Using Facebook to Teach Rhetorical Analysis Jane Mathison Fife The attraction of Facebook is a puzzle to many people over the age of thirtyfive, and that includes most college faculty. Yet students confess to spending significant amounts of time on Facebook, sometimes hours a day. If you teach in a computer classroom, you have probably observed students using Facebook when you walk in the room. Literacy practices that fall outside the realm of traditional academic writing, like Facebook, can
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Reading Between the Lines: An analysis of Mary Shelley’s Frankenstein, or, the Modern Prometheus, using Horace Walpole’s The Castle of Otranto as an example of male discourse about women Louise Othello Knudsen English Almen, 10th semester Master’s Thesis 31-07-2012 Tabel of Contents Abstract ................................................................................................................................................ 3 Introduction ................................
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BECOMING ZIMBABWE TEACHING HISTORY IN CONTEXT IN ZIMBABWE Miles Tendi Published by the Institute for Justice and Reconcilation Wynberg Mews, Ground Floor, House Vincent, 10 Brodie Road, Wynberg 7800, South Africa www.ijr.org.za © 2009 Institute for Justice and Reconciliation First Published 2009 All rights reserved. ISBN 978-1-920219-18-5 Produced by Compress.dsl www.compressdsl.com CONTENTS EXECUTIVE SUMMARY 1 CHAPTER 1: Using history 5 The uses of liberation history in Zimbabwean politics
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“Her good nature wore out/ like a fan belt./ So she cut off her nose and her legs/ and offered them up.” This quote from “Barbie Doll”, by Marge Piercy, refers to a young girl who wishes to change her character and her appearance in order to live up to society’s expectations. In fact, instead of being complimented or admired for whom she truly is, people would rather criticize and condemn her for whom she isn’t. As a result of endlessly trying to alter her portrait, the “girlchild” eventually “wore
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ПРАКТИЧЕСКИЙ КУРС АНГЛИЙСКОГО ЯЗЫКА ГУМАНИТАРНЫЙ, ИЗДАТЕЛЬСКИЙ Сканирование, перевод в .d jvu: Суворов УЧЕБНИК ДЛЯ ВУЗОВ ПРАКТИЧЕСКИЙ КУРС АНГЛИЙСКОГО ЯЗЫКА 4 КУРС Под редакцией В.Д. Аракина Издание пятое, переработанное и дополненное Рекомендовано Министерством образования и науки Российской Федерации в качестве учебника для студентов высших учебных заведений Москва УМ М АШ Г4АМ ь МЗДЛГЕЛЬСХМ ^ХВПЛЛОС 2006 УДК 811.111(075.8) ББК 81.2Англ-923 ГІ69 В.Д. Аракин
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Stylistic Analysis of ‘Everyone Worth Knowing’ NAME: April King STU ID: 1200015542 PHONE: 13******* EMAIL: 18********@QQ.COM Contents 1. Plot summary 3 2. book review 3 3. stylistic analysis 5 3.1 narrative technique 5 3.2 lexical level analysis 5 3.2.1 Extreme words and exaggerating words 3
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University of Tennessee, Knoxville Trace: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2010 Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context Leah Rang University of Tennessee - Knoxville, lrang@utk.edu Recommended Citation Rang, Leah, "Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context. " Master's Thesis, University of Tennessee, 2010. http://trace.tennessee.edu/utk_gradthes/655 This Thesis
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[pic] Гальперин И.Р. Стилистика английского языка Издательство: М.: Высшая школа, 1977 г. В учебнике рассматриваются общие проблемы стилистики, дается стилистическая квалификация английского словарного состава, описываются фонетические, лексические и лексико-фразеологические выразительные средства, рассматриваются синтаксические выразительные средства и проблемы лингвистической композиции отрезков высказывания, выходящие за пределы предложения. Одна глава посвящена выделению и классификации функциональных
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The Difference Between Art and Entertainment by Jeff Goins | 99 Comments Art, they say, is in the eye of the beholder. Which is a nice way of saying it’s whatever you want it to be. But I don’t believe that. Photo credit: Mark Heard (Creative Commons) Although I don’t have an objective perspective (nobody does), and mine is but one opinion, I believe there is such a thing as good and bad art. Maybe that’s asking too much, for us to label art “good” or “bad,” or maybe that feels too restrictive
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Tradition And Modernity In the instinctive mode of western scholars, I had once thought of Tradition and Modernity as individual chapters, each of them thinking about its topic as an entity to be understood in its respective essence and unity. But I have come to understand in perhaps an equally perennial move by western students of Indian culture that these two terms do not in themselves exist. But they do function, dialogically. They work in relation with each other. Modernity functions as an
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