but one should be always ready to face adversity and challenges. A person who has not encountered difficulties in life can never achieve success. Life is beautiful but not always easy, it has problems, too, and the challenge lies in facing them with courage, letting the beauty of life act like a relief, which makes the pain acceptable, during trying times, by providing hope. There was a time that the storm came to our family. Not the simple one but it risks the life of my mother. She was diagnosed
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future drastically, for the better and worse. People are quick to judge others for their wrongdoings, and are often so narrow-minded by their prejudice and stereotypes that the reason behind others wrongdoings becomes irrelevant matter. This is exact-ly the topic where Keehan takes at hand in the story, where the female prison chaplain Evie, con-fronts a young charming prisoner, condemned for murder, who reveals to be everything but what she had expected him to be. The story takes place in prison;
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defines its inability to fully surpass the boundaries of the physical world. The Death of the Moth makes a piercingly clear point that life is futile in the face of its unfailing conqueror: death. Yet embedded at the heart of Woolf’s essay and thesis lies an inherent contradiction. Woolf constructs her essay to revolve around death’s victorious potency. Yet that is not enough. For, to glorify the power of death, she must also paint life as a substantial opponent to overcome. She does accomplish this
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Pablo Picasso that depicts five prostitutes in a brothel, in the Avignon Street of Barcelona. The controversial eye-catching painting now hangs in the Museum of Modern Art in New York City. Les Demoiselles d Avignon work represents a major milestone in the history of modern art. Picasso's controversial and powerful painting broke all traditional concepts and perspective of ideal beauty. It distinguished him from other artists and ushered in the new artistic movement of cubism. In the months leading
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Shakespeare’s Sonnets, number 46 explores an idea that only a few others (24,38,47) touch upon—the roles of the eyes and the heart in the manifestation of love. Utilizing conceit—or a fanciful form of extended metaphor—Shakespeare tackles the extant renaissance notion of the eye and the heart from a more infatuating, legal standpoint. In the case of number 46, the verdict is simple: lustful, longing eyes will always be able to gaze upon potential lovers; but passionate hearts will always have the power to
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Obama, what do you see, do you judge by the content or character, or even by how it feels. Do you see a black man; is he responsible for all of the socioeconomic problems today; or do you say technologically where do we go from here? It is all in the eye of the beholder. Some will look at this painting and dislike it simply because of his race. Then there will be those who look at it from a political point of view and hate it instantly. I wonder if people in general will ever be judged by the content
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Gatsby’s Archetypal Quest for Daisy, the Monetary Prize In The Great Gatsby, the characterizations of Daisy Buchanan and Jay Gatsby, particularly in the flashback of when they first met in Chapter VIII, expose the absence of love that lies beneath the glitz and glamour of wealthy living. When seen through an archetypal lens, Gatsby’s pursuit of Daisy can be seen as an Archetypal quest where the “golden girl” is a treasure, rather than a love interest (Fitzgerald, 120) (Delahoyde, 1). To Jay Gatsby
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the sofa lies our queen in a white sarre, with black blouse in threaded fashion at the back and shoulders, her hair – half of which is hiding het abck and few her shoulders, her hadn resting and supporting her head, eyes gently brown and lashes painted black with a minute tail at the ends and one cute red rose on her ear; maroon shade shaped onto the curves of the lips … candle light falling directly onto her face revealing each and every detail of her shy, tender afce and the awaiting eyes and the
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"Fiction reveals truths that reality obscures,” as quoted by Ralph Waldo Emerson. In Thomas C. Foster's How to Read Literature Like a Professor, Foster gives insight to the reader about how there is always more to a story than meets the eye. Foster covers an abundance of topics for instance, how some pieces of literature have in depth political apprehension. Foster distinguishes between overtly political writing which includes literature whose main intent is to influence the prevailing political
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Throughout the study of sociology, a reoccurring theme is that deviance seems to exist in the eye of the beholder, much like beauty. No act committed is automatically deviant, but must be defined as such. From as far back as medieval times to the present, it has always been the upper class dominating the lower class, those on the higher end of the social ladder that shapes the society people live in and define what deviant behaviour is and what is not. Those who have the power over such decisions
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