Analysis and Interpretation of Don Juan

Examination and Interpretation of Don Juan canto 1 refrain LXV to LXX: Don Juan was composed by Lord Byron. He began composing it from 1818. The composition was not finished at the hour of Byron's passing in 1824. Byron authored the term â€Å"Byronic Hero†. Wear Juan is certainly a Byronic Hero. He has all the Characteristics of a Byronic Hero. This sonnet continually returns me to the 1800s, in light of the fact that around then ladies had no rights by any means. On the off chance that they wedded somebody, at that point they were dealt with like property of their spouses and on the off chance that they remained single, at that point their folks directed each and every thing she did with each and every person.For most part ladies were not permitted to remain single except if they were nuns or whores. In any event, when they were hitched they were not permitted to hold control of acquired riches. They didn't reserve the option to claim a slave or even vote. Ladies were financ ially needy. In the event that a lady accomplished something incorrectly and individuals get some answers concerning it, she would be corrupted and imperfect perpetually and furthermore expelled from society however on the off chance that a man does likewise or far more detestable, he might in any case hold his head up high in the public eye. Julia wedded Alfonso simply because she needed to. Alfonso never indicated his desire since no one loves an envious person.Alfonso thought about what individuals thought and he was blade and cautious. He never needed individuals to think about his illicit issues. I for one think Donna Inez is an insane person and a Sociopath both. I mean for what other reason would she utilize her child to wreck the relationship of her darling and his significant other. Julia isn't as confused as Inez. Julia doesn't understand what Inez had in her psyche. I think she thought Inez really needed to be her companion. Being a straightforward young lady Julia presum ably didn’t think about Alfonso and Inez’s issue. When Juan was a youngster Julia demonstrated warmth for him yet that was simply typical and innocent.When Juan hit adolescence something changed between them two. They felt pulled in to one another. As a developed lady Julia acknowledged why she was feeling along these lines. Be that as it may, Juan is totally unique. His mom never let him blend and blend with individuals of his own age. From the outset he didn’t even acknowledge what was befalling him. This sonnet follows a third individual perspective. In these stanza’s Byron discusses parcel of significant issues however the tone is consistently funny and satiric. Wear Juan is a great deal like Byron himself. The thing that matters is Byron was profoundly taught and Juan had no enthusiasm for that line.

Factors that Lead to Teen Pregnancy Essay -- Teen Pregnant Pregnancy E

threats to Families :: essays research papers

Dangers to Families A power compromising today’s families in America is carefully the general public where we live. Society has gotten increasingly more of an issue. The issue is by all accounts all inclusive regardless of what age you are. The impacts of society is by all accounts changing and is truly easy to refute. Brutality, music, and customs being broken are three key elements of society compromising families in today’s day and age. Qualities really originate from the family you were brought up in and how you, by and by, were raised. Outside impacts can have a positive or negative effect on the family all in all or as an individual from a family. The principle undermining power is brutality. Not exclusively is it in motion pictures and T.V.shows, yet now it has arrived at where it is shown in schools. For instance, the Columbine shooting was absolutely surprising; nobody appeared to think about it. There’s very little a family can do in that specific circumstance. Regardless of how much a parent talks about the risks of savagery, a youngster despite everything could be enticed by outside impacts. An approach to forestall this kind of issue is to participate in an assortment of network exercises all together and stress the significance of family esteems, for example, love and regard to the youngsters being raised.      Music is a key factor on affecting a nuclear family today. The impacts of music influence kids in various manners. In the 1950’s, the mentality of music was totally different than it is currently. The music was significantly more guiltless. Today, youngsters identify with one another and are setting various gauges for themselves in a negative manner. Children hear express verses which at that point urge some of them to engage in sexual movement or connections that they are not prepared for in light of the fact that they are excessively youthful. Kids ought not be affected by verses of words, however tragically enough it is demonstrated that they take verses truly and attempt to mimic that person. In addition to the fact that children listen, they watch and gain from older folks. An undermining power are the entirety of the youthful pop stars who dress improperly and the kids, by and by, attempt and copy them which is an extremely negative concern. The best way t o keep kids from being contrarily affected is to screen what they are viewing and what sort of music the person in question is tuning in to.

Virgin and Child with Four Angels Research Paper

Virgin and Child with Four Angels - Research Paper Example The measurements are not extremely great. The work of art is moderately little. It is 63 cm tall and 39 cm wide. Brilliant utilization of light and shade gives the watcher a glazy feel. The composition has been created on a wooden board. The subject is about Virgin Mary holding her child Jesus (as a little infant). The portrayal shows the mother and the youngster has human-like as opposed to holy messenger like structure. The scene is that of Virgin Mary being blessed the Queen of the Heaven by four holy messengers. By and by, the craftsman has delineated the scene on the scenery of contemporary cityscape (Harbison, 160-165). Along these lines, contemporary metropolitan condition has been admixed with the Biblical folklore. In any case, the outward appearances of Virgin Mary and the four holy messengers seem, by all accounts, to be intense however peaceful and loaded with great pity. The composition is of oil-on-board assortment, where the craftsman has worked hard to make fine subtleties. Utilization of a few hues alongside bounteous light has been practiced with the assistance of brushstrokes and distinctive oil-based shades. Medieval Europe used to be an exceptionally strict spot. Religion assumed a key job in socio-social life, yet in addition in the continent’s legislative issues, region, design, military, morals, and so forth. The craftsmanship and engineering of Europe around then plainly mirrored this social circumstance. Christianity impacted the Medieval European populace vigorously, and the work of art Virgin and Child with Four Angels is a significant case of this reality. Average citizens used to purchase heaps of antiques devoted to Christianity, and numerous contemporary pictures and works of art delineated Virgin Mary, Jesus Christ, and other noteworthy or fanciful characters (Borchert, 144). Gerard David was no special case to this propensity, and he utilized his imaginative aptitudes expertly. In his time, he may have earned impressive measure of cash by making and selling fine arts delineating scenes from Christian writings and Biblical

Cars as a Symbol in The Great Gatsby Essay -- Fitzgerald Great Gatsby

Vehicles as a Symbol in The Great Gatsby Vehicles have a significant impact in the recounting The Great Gatsby. The Great Gatsby is a dull, despondent book, and the vehicles truly embody this. à ¢Ã¢â€š ¬Ã¢ ¦cars change their importance and become an image of demise (Dexheimer). Vehicles additionally give the peruser understanding into a portion of the various characters in the book. One of the most significant employments of vehicles in this book is to portend up and coming occasions. All through the book, there are many annihilating and dim occasions that these vehicles speak to. A line from the book that truly drives this house is, So we drove on toward death through the cooling dusk (Fitzgerald 143). Fitzgerald purposely decided to put the words drove, suggesting vehicles, and demise, together. This is an thought that seems ordinarily. The dead man went A rate of this is when Nick and Gatsby are rolling over the Queensboro Bridge on their way to the valley of remains. This section in the book is dim, and it helps set the dreadful mind-set for the rest of the book. A dead man passed us in a funeral wagon stored with blossoms, trailed by two carriages with drawn blinds and by increasingly chipper carriages for companions. The companions watched out at us with the grievous eyes and short upper lips of south-eastern Europe and I was happy seeing Gatsby's unbelievable vehicle was remembered for their dismal occasion. As we crossed Black Wells Island a limousine passed us, driven by a white driver, in which sat three modish Negroes, two bucks and a young lady. I giggled so anyone might hear as the yolks of their eyeballs moved towards us in haughty competition. (Fitzgerald 73) On this extension, any number of various sorts of vehicles could have driven by, yet a funeral car and a dark limousine were picked to help ... ...ruption in the novel (Symbolism in The Great Gatsby). Rather than being a 'rich cream shading,' an observer is cited saying 'It was a yellow vehicle,' inferring that the fantasy is dead (Swygert). In the East Daisy becomes degenerate, and the shading change is how the peruser is indicated this change in her, and the demise of Gatsby's fantasy about wedding Daisy. As I have appeared, vehicles have a significant influence in depicting the murkiness in The Great Gatsby. The vehicles represent the passing and give up all hope of the story and help to describe a portion of the principle characters. Works Cited Dexheimer, Melissa, Lauren Locke and Mosang Miles. Understudy Led Class Presentation and Summary. Fitzgerald, F. Scott. The Great Gatsby. New York: Simon and Schuster, 1995. Swygert, Shavaun. Shading Symbolism in The Great Gatsby. 1 June 1998. Imagery in The Great Gatsby.

College Essay Topics on Problem Solutions

College Essay Topics on Problem SolutionsMost college students dread writing an essay on problems solutions, the kind of topic they are used to writing about. What is needed is for the student to be able to find the proper solution to a given problem, or else he/she will lack confidence that he/she will come up with something worthy of the college entrance exam. That is where the second reason behind the writing of the essay topics on problem solutions comes in.Most students who have trouble writing necessary essays tend to avoid using such topics as a way to get through a test. If they do use these topics, they only resort to using them when the essay is so long that it cannot be solved. In such cases, they simply run out of ideas before they even reach the end of the essay.To make things worse, those who use essay topics like this also fail to realize that essay topics are not essay topics because it is easier to write the later rather than the first one. The problem is not with th e essay itself but with the students themselves, and they need to be made aware of this fact. This should be taught to the students even during the introduction to a college course.The real problem lies in how the students learn to write and choose the right words and phrases to express their thoughts. It is a common practice among students to fill their essays with too many words, and the level of it usually rises when the deadline for submission of the assignment approaches. The reason behind this is that the students tend to worry about the time and they neglect the fact that it is the actual content of the essay that matters most.All that matters is the content of the essay, and the type of problem solutions that a student can offer, especially if he/she decides to write an essay on problem solutions. Of course, you will be offered various topics on a subject you can write on, and there is no right or wrong choice that you need to make. However, if the topic of the essay is one that seems easy to solve, then the student needs to be able to offer a solution that satisfies the instructor.If the specific problem is fairly simple, a solution that makes use of some skills, tools, or even luck is sufficient. But if the problem is too complicated, then he/she should opt for something easier. Either way, he/she should be able to explain it in a manner that the instructor can easily understand. The key is to be able to make use of the necessary tools to solve the problem.The problem solutions that students need to be careful about are the ones that offer such a vague idea that the solution they provide is basically a cheating method. The solution should contain the barest of details of the steps needed to do a particular task and how to do it. If this information is not present, then it is obvious that the essay has been written under the guidance of a cheating service.So, the way to make sure that the problem solutions are fair is to ensure that the professor actu ally reads the essay before judging its content. A thorough rereading of the essay after submitting it can also help to judge the strength of the essay. With this, you should be able to come up with the right essay topics that are easy to write and won't cost too much.

The Critical Reader Conversation with Gerald Graff and Cathy Birkenstein

Photo credit: Tricia Koning Photography   For this interview, we are happy to present Gerald Graff and Cathy Birkenstein Graff, professors at the University of Illinois-Chicago. They are the authors of They Say/I Say: The Moves that Matter in Academic Writing, one of the most widely used college composition texts in the United States. In addition, their work has had an incalculable influence on both the original version of The Critical Reader and the AP Language and Composition edition of that book. We are enormously grateful for their participation in this series. Bio Gerald Graff, a Professor of English and Education at the University of Illinois at Chicago adn 2008 President of the Modern Language Association of America, has had a major impact on teachers through such books as Professing Literature: An Institutional History, Beyond the Culture Wars: How Teaching the Conflicts Can Revitalize American Education, and, most recently, Clueless in Academe: How Schooling Obscures the Life of the Mind. Cathy Birkenstein, who first developed the templates used in They Say/I Say: The Moves that Matter in Academic Writing, is a Lecturer in English at the University of Illinois at Chicago. She received her PhD in American literature and is currently working on a study of Booker T. Washington. Together Gerald and Cathy teach courses in composition and conduct campus workshops on writing. They live with their son, Aaron, in Chicago. How did you come to write They Say/I Say? Did it develop organically from your teaching over an extended period, or were there specific incidents that inspired you to write it? It was more of a slow process that developed over time in the 1990S as we compared our experiences as college teachers. What struck us most vividly at this time was our students’ widespread confusion over how to write an academic paper. To us, this confusion seemed largely unnecessary since, in our view, academic writing follows a rather conventional, elemental pattern that students could readily learn. As we thought about our own struggles with writing, and about what successful writers do, we came to believe that, despite its many moving parts, academic writing has one big constant: the move of entering a conversation, which is usually done by summarizing what other people have said or are saying about your subject and then using that summary to launch your own view, whether to agree, disagree, or some combination of both. Somehow, we concluded, this rather simple, obvious, and time-tested formula was not getting through to our students, and this became the germ of the textbook. Our mission, as we saw it, would be to cut through the clutter of complicated writing advice that was overwhelming our students and say, in effect, Look, we know academic writing is hard and requires a lot of work, but much of the misery and confusion will lift if you do a couple of simple things: start by summarizing something someone else has said, often in your assigned reading, and then play off that summary to say what you think.† Another thing we realized, however, was that merely highlighting these simple steps for students wasn’t enough. Few students, we discovered, knew how to summarize and respond to others in their writing—in large part because they lacked the language for doing so that Gerald, in his book Clueless in Academe, calls â€Å"Arguespeak.† Because most students don’t read widely or aspire to be a George Orwell or a Susan Sontag, few have internalized this language’s patterns and conventions. As a result, we started looking around for some sort of explicit â€Å"how to† component to incorporate into our textbook that would give students this Arguespeak directly. A major breakthrough came when we hit upon our templates, which would walk student writers through the steps of entering a conversation: Although it is often said ________________, I argue ________________. X argues __________. I agree and would add that _________. One added benefit of these templates, we discovered, is that, besides helping students write, they help students read more effectively, as you point out in your SAT books. In your experience, what are the biggest challenges for students making the transition from high school to college writing? And, conversely, what are the biggest challenges involved in teaching freshman composition? By far the biggest challenge in teaching freshman comp is not what happens in our own classrooms, but the lack of consistency in writing instruction between all their courses, including ours. As you can tell from our answer to your first question, the two of us teach a conversational, argument-based approach to writing, but we know that it often competes with the many different approaches taken by our colleagues—both in colleges and schools. At any grade level, no matter what you tell your students about writing, it’s very likely that the other teachers they encounter will unknowingly undercut or contradict it, just as you in turn will undercut or contradict what those other teachers say. As a result, as we argue in a book we’re currently writing (Curriculum of the Absurd), students get wildly mixed messages about writing as they go from course to course. While some teachers insist that students Never use I, others explain that it’s fine to use I. While so me treat good grammar and mechanics as the most important feature of academic writing, others insist that they are a trivial matter or even a hegemonic tool of Western orthodoxy. While many instructors treat academic writing and argumentation as synonymous, others insist that argument is only one type of academic writing among many, or that it is unnecessarily combative. Even those instructors who do teach argument tend to offer so many competing models of argument that students can see little if any common ground between them. The real challenge for teaching, then, is not the difference between the high school and college levels, as your question implies—but the differences between courses within each level. Throughout the American educational system, students can’t assume that what they learn from one teacher will be honored—or even known about—by the next. As a result, instead of getting consistent writing instruction that builds cumulatively over time, students have to start over again from scratch with each new teacher they encounter. And it’s hard to learn something when you’re always having to unlearn it. Prof Graff: In your essay â€Å"Hidden Intellectualism,† you describe your introduction to academia via sports debates, pointing out that schools often neglect to emphasize that academic writing revolves around arguments. What methods have you (both) found most effective for helping students get out of their writing comfort zones (e.g., the five-paragraph essay) and begin to see themselves as participants in a conversation? You’ve identified another key goal of ours: to get writers to move from monological, one-voiced models of writing like the five paragraph theme to a multi-voiced model, where they engage with alternate and especially opposing perspectives in ways that force them outside their comfort zones. In the former model, writers make claims like â€Å"X is ________† or â€Å"There are many ________,† without referring to any alternate view that motivates them to make such claims. Even when the claim is backed up with lots of evidence and data, as the five paragraph-theme requires, readers are left to wonder why the writer thinks the claim needs to be made in the first place. So we’ve developed some methods to help students actually write these challenging alternate perspectives into their writing. One such method involves giving students templates like the ones above that guide them through the steps of summarizing others’ views and answering them. Another involves asking students questions like, â€Å"What’s your ‘they say’?, â€Å"Who would dispute what you’re arguing?,† or What’s your as-opposed-to-what?,† questions that compel students to think contrastively, in terms of engaging opposing views, as real-world writers do. And finally, a third method we’ve developed to point students in this dialogical direction involves pointing out most of their everyday communication is already dialogical, though they may not realize it. Even though the counter-claims students address in their academic writing often propel them into new and unexpected territory, the conversational patterns themselves of listening, summarizing, and responding to such counter-claims are ones they’ve been using their entire lives in everyday conversations about such familiar topics as popular culture and sports. Unfortunately, students rarely see that these familiar patterns are needed in academic writing because of the inconsistent, often monological way academic writing is taught. Our remedy? To convince a critical mass of faculty across the American curriculum to adopt a dialogical, argumentative model. Over the past couple of decades, the amount of standardized testing in K-12 has skyrocketed. Do you think that this shift is having an effect on entering college students’ writing abilities and/or the way they approach the writing process? The biggest problem we see with current standardized tests is that, instead of actually standardizing American education—that is, creating the consistency that the term â€Å"standardized† implies—they simply add more mixed messages to the already overwhelming glut of advice students receive. So, yes, we do think standardized tests are affecting K-12 students, and not in a positive way. The overwhelming number of such tests and the inconsistencies among them, we believe, simply fuel the mixed message curriculum that we’ve been complaining about above. This does not mean, however, that we’re against standardized tests per se, and we happen to be biased toward the Collegiate Learning Assessment, which emphasizes argumentation with other views and thus seems more tied than other models to college readiness skills. Until a conversational approach like the CLA becomes the norm in testing, students and faculties will continue getting pushed in so many dif ferent directions that learning, as we’ve said, is undermined. What do you think high schools could do to prepare students more effectively for college-level writing? And what can students themselves do to prepare? As should be obvious from our previous answers, we think students can prepare themselves for college by learning to argue dialogically, particularly in their writing. But what individual students can do figures to be limited, at least until a consensus emerges among faculty that rewards this type of argument. College readiness, in effect, needs ultimately to be tackled not just by students working alone as individuals, but by faculty at all levels working collectively, especially starting in the colleges. But why starting in the colleges? Let us back up and explain. The schools, for far too long, have unfortunately been singled out for blame for their students not being prepared for college. But we think that the colleges are centrally to blame since, as the training-ground for K-12 educators and test-makers, the colleges have left the entire K-12 sector in the dark about what â€Å"college readiness† involves. Instead of collectively clarifying what they expect in student writing, higher education has left it up to the whims of individual instructors working in the isolation of their private classrooms. The result is mixed messages in the colleges that trickle down to the schools. Individual students, then, can only go so far in preparing themselves for the writing challenges of college. And much the same can be said about K-12 educators and testing agencies working in isolation. Until a critical mass of educators at all levels, but starting in the colleges, comes to embrace a dialogical, argumentative model of writing, we’re likely to continue seeing students who, like the ones we described in our opening answer, show up in our college classes confused about this ever-important skill.