way You Are- Bruno Mars I Want Crazy- Hunter Hayes Tattooed Heart- Ariana Grande It’s Gonna Be Love- Mandy Moore I Melt- Rascal Flatts Things I’ll Never Say- Avril Lavigne Every Breath You Take- The Police I’ll Be There- Jackson 5 You Are Not Alone- Michael Jackson The Way You Make Me Feel- Michael Jackson Cheat Songs Before He Cheats- Carrie Underwood Say My Name- Destiny’s Child Jolene- Dolly Parton There Ya Go- Pink Take a Bow- Rhianna Long Distance Songs A Thousand Miles- Vanessa Carlton Far Away- Nickelback The Power of Love- Celine Dion Your Call- Second Hand Serenade Commitment Songs I’m Yours- Jason Mraz Everything Has Changed- Taylor Swift Slow Down- Selena Gomez Unconditionally- Katy Perry Never Say Never- The Fray ...
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...The CMT Music Awards aired on last night, and the night belonged to Carrie Underwood. The country singer walked away with three awards for Video of the Year ("Something in the Water"), Female Video of the Year ("Something in the Water"), and Collaborative Video of the Year ("Somethin' Bad" with Miranda Lambert). During her acceptance speech, Underwood graciously thanked her loyal fans. "This is such an amazing blessing. I have the bet fans in the world. I really do," she said. Her appearance at the awards show is Underwood's first since the birth of her son in February. Underwood stated that her bundle of joy has inspired her greatly, and she also thanked her husband Mike Fisher during one of her acceptance speeches. Underwood has now earned...
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...Songs in our generation convey a large variety of meanings, this particular song, “House that Build Me” effectively conveys its theme and tone through a series of literary techniques. This song shares the story of a young girl who ventures out into the real world only to realize that she has lost her way. She feels distant and broken inside and realizes that there is only one way to fix this emptiness. She then goes to visit her very first home where all her fondest memories were made only to find that it is now someone else’s home. She implores the current resident of the home to let her in and assure her that she comes with the purest of intentions. As she walks around the house she realizes where she came from, as well as the values and dreams she was raised with. The very first literary device used is one of personification, used in the verse “From the house that built me.” This line, if interpreted literally, states that the house physically built the speaker. However, if this same line is interpreted figuratively, is reads that the house is such a big part of her memory and childhood that it is the foundation of who she is today. Throughout the song, the artist speaks of a house that she is visiting. This house is a symbol used to represent her roots and all the thing life used to consist of that are now gone. This could be representative of family that passed, morals that were compromised, or perhaps a negative change in one’s own personality. There are very few rhymes...
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...Gender roles are a set of norms dictated by society that describe behaviors that are generally considered acceptable for a person based on their sex. These roles are acknowledged through both verbal and nonverbal messages from society. Babies in the hospital are wrapped in either a pink or blue blanket to show their gender, this is an unspoken gender message. When a boy on the playground decides to play with a doll that is lying around, other children might try and stop him, or even taunt him saying that dolls are for girls. This spoken message is one that is taught to children at a young age, not necessarily by their parents but by the culture surrounding them. Cultural messages are dictated by society to help shape perceptions of self and others. Cultural messages help to perpetuate gender roles in a variety of mediums, from television, to books, even the music people listen to. Music videos are a great way to view a culture’s message about gender. In all genres of music, men and women represent specific roles. Rap/Hip-hop, Rock, and Country music are all prime examples. Traditional male gender roles include things like always being in control, being tough, working hard, and being the primary caregivers for their families. Young boys are subjected to these behaviors from the very start. They hear it from their fathers, their peers, and others they look up to. Musicians use self-presentation to strategically act out a self in response to the expectations of their...
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...http://mp3.li/index.php?q=Eminem%20-%20Without%20Me http://mp3.li/index.php?q=jason+mraz Tangga lagu terbaru Barat : Honeymonday Cemistry-sonisonic Handshake Change of season Doin dirt-maroon5 Evertinglastlove We found love-rihanna 1: Call Me Maybe, Carly Rae Jepsen 2: Wide Awake, Katy Perry 3: Payphone, Maroon 5 Featuring Wiz Khalifa 4: Whistle, Flo Rida5: Lights, Ellie Goulding 6: Somebody That I Used To Know, Gotye Featuring Kimbra 7: Where Have You Been, Rihanna 8: Titanium, David Guetta Featuring Sia 9: Scream, Usher 10: Blow Me (One Last Kiss), P!nk 11: Some Nights, fun. 12: Want U Back, Cher Lloyd 13: Good Time, Owl City & Carly Rae Jepsen 14: Mercy, Kanye West, Big Sean, Pusha T, 2 Chain 15: We Are Young, fun. Featuring Janelle Monae 16: What Makes You Beautiful, One Direction 17: Let's Go, Calvin Harris Featuring Ne-Yo 18: Give Your Heart A Break, Demi Lovato 19: Everybody Talks, Neon Trees 20: Starships, Nicki Minaj 21: Wild Ones, Flo Rida Featuring Sia 22: Pontoon, Little Big Town 23: I Won't Give Up, Jason Mraz 24: Glad You Came, The Wanted 25: Come Over, Kenny Chesney 26: We Run The Night, Havana Brown Featuring Pitbull 27: No Lie, 2 Chainz Featuring Drake 28: As Long As You Love Me, Justin Bieber Featuring Big Sean | Terlambat.info Lagu Barat Terbaru Justin Bieber recycle 29: Drive By, Train 30: Too Close, Alex Clare 31: Take A Little Ride, Jason Aldean 32: Work Hard, Play Hard, Wiz Khalifa 33: Drunk On You, Luke Bryan 34: Angel Eyes, Love And Theft 35: Wanted...
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...Principles of Measurement Mosso member of the FASB FASB’s Conceptual Framework project over the period 1973-1985 Define measurement Measurement is the assignment of numerals and other symbols to represent the magnitude of an attribute of a phenomenon Phenomenon A thing or event of interest E.g. a table, a performance, an exam Attribute A characteristic or quality of the phenomenon to be measured Magnitude The extent to which the phenomenon has the attribute Often we can’t directly observe a phenomenon of interest We need to find a substitute Direct observation- the only time we can accurately observe the attribute and phenomenon How happy is the baby? Phenomenon-baby Attribute-happiness Can you measure this attribute directly? NO Smiles per hour Laughter per day Financial Statements: When investors focus on a company’s net income, is net income necessarily the investors’ attribute of interest Firm performance Firm future performance What two things do accounting measures often represent Performance- what have we done? Position- what do we have? Business Strategy and Accounting USSBA Too many teams to manage What is strategy according to Porter? Strategy is creating a fit among an organization’s activities (to enable it to realize its goal or mission). The success of a strategy depends on doing many things well and integrating among them Operational Effectiveness versus Strategic Positioning Operational effectiveness Performing similar activities...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...M A G A Z I N E FA L L 2 0 0 2 Volume 20 Number 2 SPANNING THE GLOBE Duke Leads the Way in International Law Teaching and Scholarship inside plus Duke admits smaller, exceptionally well-qualified class Duke’s Global Capital Markets Center to launch new Directors’ Education Institute from the dean Dear Alumni and Friends, It is not possible, these days, for a top law school to be anything other than an international one. At Duke Law, we no longer think of “international” as a separate category. Virtually everything we do has some international dimension, whether it concerns international treaties and protocols, commercial transactions across national borders, international child custody disputes, criminal behavior that violates international human rights law, international sports competitions, global environmental regulation, international terrorism, or any number of other topics. And, of course, there is little that we do at Duke that does not involve scholars and students from other countries, who are entirely integrated with U.S. scholars and students. Students enrolled in our joint JD/LLM program in international and comparative law receive an in-depth education in both the public and private aspects of international and comparative law, enriched by the ubiquitous presence of foreign students; likewise, the foreign lawyers who enroll in our one-year LLM program in American law enroll in the same courses, attend the same conferences...
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...M A G A Z I N E FA L L 2 0 0 2 Volume 20 Number 2 SPANNING THE GLOBE Duke Leads the Way in International Law Teaching and Scholarship inside plus Duke admits smaller, exceptionally well-qualified class Duke’s Global Capital Markets Center to launch new Directors’ Education Institute from the dean Dear Alumni and Friends, It is not possible, these days, for a top law school to be anything other than an international one. At Duke Law, we no longer think of “international” as a separate category. Virtually everything we do has some international dimension, whether it concerns international treaties and protocols, commercial transactions across national borders, international child custody disputes, criminal behavior that violates international human rights law, international sports competitions, global environmental regulation, international terrorism, or any number of other topics. And, of course, there is little that we do at Duke that does not involve scholars and students from other countries, who are entirely integrated with U.S. scholars and students. Students enrolled in our joint JD/LLM program in international and comparative law receive an in-depth education in both the public and private aspects of international and comparative law, enriched by the ubiquitous presence of foreign students; likewise, the foreign lawyers who enroll in our one-year LLM program in American law enroll in the same courses, attend the same conferences...
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...2012 Doing business in a more transparent world C O M PA R I N G R E G U L AT I O N F O R D O M E S T I C F I R M S I N 1 8 3 E C O N O M I E S © 2012 The International Bank for Reconstruction and Development / The World Bank 1818 H Street NW Washington, DC 20433 Telephone 202-473-1000 Internet www.worldbank.org All rights reserved. 1 2 3 4 08 07 06 05 A copublication of The World Bank and the International Finance Corporation. This volume is a product of the staff of the World Bank Group. The findings, interpretations and conclusions expressed in this volume do not necessarily reflect the views of the Executive Directors of The World Bank or the governments they represent. The World Bank does not guarantee the accuracy of the data included in this work. Rights and Permissions The material in this publication is copyrighted. Copying and/or transmitting portions or all of this work without permission may be a violation of applicable law. The World Bank encourages dissemination of its work and will normally grant permission to reproduce portions of the work promptly. For permission to photocopy or reprint any part of this work, please send a request with complete information to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, USA; telephone: 978-750-8400; fax: 978-750-4470; Internet: www.copyright.com. All other queries on rights and licenses, including subsidiary rights, should be addressed to the Office of the Publisher, The World Bank, 1818...
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