...This advice is particularly true if you're discussing an accomplishment that is listed elsewhere on the application. Your readers want to gain insight into your character, not read a factual summary of what occurred. Here are some guiding principles to use in constructing your answer: (1) Choose something that's meaningful to you. Some applicants feel obligated to choose the most objectively impressive accomplishments. You should write about something that has personal significance, even if you weren't formally recognized for it. What matters is that you write passionately and insightfully about your subject. Unless otherwise specified, you should feel free to draw on academic, personal, or professional successes. (2) Focus on details about the process. Show the reader through concrete details how you achieved what you did. If you want to discuss a grade you earned in a particularly challenging class, show us how you mastered the material. For example, describe creative strategies you used; don't rely on clichés like "I succeeded through hard work."http://www.free-essay-writing-topics.com/index.php?page=mba-application-accomplishment-questions...
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...call his name. In this poem, identity is not seen as something that is solid and concrete but as something that is situated and constructed by others, a glimpse of poststructuralist view on identity. Recently, language learning has been seen as participation and negotiation of self (see Higgins, forthcoming; Kinginger, 2004; Lam, 2000; Morita, 2004; Ohara, 2001; Pavlenko & Lantolf, 2000; and Solé, 2007 among others). The trend is resonated in the growing interest in language learner identity and the studies in narratives. In this paper, a case of heritage language learner will be investigated upon the theoretical frame of poststructuralism. Narrative inquiry will be used to analyze how she negotiates her learner identity. The purpose of this paper is two-fold: First, by looking at the struggle a language learner makes to acquire her heritage language, I reclaim the centrality of identity in defining heritage language learners. Second, to widen the horizons of narrative studies to the cyber space as it provides an ample source of easily accessible data and it has become one of the commonplace media of daily communication. Heritage Language Learners and Identity To refer to the Heritage Language Learners (HLLs), various terms have been implemented such as ‘native speakers,’ ‘quasi native speakers,’ ‘bilingual speakers,’ or, from the dissatisfaction with the prior terms, ‘home background speakers,’ and ‘heritage language speakers’ (Valés, 2005: p. 412). There has not yet been...
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...Gilead is in a terrible condition. “Sterile. There is no such thing as a sterile man anymore, not officially. There are only women who are fruitful and women who are barren, that's the law.” Use of emotive language and gender discrimination. Atwood positions the reader to respond with disgust. The obvious gender discrimination in Gilead is unjust and bigoted. The Commanders are old and unable to produce healthy sperm to impregnate the women; this is made obvious by the frequent expelling of healthy Handmaids. Upon monthly health checks, Offred is found to be able to bear children. There is no problem with her reproductive organs and this leads to the presumption that the real problem lies within the men. The obvious discrimination towards Handmaids causes feelings of revulsion within the reader. “I used to think of my body as an instrument, of pleasure, or a means of transportation, or an implement for the accomplishment of my will . . . Now the flesh arranges itself differently. I’m a cloud, congealed around a central object, the shape of a pear, which is hard and more real than I am and glows red within its translucent wrapping.” As Offred lays in the bath she now understands her meaning within the society. She sees herself now as only a vessel for a child, as a tool for Gilead rather than for her own happiness and wellbeing. In my society I am not exposed to the same circumstances within The Handmaids Tale. This therefore requires me to escape my own world and enter Offred’s...
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...through Theatre This paper sets out to explore how processes of theatre making employed by The Mothertongue project, provide spaces for women to remap their personal narratives. Mothertongue works from the premise that the development and subsequent performance of stories in theatrical processes affords women the opportunity to re-write and remap their personal narratives and in so doing insert their voices into the landscape of South African Theatre. In an attempt to redress the gender imbalances and androcentricism prevalent in post-apartheid theatre, this paper speaks to the relationship between theatre, liminality and communitas. I am interested in unpacking how collaborative processes of theatre-making provide spaces for women to remap their personal narratives. Remapping in this instance refers to processes of transforming lived experience through story. I address how, through engaging in ritual activities that are central to the stories performed, actors, audiences and the owners of the source stories are invited to physically participate in remapping and transforming lived experience. Linked to this is the choice of form(s) and how this affects or impacts on the performed stories as well as on the construction of performed rituals and ultimately on the processes of remapping personal narratives. I focus specifically on Mothertongue’s 2004 production, Uhambo: pieces of a dream. The production was an integration of theatre and visual art in the form of performances...
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...similarities in their narratives. Firstly, the author supports his claim by showing how they both reinforce an essentialist framework of thinking. Firstly, there was a rejection of any blame or accountability, as president Bush...
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...most influential American fiction writers who emerged in the 1990s. His debut novel, Fight Club (hereafter: FC) reached cult status after the film adaptation by David Fincher was released in 1999, and widespread and divided critical reception was soon to follow. Much of the current debate about Fight Club focuses on the political implications of the text, but most often recourse to it by way of referencing the film. These arguments usually question or celebrate the transgressive potentials of the book (Giroux; Mendieta), or address issues of masculinity brought into the fore by their literary and cinematic representations emergent in the same decade (Tuss; Friday). However, few, if any, have addressed the literary aspirations of the text and its author. Although none of the approaches to the thematic concerns of Fight Club are unjustified, in the argument that follows I will suggest that conclusions drawn and critical judgments passed have been hasty, and not only failed to take into account the formal aspects of story-telling, but that the narrative features of Palahniuk’s text have largely went unexplored, and constitute a blind spot of the reception. Critics condemning or acclaiming the novel, and, indeed, many a cultic reader of Palahniuk ignored Fight Club as a literary narrative, and have inadvertently been repeating the catchphrases of the text, either reinforcing or trying to undermine what they have understood as their meaning. I see the significance of Palahniuk’s fiction...
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...picture of the epic journey that the main character in the story, Valentino faces from the time that he flees the country to the time that he finally reaches what he thought would be the “Promised Land” in Atlanta, United States of America. He was soon to realize that even in America, life would not be a bed of roses but it would be marred by unexpected acts of violence and racial discrimination (Dave 28). One striking thing in the narrative is that the author brings out the culture of the Dinka people. For instance, polygamous nature of the Dinka people is clearly illustrated. The myth regarding the origin of the Dinka people is as well demonstrated (Bess). In regards to this origin, the Dinka people are given a choice by God to choose between the cattle and the “What is the What”. They choose the cattle which they understood better rather than “What is the What” which they did not as demonstrated in the line, "—you didn't tell us the answer: What is the What? My father shrugged. —We don't know. No one knows” (Dave 64). Through the narrative, a reader is informed on the historical background of the south Sudanese people. The relative geographical locations of the three African countries of Sudan, Ethiopia and Kenya are well described, painting an unforgettable picture in the mind of the reader. The diversity in different cultures comes out clearly in the book as the main character traverses boundaries. Valentino’s story illuminates the story of thousands of Sudanese boys and...
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... 1 Narrative Essay Unit 1, Assignment 1 Jeffrey Wayne Van Egeren ENGLISH 106 2 Document Contents This document contains the author’s narrative essay involving the topic chosen for a thesis statement. The thesis statement will be on the subject “A Family Reunion”. The final page holds an outline used to perform this essay. ENGLISH 106 3 A Family Reunion With this assignment, I have chosen “A Family Reunion” to incorporate within my thesis statement. I believe that this topic is best suited for me because my family has never had a happy or joyous reunion that I can remember. The disease of alcoholism runs very deep within the family history, and for that reason, I grew up in a very dysfunctional family setting. With that being stated, I will begin by saying, “Family Reunions are nothing but chaos, arguments, and showing off. Nothing enjoyable or happily memorable ever arises from having times put aside for this said occasion.” My parents were divorced when I was only 4 years old and to this day I still see the burnt images of their final argument instilled within my mind. My mother, rest her soul, had done what she could for our family, regardless of the fact that my father had given absolutely no support for the 9 children. I remember seeing my father, maybe twice, within the time of the divorce and...
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...Zhibo Yang Professor Collins-Porter 11/18/2015 FILM 101 Children of Men Children of Men, directed by Alfonso Cuaron, is a science fiction thriller film in 2006. After watching it, I start to think deeply because this film contains much information about political statements, philosophy, and religions. Children of Men tells the story of Theo Faron, one of the many bureaucrats from the energy department in UK. He seems like a common citizen, but does something uncommon later. In fact, the first thirty minutes is not quite interesting for me, but things has changed significantly after Julian is killed by shot. Later, Theo becomes a hero by rescuing Kee’s child, the child of miracle. This film has many advanced and significant aspects on many perspectives. So this paper is going to analyze the unique features in it. Narrative The story is located at the United Kingdom in 2027. At that time, human beings have experienced 18 years of infertility. Children of Men is a film with realistic narrative, because the story runs chronologically. And it follows the classic five-part narrative structure. We can clearly recognize the introduction: Theo hears the news about the death of baby Diego. Conflict and obstacles are throughout the story that Theo finds out Luke’s plan and helps Kee escape to “The Tomorrow”. Later climax comes with the ceasing fire of government army and revolt when they see Kee’s kid. And by the end of the film, we can hear kids laughing, which leaves us a hope...
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...I have been working over ten years in the field of education. I am a teacher of English and an interpreter. Founding president of BBC English Club, chairperson Eagle Association based on education and the English Clubs Council coordinator based on the promotion of human development through the practice of English. I am a Social Studies online teacher at the Nelson Mandela International School; the CEO and the Curriculum Learning Director of the English Club BBC.I am also a consultant, speaker, and trainer in youth networks in Congo for personal development and youth empowerment, a national mentor and international mentor with Aspire Foundation which aiming to make a difference to one (1) billion women by 2020. I have chosen this work because...
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...Postmodernism is dead A new exhibition signals the end of postmodernism. But what was it? And what comes next? by Edward Docx / July 20, 2011 / Leave a comment Published in August 2011 issue of Prospect Magazine I have some good news—kick back, relax, enjoy the rest of the summer, stop worrying about where your life is and isn’t heading. What news? Well, on 24th September, we can officially and definitively declare that postmodernism is dead. Finished. History. A difficult period in human thought over and done with. How do I know this? Because that is the date when the Victoria and Albert Museum opens what it calls “the first comprehensive retrospective” in the world: “Postmodernism—Style and Subversion 1970-1990.” Wait, I hear you cry. How do they know? And what was it? Postmodernism—I didn’t understand it. I never understood it. How can it be over? You are not alone. If there’s one word that confuses, upsets, angers, beleaguers, exhausts and contaminates us all, then it is postmodernism. And yet, properly understood, postmodernism is playful, intelligent, funny and fascinating. From Grace Jones to Lady Gaga, from Andy Warhol to Gilbert and George, from Paul Auster to David Foster Wallace, its influence has been everywhere and continues. It has been the dominant idea of our age. So what was it? Well, the best way to begin to understand postmodernism is with reference to what went before: modernism. Unlike, say, the Enlightenment or Romanticism, postmodernism (even as...
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...individuals to develop their capacities as I discover and manage resources to support visions of an improved educational system. I conclude by emphasizing the importance of my knowledge-creation in my professional practice as a Superintendent of Schools and by asking and answering the question: Why is there no simple or even complex answer to “what is educational leadership?” In the rhythm of the work, my efforts are often full of risk, sometimes disastrous, at which point I fall back, renew my energy and with my recognized tenacity, try another route. I will reveal as well how I carry that spirit, that life-affirming energy (Bataille, 1962; Whitehead, 1999) embodied in my whole being with a passion and internal power to effect good. Feminist Barbara Du Bois (1983) writes of "passionate scholarship" as being "science-making, which is rooted in, animated by and expressive of our values" (p. 113) (Belenky, et. al., 1986, p. 141). One of the reasons I can accomplish as much as I do is that the work and the relationships appear to be many and complex but because they are inter-related and connected they provide a synergy that produces results in numbers of seemingly different and unrelated focus areas. I find that as I am supporting individuals like Cheryl and Greg[1] and Maria[2] and Kim[3] in dialectical and dialogical processes that I am learning and improving myself and at the same time educating social formations (Bourdieu, 1990). I hold onto a vision of a whole system dedicated...
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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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...POLYTECHNIC UNIVERSITY OF THE PHILIPPINES Maragondon Branch Maragondon Cavite A NARRATIVE REPORT ON PRACTICUM 1 STORE PRACTICUM JACINTO E. ARAYATA JR. JUNE 09, 2014 JOLLIBEE TANZA ANTERO A. SORIANO HIGHWAY, DAANG AMAYA II TANZA, CAVITE A Narrative Report Submitted to the Faculty Of the Polytechnic University of the Philippines Maragondon Branch Maragondon, Cavite In partial fulfillment of the requirements for the Course in Bachelor of Science in Business Administration Major in Human Resource Development Management JACINTO E. ARAYATA JR. June 09, 2014 Republic of the Philippines Polytechnic University of the Philippines Maragondon Branch Maragondon, Cavite COLLEGE OF BUSINESS ADMINISTRATION Narrative Report of : JACINTO E. ARAYATA JR. Title : PRACTICUM EXPERIENCES AT JOLLIBEE TANZA APPROVED: PROF. CARMELITA M. CAULI ____________________ Practicum Professor Date APPROVAL SHEET A narrative report, entitled “A narrative report in on the job training” undertaken at Jollibee Foods Corporation located at Tanza, Cavite. Prepared and submitted by Jacinto Arayata Jr. in partial fulfillment of the requirements for Bachelor of Science in Business Administration Major in Human Resource Development Management, is hereby endorse for approval. Accepted and approved in partial fulfillment of the requirements for...
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...FOUNDATION INC. Bitas,Cabanatuan City NARRATIVE REPORT A partial fullfilment of the requirements in Bachelor of Science in Customs Administration Prepared by: Ms.Christine L. Dela Cruz CA-7B1 Prepared to: LCB Jayson G. Juan Adviser ACKNOWLEDGEMENT I would like to express my deepest gratitude and sincerest appreciation to the following; LCB Jayson G. Juan,our adviser and motivator,for his untiring support,guidance throughout the on the job training,enabling me to complete this narrative report. MIDWAY MARITIME FOUNDATION INC.,my institution for giving me a chance and all the knowledge to become an effective Customs Broker someday. MS.ROMANA O. GALINDO AND MR.CONSTANTINO L. CALICA,my superiors and my Kuya’s in the company Kuya Chris,Darwin and Hassan during my training,for their kindness,trust,tips,guidance,support on my training; MS.ANICETA R. PASCUAL,who gave me an opportunity to have my internship,for her love,support and guidance and who had been my companion before going to office and going home to apartment during my training. To my classmates and friends,who had been there as my companion on apartment during our stay,in bad times and good times,whom I share my daily experiences in our training. MR.DANILO and LORENA DELA CRUZ,my loving parents,for their love,encouragement,moral and financial support all the time. And above all to OUR LORD,who gave me all the knowledge and strength to complete this narrative report,and for all the things that he...
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