...anyone else. If a society’s rules are made to uphold its values, then Piggy should’ve been held to almost the same regard as Ralph on the island, as he should’ve been the one to uphold the boys’ sense of clarity. Another relationship that the glasses have with Piggy is that they literally provide him with clear vision. Without his glasses, he can “hardly see [his] hand”(41) in front of his face, and when they are gone, he says he is “blinded”(169). The glasses as a symbol of clear vision is illustrated by the physical use of them as spectacles. If a society’s values are to be upheld by its rules, then the one who wields the glasses with clarity should be respected, however, Piggy is bullied immediately among the boys for his corpulence, and this verbal abuse eventually spirals into physical abuse: "Jack smacked Piggy's head....
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...Piggy didn't lose his morals; he always kept his strong belief in order, civilization, and doing the right thing. Piggy gets angry when rules are broken. "'They've got our fire.' Rage shrilled his voice. 'They stole it!' 'That's them,' said Piggy. 'They blinded me. See? That's Jack Merridew. You call an assembly, Ralph, we got to decide what to do,'" (chapter 11). Piggy is very angry that Jack has done wrong by stealing his glasses. He wants things to be done correctly, he is very opposed to Jack’s way of doing things. Piggy strongly believes in the power of Ralph's position as chief. He believes in the order of calling an assembly to fix what has been done wrong. Piggy also strongly believes in doing things in the right way. Piggy states his...
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...A Guide to Writing the Literary Analysis Essay I. INTRODUCTION: the first paragraph in your essay. It begins creatively in order to catch your reader’s interest, provides essential background about the literary work, and prepares the reader for your major thesis. The introduction must include the author and title of the work as well as an explanation of the theme to be discussed. Other essential background may include setting, an introduction of main characters, etc. The major thesis goes in this paragraph usually at the end. Because the major thesis sometimes sounds tacked on, make special attempts to link it to the sentence that precedes it by building on a key word or idea. A) Creative Opening/Hook: the beginning sentences of the introduction that catch the reader’s interest. Ways of beginning creatively include the following: 1) A startling fact or bit of information Example: Nearly two hundred citizens were arrested as witches during the Salem witch scare of 1692. Eventually nineteen were hanged, and another was pressed to death (Marks 65). 2) A snatch of dialogue between two characters Example: “It is another thing. You [Frederic Henry] cannot know about it unless you have it.” “ Well,” I said. “If I ever get it I will tell you [priest].” (Hemingway 72). With these words, the priest in Ernest Hemingway’s A Farewell to Arms sends the hero, Frederic, in search of the ambiguous “it” in his life. 3) A meaningful quotation (from the book you are analyzing...
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...Soledad O'Brien states, “I've learned that fear limits you and your vision. It serves as blinders to what may be just a few steps down the road for you” (qtd.in “Soledad O'Brien Quotes”). Being apprehensive can lead one astray from his or her goals, and can cause complete change within a person. In the novel Lord of the Flies by William Golding, a group of British boys are stranded on an island, without any any adults, after their plane crashes. Amongst the boys, some, such as Ralph, Piggy, and Simon are rational and still have their minds and bodies invested in being rescued. The other’s, under the command of Jack Merridew, have let rumours of of a beast, and a blind, burning, passion to hunt fog their minds leaving only the lust for savagery...
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...International Relations Theory The new edition of International Relations Theory: A critical introduction introduces students to the main theories in international relations. It explains and analyzes each theory, allowing students to understand and critically engage with the myths and assumptions behind each theory. Key features of this textbook include: • discussion of all of the main theories: realism and (neo)realism, idealism and (neo)idealism, liberalism, constructivism, postmodernism, gender, and globalization two new chapters on the “clash of civilizations” and Hardt and Negri’s Empire innovative use of narratives from films that students will be familiar with: Lord of the Flies, Independence Day, Wag the Dog, Fatal Attraction, The Truman Show, East is East, and Memento an accessible and exciting writing style which is well-illustrated with boxed key concepts and guides to further reading. • • • This breakthrough textbook has been designed to unravel the complexities of international relations theory in a way that allows students a clearer idea of how the theories work and the myths that are associated with them. Cynthia Weber is Professor of International Studies at the University of Lancaster. She is the author of several books and numerous articles in the field of international relations. International Relations Theory A critical introduction Second edition Cynthia Weber First published 2001 by Routledge Second edition published 2005 by Routledge...
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...ENGLISH HANDBOOK -“Welcome to my evil lair…” -Mr. Braiman Brooklyn High School of the Arts www.mrbraiman.com http://handbook.mrbraiman.com “EVIL” Welcome to my evil classroom lair. In order to become full-fledged evil “minions,” you need to read this handbook carefully. It explains everything you need to know. “English,” as you may know, is shorthand for “English Language Arts.” Being that we are in an Arts school, but one where academics must and always do come first, it is important that we approach the subject as what it is: an art form. How does one study the arts? What exactly do we do when we study drawing, sculpture, music, or dance? Well, anyone who has studied the arts will tell you that studying the arts essentially involves two things: • Learning about, and developing an awareness of and appreciation for, existing works of art in that particular form; • Developing the skills and techniques associated with the art form, in order to create our own works. In the case of language arts, much like any other art form, we will be studying existing works of art (i.e., reading books, stories and poems), and developing the skills to produce our own (i.e., writing). That’s what English Language Arts is. We will also be preparing ourselves for New York State’s Regents Comprehensive Examination in English, which we’ll all be taking in June. This two-day, six-hour, four-part exam requires no specific knowledge or content, but it does require the skills to listen, read,...
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...21 23 32 SECOND DRAFT 4.1.4 Drama 4.1.5 Films 4.1.6 Literary Appreciation 4.1.7 Schools of Literary Criticism 4.2 Catering for Learner Diversity 4.3 Meaningful Homework 4.4 Role of Learners Chapter 5 41 45 52 69 71 72 73 74 Assessment 5.1 Guiding Principles 5.2 Internal Assessment 5.2.1 Formative Assessment 5.2.2 Summative Assessment 5.3 Public Assessment 5.3.1 Standards-referenced Assessment 5.3.2 Modes of Public Assessment 74 74 74 75 77 77 77 Quality Learning and Teaching Resources 104 6.1 Use of Set Texts 6.2 Use of Other Learning and Teaching Resources 104 108 Chapter 6 Chapter 7 109 Supporting Measures 7.1 Learning and Teaching Resource Materials 7.2 Professional Development 109 109 Appendix 1 Examples of Poetry Analysis 110 Appendix 2 Examples of...
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...Leadership Learnings From Bloggers 2008 Edition Leadership Learnings from Bloggers 2008 Edition Released February 2009 Aggregated and produced by Exponential Media, a Division of Exponential Network Leadership Learnings from Bloggers is a collection of blog posts on leadership from over 20 national leaders / bloggers. Disclaimer In selecting the 20+ bloggers for this resource, we choose leaders with experience on the front lines. However, Exponential Network makes no warranties or representations regarding the accuracy, validity or originality of each blogger’s content. Exponential Network is serving as an aggregator of leading bloggers and does not necessarily agree with the opinions and beliefs represented in individual posts. We’ve attempted to include their content verbatim from their web sites except for obvious typographical errors. Statement of Copyright The individual posts in this eBook are the copyright of each author. These authors have agreed to make the aggregation of these posts available free of charge via this eBook. The following conditions apply to the use of this free eBook resource: Share. Just as the authors are sharing this eBook with you, you may copy, distribute and transmit the work to others. Attribution. You must attribute the work in the manner specified by each blog post author (but not in any way that suggests that they endorse you or your use of the work). Noncommercial. You may not use this work for commercial purposes for financial...
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...ESSENTIALS OF MARKETING THIRD EDITION JIM BLYTHE Essentials of Marketing ii Marketing Planning: principles in practice We work with leading authors to develop the strongest educational materials in marketing, bringing cutting-edge thinking and best learning practice to a global market. Under a range of well-known imprints, including Financial Times Prentice Hall, we craft high quality print and electronic publications which help readers to understand and apply their content, whether studying or at work. To find out more about the complete range of our publishing please visit us on the World Wide Web at: www.pearsoned.co.uk Last A Head on Spread 000 Jim Blythe University of Glamorgan Essentials of Marketing Third Edition Pearson Education Limited Edinburgh Gate Harlow Essex CM20 2JE England and Associated Companies throughout the world Visit us on the World Wide Web at: www.pearsoned.co.uk First published under the Financial Times Pitman Publishing imprint 1998 Second edition 2001 Third edition 2005 © Financial Times Professional Limited 1998 © Pearson Education Limited 2001, 2005 The right of Jim Blythe to be identified as author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. 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 either the prior written...
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...Gibreel II Mahound III Ellowen Deeowen IV Ayesha V A City Visible but Unseen VI Return to Jahilia VII The Angel Azraeel VIII The Parting of the Arabian Seas IX A Wonderful Lamp Satan, being thus confined to a vagabond, wandering, unsettled condition, is without any certain abode; for though he has, in consequence of his angelic nature, a kind of empire in the liquid waste or air, yet this is certainly part of his punishment, that he is . . . without any fixed place, or space, allowed him to rest the sole of his foot upon. Daniel Defoe, _The History of the Devil_ I The Angel Gibreel "To be born again," sang Gibreel Farishta tumbling from the heavens, "first you have to die. Hoji! Hoji! To land upon the bosomy earth, first one needs to fly. Tat-taa! Taka-thun! How to ever smile again, if first you won't cry? How to win the darling's love, mister, without a sigh? Baba, if you want to get born again . . ." Just before dawn one winter's morning, New Year's Day or thereabouts, two real, full-grown, living men fell from a great height, twenty-nine thousand and two feet, towards the English Channel, without benefit of parachutes or wings, out of a clear sky. "I tell you, you must die, I tell you, I tell you," and thusly and so beneath a moon of alabaster until a loud cry crossed the night,...
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...fourth EDItION fourth EDItION This clear, learner-friendly text helps today’s students bridge the gap between Its comprehensiveness allows instructors to tailor the material to their individual teaching styles, resulting in an exceptionally versatile text. Highlights of the Fourth Edition: Additional readings and essays in a new Appendix as well as in Chapters 7 and 8 nearly double the number of readings available for critical analysis and classroom discussion. An online chapter, available on the instructor portion of the book’s Web site, addresses critical reading, a vital skill for success in college and beyond. Visit www.mhhe.com/bassham4e for a wealth of additional student and instructor resources. Bassham I Irwin Nardone I Wallace New and updated exercises and examples throughout the text allow students to practice and apply what they learn. MD DALIM #1062017 12/13/09 CYAN MAG YELO BLK Chapter 12 features an expanded and reorganized discussion of evaluating Internet sources. Critical Thinking thinking, using real-world examples and a proven step-by-step approach. A student ' s Introduction A student's Introduction everyday culture and critical thinking. It covers all the basics of critical Critical Thinking Ba ssha m I Irwin I Nardone I Wall ace CRITICAL THINKING A STUDENT’S INTRODUCTION FOURTH EDITION Gregory Bassham William Irwin Henry Nardone James M. Wallace King’s College TM bas07437_fm_i-xvi.indd i 11/24/09 9:53:56 AM TM Published by McGraw-Hill...
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...fourth EDItION Critical Thinking A student ' s Introduction Ba ssha m I I rwi n I N ardon e I Wal l ac e CRITICAL THINKING A STUDENT’S INTRODUCTION FOURTH EDITION Gregory Bassham William Irwin Henry Nardone James M. Wallace King’s College TM TM Published by McGraw-Hill, an imprint of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2011, 2008, 2005, 2002. All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. This book is printed on acid-free paper. 1 2 3 4 5 6 7 8 9 0 DOC/DOC 0 ISBN: 978-0-07-340743-2 MHID: 0-07-340743-7 Vice President, Editorial: Michael Ryan Director, Editorial: Beth Mejia Sponsoring Editor: Mark Georgiev Marketing Manager: Pam Cooper Managing Editor: Nicole Bridge Developmental Editor: Phil Butcher Project Manager: Lindsay Burt Manuscript Editor: Maura P. Brown Design Manager: Margarite Reynolds Cover Designer: Laurie Entringer Production Supervisor: Louis Swaim Composition: 11/12.5 Bembo by MPS Limited, A Macmillan Company Printing: 45# New Era Matte, R. R. Donnelley & Sons Cover Image: © Brand X/JupiterImages Credits: The credits section for this book begins on page C-1 and is considered...
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...www.GetPedia.com * More than 500,000 Interesting Articles waiting for you . * The Ebook starts from the next page : Enjoy ! * Say hello to my cat "Meme" Easy PDF Copyright © 1998,2003 Visage Software This document was created with FREE version of Easy PDF.Please visit http://www.visagesoft.com for more details The Oxford Guide to English Usage CONTENTS Table of Contents =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Title Page TITLE EDITION Edition Notice Notices NOTICES CONTENTS Table of Contents Introduction FRONT_1 FRONT_2 Grammatical Terms Used in This Book Abbreviations FRONT_3 Word Formation 1.0 abbreviations 1.1 -ability and -ibility 1.2 -able and -ible 1.3 ae and oe 1.4 American spelling 1.5 ante- and anti- 1.6 -ant or ant 1.7 a or an 1.8 -ative or -ive 1.9 by- prefix 1.10 c and ck 1.11 capital or small initials 1.12 -cede or -ceed 1.13 -ce or -se 1.14 co- prefix 1.15 doubling of final consonant 1.16 dropping of silent -e 1.17 -efy or -ify 1.18 -ei or -ie- 1.19 en- or in- 1.20 -er and -est 1.21 -erous or -rous 1.22 final vowels before suffixes 1.23 for- and fore- 1.24 f to v 1.25 -ful suffix 1.26 hyphens 1.27 -ified or -yfied 1.28 in- or un- 1.29 i to y 1.30 -ize and -ise 1.31 l and ll 1.32 -ly 1.33 -ness 1.34 -or and -er 1.35 -oul- 1.36 -our or -or 1.37 Easy PDF Copyright © 1998,2003 Visage Software This document was created with FREE version of Easy PDF.Please visit http://www.visagesoft.com for more...
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...John Wiley & Sons, Inc. More Praise for The Secret Language of Leadership “Out of the morass of strategies leaders are given to transform organizations, Denning plucks a powerful one—storytelling— and shows how and why it works.” —Dorothy Leonard, William J. Abernathy Professor of Business, Emerita, Harvard Business School, and author, Deep Smarts: How to Cultivate and Transfer Enduring Business Wisdom “The Secret Language of Leadership shows why narrative intelligence is central to transformational leadership and how to harness its power.” —Carol Pearson, director, James MacGregor Burns Academy of Leadership, University of Maryland, and coauthor, The Hero and the Outlaw “The Secret Language of Leadership is not only the best analysis I have seen of how and why leaders succeed or fail, it’s highly readable, as well as downright practical. It should be mandatory reading for anyone interested in engaging a company with big ideas who understands that leaders live and die by the quality of what they say.” —Richard Stone, story analytics master, i.d.e.a.s “A primary role of leaders is to create and maintain meaning for their organizations. Denning clearly demonstrates that meaningmaking comes from stories well told.” —Thomas Davenport, President’s Distinguished Professor of I.T. and Management, Babson College, and author, The Attention Economy “Steve Denning is one of the leading thinkers on the power of narrative in business settings. His latest book is a smart,...
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...Physical Chemistry Understanding our Chemical World Physical Chemistry Understanding our Chemical World Paul Monk Manchester Metropolitan University, UK Copyright 2004 John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex PO19 8SQ, England Telephone (+44) 1243 779777 Email (for orders and customer service enquiries): cs-books@wiley.co.uk Visit our Home Page on www.wileyeurope.com or www.wiley.com 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, scanning or otherwise, except under the terms of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London W1T 4LP, UK, without the permission in writing of the Publisher. Requests to the Publisher should be addressed to the Permissions Department, John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex PO19 8SQ, England, or emailed to permreq@wiley.co.uk, or faxed to (+44) 1243 770620. This publication is designed to provide accurate and authoritative information in regard to the subject matter covered. It is sold on the understanding that the Publisher is not engaged in rendering professional services. If professional advice or other expert assistance is required, the services of a competent professional should be sought. Other Wiley...
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