...MOVITATION FOR RETURNING TO SCHOOL Christina Armstrong ENG 121- Essential of College Writing “Narrative Essay” Instructor: Ginger Marcinkowski Monday, October 8, 2012 My motivation for returning to school will help me be a valuable contribution to myself, family and career; it will assist me in my respective work projects, as well as increase business opportunities. My motivation is a goal that began and was increased through variable stages; but, did not happen over night. The first stages were dealing with a failed marriage, pregnant, and raising two children with no high school diploma. I was 21 years of age with no job, no education, on public assistance and struggle with emotional challenge. I was lost, facing challenges that I did not know how change. I never was taught about the possibilities of education and the key to success. I did not have a clue of how to gain self motivation to get higher education; overall, I did not want to be uneducated on welfare and fall into the poor and deprive category. I needed to create a plan and build a legacy for my children, furthermore; how could I encourage them to get their high school diploma and I did not have one of my very own. I started off by enrolling into the General Educational Diploma (GED) program. On my graduation day I made a promise to my mother that one day I’ll get my degree. Even thou I made this promise, I had three sons and my initial focus was...
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...Mohsin Hamid’s ‘The Reluctant Fundamentalist’, is a framed narrative that explores the inflective journey and internal struggle for a sense of inner contentment. The author tackles these incredibly complex themes through the confronting story of a young Lahore man. Adapting himself towards a patriotic American society and diluting his personal contentment through the suppression of his own Heritage. Hence Hamid’s intentions behind the allegorical name of ‘Changez’ for ‘Change’. Hamid makes it quite clear early on in the text, that Changez is quite an unreliable narrator. Changez claims to the ambiguous American that he immediately felt at home in New York, however this is completely untrue as he also establishes his alienation from those around him, conveying the early stages of perversion to Changez’ sense of contentment. “The world around me was like a movie, and I was watching it, rather than living in it. It didn’t strike me at first, but it came from feeling out of place.” Studying abroad at Princeton University, Pakistani protagonist Changez is already faced with socialist and cultural disparity the moment he arrives at Princeton. Aiding the detachment he possesses from other students economic status, he adopts three on campus jobs, to maintain the mask of a Princeton persona. “At Princeton, I conducted myself in public like a young prince, generous and care free. But I Also quietly acquired three on campus job, in infrequently visited locations, so such a persona could...
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...theThreshold to the "special world", 6. Tests, Allies and Enemies, 7. Approach to the Innermost Cave, 8. The Ordeal, 9. Reward, 10. The Road Back, 11. The Resurrection, 12. Return with the Elixir. In narratology and comparative mythology, the monomyth, or the hero's journey, is the common template of a broad category of tales that involve a hero who goes on anadventure, and in a decisive crisis wins a victory, and then comes home changed or transformed.[1] The concept was introduced by Joseph Campbell in The Hero with a Thousand Faces (1949), who described the basic narrative pattern as follows: A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.[2] Campbell and other scholars, such as Erich Neumann, describe narratives of Gautama Buddha, Moses, and Christ in terms of the monomyth. Critics argue that the concept is too broad or general to be of much usefulness in comparative mythology. Others say that the hero's journey is only a part of the Monomyth. The other part is a sort of different form, or color, of the hero's journey ------------------------------------------------- erminology[edit] Campbell borrowed the word monomyth from Joyce's Finnegans Wake (1939). Campbell was a notable scholar of James Joyce's...
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...Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?……………………………………...
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...Free Download A History Of Zimbabwe Book A History Of Zimbabwe is writen by Alois S. Mlambo in English language. Release on 2014-04-07, this book has 304 page count that consist of valuable information with lovely reading experience. The book was publish by Cambridge University Press, it is one of best history book genre that gave you everything love about reading. You can find A History Of Zimbabwe book with ISBN 9781107021709. The first single-volume history of Zimbabwe with detailed coverage from pre-colonial times to the present, this book examines Zimbabwe's pre-colonial, colonial and postcolonial social, economic and political history and relates historical factors and trends to recent developments in the country. Zimbabwe is a country with a rich history, dating from the early San hunter-gatherer societies. The arrival of British imperial rule in 1890 impacted the country tremendously, as the European rulers exploited Zimbabwe's resources, giving rise to a movement of African nationalism and demands for independence. This culminated in the armed conflict of the 1960s and 1970s and independence in 1980. The 1990s were marked by economic decline and the rise of opposition politics. In 1999, Mugabe embarked on a violent land reform program that plunged the nation's economy into a downward spiral, with political violence and human rights violations making Zimbabwe an international pariah state. This book will be useful to those studying Zimbabwean history and those unfamiliar...
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...college graduate. I never imagined I would join the military, either. Up to this point, my educational and career journey has been thoroughly non-traditional—marked by twists and turns, changes of heart, and changes of plans. Going forward, however, the path is much clearer. I have spent the last three years executing a plan I made at the lowest point in my life. Hopefully, the next step of this plan will lead me to the Columbia University School of General Studies. For most of my life, I scoffed at the idea of attending...
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...STUDENTS’ PERCEPTIONS OF LEADERSHIP AND THE WAYS IN WHICH LEADERSHAPE INFLUENCES THE DEVELOPMENT OF STUDENT LEADERS A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts in The Interdepartmental Program in Liberal Arts by David Dial A.B., Duke University, 2002 May 2006 TABLE OF CONTENTS ABSTRACT................................................................................................................................... iii CHAPTER 1 INTRODUCTION, STATEMENT OF THE PROBLEM, METHOLOGY, AND LIMITATIONS....................................................................................................................1 Statement of the Problem..................................................................................................1 Methodology .....................................................................................................................3 Limitations of Current Study ............................................................................................6 2 LITERATURE REVIEW ....................................................................................................8 Gender as a Factor for Leadership Growth.....................................................................10 Race and Leadership Development ...........................................
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...and requirements as these may vary from country to country. 5. Incomplete applications will not be considered. 6. Do not mention the names of any U.S. universities you wish to attend in this application. The University Preference Sheet is included for that purpose. 7. If you do not hold a valid Pakistani passport, apply for one immediately. 8. Attach a copy of your complete CV. 9. All successful candidates are required to sign a contract with USEFP that binds them to return to Pakistan immediately after their program in the U.S. and serve the country for the number of years equivalent to the length of their scholarship program minimum of two years. This contract is redeemable on a year-for-year basis (minimum of two years) after returning to work in Pakistan, so that as long as a person fulfills the service requirement, he or she will pay nothing. Otherwise, a grantee will be legally...
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...An Ethics of Reading At the age of nine, Edith Wharton fell ill with typhoid. The local doctor told her parents nothing could be done and that their daughter would soon die. Only the ministrations of another physician, who happened to be passing through town and was prevailed upon to examine the girl, saved her life. Her fever fell, and the young Wharton began to recover. During her convalescence, she read voraciously. One of the books she was given contained a “super-natural” tale — a story which turned out to be, in Wharton’s own phrase, “perilous reading” (Wharton, p.275). In the original manuscript of her autobiography, Edith Wharton describes how reading this uncanny story occasioned a relapse, which brought her, once again, “on the point of death”: This one [book] brought on a serious relapse, and again my life was in danger and when I came to myself, it was to enter a world haunted by formless horrors. I had been a naturally fearless child; now I lived in a state of chronic fear. Fear of what? I cannot say — and even at the time, I was never able to formulate my terror. It was like some dark undefinable menace forever dogging my steps, lurking, threatening; (pp.275‑6).[1] According to Wharton, an act of reading plunged her body back into fatal illness. The young Edith Wharton did recover from the relapse, but its uncanny effects continued to haunt her well into adulthood. In “Women and Madness: the Critical Phallacy” (1975), Shoshana Felman tells another uncanny...
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...GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF INTERIOR DESIGN UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Alexandra M. Miller ACKNOWLEDGMENTS First, I would like to thank my committee chair, Dr. Margaret Portillo, for her direction and guidance throughout the entire research process. I would also like to thank Dr. M. Joyce Hasell for her support and valuable expertise. Additional thanks go to Dr. Larry Winner for his indispensable assistance as a statistical consultant. I would also like to thank PUSH for providing an excellent example of a fun workplace. In particular, I would like to thank partners John Ludwig, Chris Robb, and Rich Wahl for allowing me to conduct a case study of their business. Additional thanks go to Ron Boucher, Jourdan Crumpler, and Gordon Weller for taking the time to participate in interviews. I would also like to express my gratitude to Kathryn Voorhees for her help, humor, and friendship as she accompanied me throughout the research process. Finally, I would like to thank all of my friends and family for their support. In particular, I would like to thank to my parents for their constant support and for helping me to achieve my dreams. iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iii LIST OF TABLES..............................................................................
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...book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves included—frequently malign or ignore. As we have considered our quandary, we have come face-to-face with the central paradox that characterizes the genre: Teaching manuals tend to be distant, mechanical, impersonal, and lifeless, when in fact good teaching is immediate, flexible, personal, and lively. In this manual, therefore, we have attempted to communicate to fellow teachers...
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...Diasporic Cross-Currents in Michael Ondaatje’s Anil’s Ghost and Anita Rau Badami’s The Hero’s Walk HEIKE HÄRTING N HIS REVIEW of Anil’s Ghost, Todd Hoffmann describes Michael Ondaatje’s novel as a “mystery of identity” (449). Similarly, Aritha van Herk identifies “fear, unpredictability, secrecy, [and] loss” (44) as the central features of the novel and its female protagonist. Anil’s Ghost, van Herk argues, presents its readers with a “motiveless world” of terror in which “no identity is reliable, no theory waterproof” (45). Ondaatje’s novel tells the story of Anil Tessera, a Sri Lankan expatriate and forensic anthropologist working for a UN-affiliated human rights organization. Haunted by a strong sense of personal and cultural dislocation, Anil takes up an assignment in Sri Lanka, where she teams up with a local archeologist, Sarath Diyasena, to uncover evidence of the Sri Lankan government’s violations of human rights during the country’s period of acute civil war. Yet, by the end of the novel, Anil has lost the evidence that could have indicted the government and is forced to leave the country, carrying with her a feeling of guilt for her unwitting complicity in Sarath’s death. On one hand, Anil certainly embodies an ethical (albeit rather schematic) critique of the failure of global justice. On the other, her character stages diaspora, in Vijay Mishra terms, as the “normative” and “ exemplary … condition of late modernity” (“Diasporic” 441) — a condition usually associated...
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...HEROES By Robert Cormier Student notes for G Chapter 1 Summary Francis describes in stark and brutal detail his injuries sustained during the war, and how after the war he came to lodge with Mrs Belander in Frenchtown where he lived as a boy. He visits the church and says prayers for various important people in his life; thus we are introduced to some major and minor characters: Enrico, his mother and father, whom we learn are dead, and Nicole Renard and Larry LaSalle. Tension is created- he states his intention of killing Larry, but at this stage we do not know why. A flashback to the war introduces the theme of heroism- Francis has a Silver Star Medal, although he refuses to believe himself heroic – and reveals his love for Nicole. Language use My name is Francis Joseph Cassavant and I have just returned to Frenchtown in Monument and the war is over and I have no face. – compound sentence – pared gives only what he considers as essentials metaphor ‘ I have no face’ why is this effective? simile ‘ my nostrils are like two small caves’ – why is this effective? Narration follows the patterns of speech – how? What do we need to be aware of with a first person narrative? Characters Francis – disfigured and hiding, ‘I am like the hunchback of Notredame, my face likee a gargoyle and the dufflebag like a lump on my back’ – why is this allusion effective? Mrs Belander –...
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...London, 1816–1817 date of first publication · January 1, 1818 publisher · Lackington, Hughes, Harding, Mavor, & Jones narrator · The primary narrator is Robert Walton, who, in his letters, quotes Victor Frankenstein’s first-person narrative at length; Victor, in turn, quotes the monster’s first-person narrative; in addition, the lesser characters Elizabeth Lavenza and Alphonse Frankenstein narrate parts of the story through their letters to Victor. climax · The murder of Elizabeth Lavenza on the night of her wedding to Victor Frankenstein in Chapter 23 protagonist · Victor Frankenstein antagonist · Frankenstein’s monster setting (time) · Eighteenth century setting (place) · Geneva; the Swiss Alps; Ingolstadt; England and Scotland; the northern ice point of view · The point of view shifts with the narration, from Robert Walton to Victor Frankenstein to Frankenstein’s monster, then back to Walton, with a few digressions in the form of letters from Elizabeth Lavenza and Alphonse Frankenstein. falling action · After the murder of Elizabeth Lavenza, when Victor Frankenstein chases the monster to the northern ice, is rescued by Robert Walton, narrates his story, and dies tense · Past foreshadowing · Ubiquitous—throughout his narrative, Victor uses words such as “fate” and “omen” to hint at the tragedy that has befallen him; additionally, he occasionally pauses in his recounting to collect himself in the face of frightening memories. tone · Gothic, Romantic, emotional...
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...Instructor’s Manual to Accompany The Longman Writer Rhetoric, Reader, Handbook Fifth Edition and The Longman Writer Rhetoric and Reader Fifth Edition Brief Edition Judith Nadell Linda McMeniman Rowan University John Langan Atlantic Cape Community College Prepared by: Eliza A. Comodromos Rutgers, The State University of New Jersey New York San Francisco Boston London Toronto Sydney Tokyo Singapore Madrid Mexico City Munich Paris Cape Town Hong Kong Montreal NOTE REGARDING WEBSITES AND PASSWORDS: If you need a password to access instructor supplements on a Longman book-specific website, please use the following information: Username: Password: awlbook adopt Senior Acquisitions Editor: Joseph Opiela Senior Supplements Editor: Donna Campion Electronic Page Makeup: Big Color Systems, Inc. Instructor’s Manual to accompany The Longman Writer: Rhetoric, Reader, Handbook, 5e and The Longman Writer: Rhetoric and Reader, Brief Edition, 5e, by Nadell/McMeniman/Langan and Comodromos Copyright ©2003 Pearson Education, Inc. All rights reserved. Printed in the United States of America. Instructors may reproduce portions of this book for classroom use only. All other reproductions are strictly prohibited without prior permission of the publisher, except in the case of brief quotations embodied in critical articles and reviews. Please visit our website at: http://www.ablongman.com ISBN: 0-321-13157-6 1 2 3 4 5 6 7 8 9 10 - D O H - 05 04 03 02 CONTENTS ...
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