...Alex Moraga Professor Dreiling English 102 21, June 2014 Opinion Essay Charlotte Perkins Gilman’s “ The Yellow Wallpaper” A Woman’s Journey from Subservience to Freedom Are male and female minds created equal? Charlotte Perkins Gilman shows us the ideals towards women, held by society in the late 1800’s. Her story, “The Yellow Wallpaper”, written in the first person point of view, takes us on a journey through the mind of the narrator. The narrator secretly writes in a diary and as we read through her diary entries, we are able to see that during this time in history, women were seen as weak, meek and humble. They were expected to be subservient to men and unequal to their male counterparts in all aspects. Men are seen as being superior to women and godlike. As we read the diary we are looking into her mind, we see how she thinks and how she is expected to think. We meet her as a subservient woman who obeys and believes in her husband. By the end of the journey she has freed herself mentally and shows us that men can be weak. “The Yellow Wallpaper”, is a story of a woman’s mental journey to freedom. From the very beginning of the story the narrator gives us insight into her mind. In today’s times we would view her ability to wonder and question as creative. During these times, her inquisitive mind was seen as an illness. The narrator and her husband are off to a summer getaway. The summer getaway was really a “cure” prescribed...
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...The Yellow Wallpaper and the Wallpaper The short story “The Yellow Wallpaper” by Charlotte Perkins Gilman is about a woman (the narrator) who becomes crazy. She loses touch with the outside world because she is isolated in one room in such a large house. In this short story there are two symbols, people and the bedroom who affect the women in many different ways. Some of these things may seem innocent to her but are a little bizarre to us. The theme of this short story is self-expression. This poor woman is dealing with depression and is being forced to hide her fears and anxiety from everyone so it looks like she is winning the battle. The setting of this short story is mostly takes place in her bedroom. Her husband John is a physician and he said she is sick and needs to stay in her room and rest. So she can’t go outside or interactive with anyone or even her newborn baby. In the beginning of the short story she says “[The house] is quite alone standing well back from the road, quite three miles from the village. It makes me think of English places that you read about, for there are hedges and walls and gates that lock, and lots of separate little houses for the gardeners and people." Meaning that the house looks like a quiet place surrounded by no other houses just like her, she was stuck in a quiet room with just herself. Also she said “A colonial mansion, a hereditary estate, I would say a haunted house, and reach the height of romantic felicity- but that would...
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...Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory:...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK 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, except as permitted by the UK Copyright, Designs, and...
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...Philosophy and Design Pieter E. Vermaas • Peter Kroes Andrew Light • Steven A. Moore Philosophy and Design From Engineering to Architecture Pieter E. Vermaas Delft University of Technology Delft the Netherlands Andrew Light University of Washington Seattle USA Peter Kroes Delft University of Technology Delft the Netherlands Steven A. Moore University of Texas Austin USA ISBN 978-1-4020-6590-3 e-ISBN 978-1-4020-6591-0 Library of Congress Control Number: 2007937486 © 2008 Springer Science + Business Media B.V. No part of this work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the Publisher, with the exception of any material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Printed on acid-free paper. 9 8 7 6 5 4 3 2 1 springer.com Contents List of Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Design in Engineering and Architecture: Towards an Integrated Philosophical Understanding . . . . . . . . . . . . . . . . . Peter Kroes, Andrew Light, Steven A. Moore, and Pieter E. Vermaas Part I Engineering Design ix 1 Design, Use, and the Physical and Intentional Aspects of Technical Artifacts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ...
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...Study Guide to Accompany Meggs’ History of Graphic Design Fourth Edition Prepared by Susan Merritt Professor and Head of Graphic Design School of Art, Design, and Art History San Diego State University (SDSU) With assistance from Chris McCampbell and Jenny Yoshida John Wiley & Sons, Inc. i DISCLAIMER The information in this book has been derived and extracted from a multitude of sources including building codes, fire codes, industry codes and standards, manufacturer’s literature, engineering reference works, and personal professional experience. It is presented in good faith. Although the authors and the publisher have made every reasonable effort to make the information presented accurate and authoritative, they do not warrant, and assume no liability for, its accuracy or completeness or fitness for any specific purpose. The information is intended primarily as a learning and teaching aid, and not as a final source of information for the design of building systems by design professionals. It is the responsibility of users to apply their professional knowledge in the application of the information presented in this book, and to consult original sources for current and detailed information as needed, for actual design situations. This book is printed on acid-free paper. Copyright © 2006 by John Wiley and Sons. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced...
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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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...THE B L A C K SWAN The HIGHLY I mpact IM of the PROBABLE Nassim Nicholas Taleb U.S.A. $26.95 Canada $34.95 is a highly improbable event with three principal characteristics: It is unpre dictable; it carries a massive impact; and, after the fact, we concoct an explanation that makes it appear less random, and more predictable, than it was. The astonishing success of Google was a black swan; so was 9 / 1 1 . For Nassim Nicholas Taleb, black swans underlie almost everything about our world, from the rise of religions to events in our own personal lives. A BLACK SWAN Why do we not acknowledge the phenomenon of black swans until after they occur? Part of the answer, according to Taleb, is that humans are hardwired to learn specifics when they should be focused on generalities. We concentrate on things we already know and time and time again fail to take into consideration what we don't know. We are, therefore, unable to truly estimate oppor tunities, too vulnerable to the impulse to simplify, narrate, and categorize, and not open enough to rewarding those who can imagine the "impossible." For years, Taleb has studied how we fool our selves into thinking we know more than we actually do. We restrict our thinking to the irrelevant and inconsequential, while large events continue to surprise us and shape our world. Now, in this reve latory book, Taleb explains everything we know about what we don't know. He offers...
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...Irvine Welsh Trainspotting IRVINE WELSH works, rests and raves in Edinburgh. He has had a variety of occupations too numerous and too tedious to recount. Trainspotting was his first novel and he has also published a collection of short stories, a novella entitled The Acid House and a second novel, Marabou Stork Nightmares. IRVINE WELSH TRAINSPOTTING Minerva Thanks to the following: Lesley Bryce, David Crystal, Margaret Fulton–Cook, janice Galloway, Dave Harrold, Duncan McLean, Kenny McMillan, Sandy Macnair, David Millar, Robin Robertson, Julie Smith, Angela Sullivan, Dave Todd, Hamish Whyte, Kevin Williamson. Versions of the following stories have appeared in other publications: 'The First Day Of The Edinburgh Festival' in Scream If You Want To Go Faster: New Writing Scotland 9 (ASLS), 'Traditional Sunday Breakfast'in DOG (Dec, 1991), 'It Goes Without Saying' in West Coast Magazine No. 11, 'Trainspotting at Leith Central Station' in A Parcel of Rogues (Clocktower Press), 'Grieving and Mourning In Port Sunshine' in Rebel Inc No. 1 and 'Her Man, The Elusive Mr Hunt' and 'Winter In West Granton' in Past Tense (Clocktower Press). The second part of 'Memories of Matty' also appeared in the aforementioned Clocktower Press publication as 'After The Burning'. Contents KICKING – – * THE SKAG BOYS, JEAN–CLAUDE VAN DAMME AND MOTHER SUPERIOR; JUNK DILEMMAS NO. 63; THE FIRST DAY OF THE EDINBURGH FESTIVAL; IN OVERDRIVE; GROWING UP IN PUBLIC; VICTORY ON NEW YEAR'S DAY; IT GOES WITHOUT...
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...This page intentionally left blank The Study of Language This best-selling textbook provides an engaging and user-friendly introduction to the study of language. Assuming no prior knowledge of the subject, Yule presents information in short, bite-sized sections, introducing the major concepts in language study – from how children learn language to why men and women speak differently, through all the key elements of language. This fourth edition has been revised and updated with twenty new sections, covering new accounts of language origins, the key properties of language, text messaging, kinship terms and more than twenty new word etymologies. To increase student engagement with the text, Yule has also included more than fifty new tasks, including thirty involving data analysis, enabling students to apply what they have learned. The online study guide offers students further resources when working on the tasks, while encouraging lively and proactive learning. This is the most fundamental and easy-to-use introduction to the study of language. George Yule has taught Linguistics at the Universities of Edinburgh, Hawai’i, Louisiana State and Minnesota. He is the author of a number of books, including Discourse Analysis (with Gillian Brown, 1983) and Pragmatics (1996). “A genuinely introductory linguistics text, well suited for undergraduates who have little prior experience thinking descriptively about language. Yule’s crisp and thought-provoking presentation of key issues works...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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