A Portrait of the Artist as a Young Man by James Joyce

The Scarlet Letter Monolog Essay A monolog from the book by Nathaniel Hawthorne NOTE: This monolog is republished from The Scarlet Letter. Nathaniel Hawthorne. Boston: Ticknor, Reed Fields, 1850. STRANGER: Hester I ask not wherefore, nor how, thou hast fallen into the pit, or state rather, thou hast rose to the platform of disgrace, on which I discovered thee. The explanation isn't far to look for. It was my imprudence, and thy shortcoming. I,â€a man of thought,â€the bibliophile of incredible libraries,â€a man as of now in rot, having given my greatest years to take care of the ravenous dream of knowledge,â€what had I to do with youth and excellence like thine own! Distorted from my introduction to the world hour, how might I mislead myself with the possibility that scholarly blessings may shroud physical deformation in a youthful girl’s dream! Men call me insightful. In the event that sages were ever insightful in their own behoof, I may have predicted this. I may have referred to that, as I came out of the immense and inauspicious woodland, and entered this settlement of Christian men, the absolute first item to meet my eyes would act naturally, Hester Pr ynne, standing up, a sculpture of lowness, before the individuals. Nay, from the second when we descended the old church-steps together, a wedded pair, I may have observed the parcel fire of that red letter bursting toward the finish of our way! It was my indiscretion! I have said it. In any case, up to that age of my life, I had lived futile. The world had been so sorrowful! My heart was a residence enormous enough for some visitors, yet forlorn and chill, and without a family unit fire. I ached to ignite one! It appeared not all that wild a dream,â€old as I seemed to be, and serious as I seemed to be, and distorted as I was,â€that the basic ecstasy, which is dispersed far and wide, for all humanity to get together, may yet be mine. Thus, Hester, I drew thee into my heart, into its deepest chamber, and looked to warm thee by the glow which thy nearness made there! We have wronged one another. Mine was the main wrong, when I double-crossed thy maturing youth into a bogus and u nnatural connection with my rot. In this way, as a man who has not thought and philosophized futile, I look for no retribution, plot no shrewdness against thee. Among thee and me, the scale hangs genuinely adjusted. Yet, Hester, the man lives who has wronged us both! Who right? Trust me, Hester, there are not many things,â€whether in the outward world, or, to a specific profundity, in the undetectable circle of thought,â€few things escaped the man, who dedicates himself sincerely and wholeheartedly to the arrangement of a secret. Thou mayest conceal thy mystery from the meddlesome large number. Thou mayest hide it, as well, from the pastors and justices, even as thou didst this day, when they tried to torque the name out of thy heart, and give thee an accomplice on thy platform. Be that as it may, concerning me, I wake up than they have. I will look for this man, as I have looked for truth in books; as I have looked for gold in speculative chemistry. There is a compassion that will make me aware of him. I will see him tremble. I will feel myself shiver, out of nowhere and unprepared. At some point or another, he should needs be mine! He bears no letter of ignominy fashioned into his piece of clothing, as thou dost; yet I will peruse it on his heart. However dread not for him! Figure not that I will meddle with Heaven’s own strategy for revenge, or, to my own misfortune, deceive him to the problem of human law. Neither do thou envision that I will create nothing against his life; no, nor against his distinction, if, as I judge, he take care of business of reasonable notoriety. Allow him to live! Let him conceal himself in outward respect, on the off chance that he may! Not the less he will be mine! .u08e724b9068e065e3dcf4496f86f34b9 , .u08e724b9068e065e3dcf4496f86f34b9 .postImageUrl , .u08e724b9068e065e3dcf4496f86f34b9 .focused content region { min-tallness: 80px; position: relative; } .u08e724b9068e065e3dcf4496f86f34b9 , .u08e724b9068e065e3dcf4496f86f34b9:hover , .u08e724b9068e065e3dcf4496f86f34b9:visited , .u08e724b9068e065e3dcf4496f86f34b9:active { border:0!important; } .u08e724b9068e065e3dcf4496f86f34b9 .clearfix:after { content: ; show: table; clear: both; } .u08e724b9068e065e3dcf4496f86f34b9 { show: square; progress: foundation shading 250ms; webkit-change: foundation shading 250ms; width: 100%; haziness: 1; change: murkiness 250ms; webkit-progress: mistiness 250ms; foundation shading: #95A5A6; } .u08e724b9068e065e3dcf4496f86f34b9:active , .u08e724b9068e065e3dcf4496f86f34b9:hover { obscurity: 1; progress: darkness 250ms; webkit-progress: haziness 250ms; foundation shading: #2C3E50; } .u08e724b9068e065e3dcf4496f86f34b9 .focused content territory { width: 100%; position: re lative; } .u08e724b9068e065e3dcf4496f86f34b9 .ctaText { outskirt base: 0 strong #fff; shading: #2980B9; text dimension: 16px; textual style weight: intense; edge: 0; cushioning: 0; text-improvement: underline; } .u08e724b9068e065e3dcf4496f86f34b9 .postTitle { shading: #FFFFFF; text dimension: 16px; textual style weight: 600; edge: 0; cushioning: 0; width: 100%; } .u08e724b9068e065e3dcf4496f86f34b9 .ctaButton { foundation shading: #7F8C8D!important; shading: #2980B9; fringe: none; fringe range: 3px; box-shadow: none; text dimension: 14px; text style weight: striking; line-stature: 26px; moz-fringe span: 3px; text-adjust: focus; text-enhancement: none; text-shadow: none; width: 80px; min-stature: 80px; foundation: url(https://artscolumbia.org/wp-content/modules/intelly-related-posts/resources/pictures/straightforward arrow.png)no-rehash; position: supreme; right: 0; top: 0; } .u08e724b9068e065e3dcf4496f86f34b9:hover .ctaButton { foundation shading: #34495E!important; } .u08e724b9068e0 65e3dcf4496f86f34b9 .focused content { show: table; tallness: 80px; cushioning left: 18px; top: 0; } .u08e724b9068e065e3dcf4496f86f34b9-content { show: table-cell; edge: 0; cushioning: 0; cushioning right: 108px; position: relative; vertical-adjust: center; width: 100%; } .u08e724b9068e065e3dcf4496f86f34b9:after { content: ; show: square; clear: both; } READ: Trifles monolog Essay We will compose a custom paper on The Scarlet Letter Monolog explicitly for you for just $16.38 $13.9/page Request now

Please refer to the Message Section. Agrarianism in Southern Literature Free Essays

Agrarianism is characterized as a political and social way of thinking that underscores the significance of cultivating and the development of vegetation for man to lead a more joyful and more full life. Thomas Jefferson, one of the main advocates of Agrarian idea in American history, had referenced its hugeness in this way: â€Å"Those who work in the earth are the picked individuals of God, in the event that He at any point had a picked people, whose bosoms He has made His exceptional store for considerable and authentic virtue.â It is the concentration wherein He keeps alive that consecrated fire, which in any case may escape from the essence of the earth (â€Å"Agrarianism†). We will compose a custom exposition test on If it's not too much trouble allude to the Message Section. Agrarianism in Southern Literature or then again any comparative subject just for you Request Now †  Agrarianism in Southern writing advanced when the way of life of the South should have been assaulted by modernity.â To counter the negative effect of innovation on the Southern culture and customs, a gathering of twelve conventionalist artists and journalists distributed an Agrarian assortment of expositions in 1930: I’ll Take My Stand. The proposal of this declaration was that the past reproaches the present for the latter’s reliance on machines rather than nature.â The South was viewed as customarily agrarian, and its kin were comprehended as non-materialistic, strict, just as knowledgeable. This perspective in the long run came to fruition as a whole class in Southern writing, as the scholars and artists who had composed for I’ll Take My Stand demonstrated how Southern agrarianism could be communicated in verse and articles, yet in addition in accounts, books, and works of abstract and social analysis (MacKethan). All things considered, Southern agrarianism is viewed as a branch of Southern innovation, seeing that the subject of agrarian writing is distance †a sentiment of being out of place.â Moreover, practically the entirety of the agrarian writers and artists are present day (Grammer). One of the popular Southern agrarians and a supporter of I’ll Take My Stand, Allen Tate has depicted his composing in this way: â€Å"My endeavor is to see the present from an earlier time, yet remain inundated in the present and focused on it (Fain and Young 189).†Ã¢ Even along these lines, Southern innovation is viewed as an out and out isolated kind (MacKethan). Impacted by innovation, Southern agrarianism is said to â€Å"produced the South (Kreyling 6).†Ã¢ MacKethan composes that Southern agrarianism was to a great extent a legend which the Southern agrarians †as the supporters of I’ll Take My Stand are called †had prevailing with regards to spreading as the real world. In this way, albeit Southern agrarianism was a legend, the essayists and writers who had upheld agrarianism were fruitful in depicting the Southern people groups as non-realist, admirers of nature.â They had figured out how to make the Southern people groups maintain their emphasis on agrarianism for sure. All things being equal, as Kreyling keeps up, the agrarian development in Southern writing didn't move toward a solidarity of felt that the Southern agrarian authors and artists had professed to be a sign of their conventional culture. Today, it is unimaginable to expect to contemplate the writing of the South without the agrarian model in its midst.â Moreover, regardless of its legendary nature, Southern agrarianism is said to introduce â€Å"an stylishly satisfying universe of unadulterated form† in writing (Grammer 131). This Southern type is a broadly acknowledged one.â All the equivalent, a portion of its defenders have left it altogether.â According to Ransom, Southern agrarianism was a requirement on his creative mind. Robert Penn Warren, then again, is known to have drenched himself totally in the way of thinking of agrarianism (Grammer).â Regardless, agrarianism keeps on being comprehended as a basic piece of Southern writing, offsetting the past with the present. Works Cited â€Å"Agrarianism.† Answers. 2007. 10 Nov 2007. http://www.answers.com/agrarianism. Fain, John Tyree, and Thomas Daniel Young (eds.). The Literary Correspondence of Donald Davidson and Allen Tate. Athens, GA: University of Georgia Press, 1974. Grammer, J. M. â€Å"Reconstructing Southern Literature.† American Literary History (Spring 2001), Vol. 13, No. 1, pp. 126-140. Kreyling, Michael. Creating Southern Literature. Jackson: University Press of Mississippi, 1998. MacKethan, Lucinda. â€Å"Genres of Southern Literature.† Southern Spaces. 1 Aug 2005. 10 Nov 2007. http://www.southernspaces.org/substance/2004/mackethan/5c.v2.htm. Payoff, John Crowe. â€Å"Wanted: An Ontological Critic.† Selected Essays of John Crowe Payoff. Ed. Thomas Daniel Young and John Hindle. Stick Rouge: Louisiana State University Press, 1984, pp. 147-79. Step by step instructions to refer to Please allude to the Message Section. Agrarianism in Southern Literature, Papers

A Storytellers Guide to Library Branding

A Storyteller’s Guide to Library Branding (0) Let’s open the floodgates to today’s topic with this quote by branding guru Scott Bredbury: “A brand is a story that is always being told.” This quote literally stopped me in my tracks. A story! Of course. What a beautiful and succinct way to express my beliefs about school library branding. I believe that a school library’s culture, and thus its branding, is reliant on a positive overall school cultureâ€"and that culture is made up of stories. In this article, I offer my vision for school library branding. I will talk about what branding means to me and where I began in my current project. Then, I will connect library culture and school culture to what I have done so far. Finally, I will close with what I have learned about branding. Begin at the beginning To put it mildly, I was chomping at the bit to start learning about Edward R. Murrow, the man and high school, when I accepted their library media specialist job and it was a done deal. I have years of practical experience in library design, but this was the first branding project I began in an environment with an already firmly established school culture and tone. I view culture in general as a collection of stories that when combined characterize its people. The first step in branding a school library is understanding the dually-occuring stories of the school and the library. Some questions I asked myself were: What is the story of Edward R. Murrow High School? What is the story of the Murrow Library? How do their stories intersect? I was hired in mid-June, 2018, and spent the next nine weeks researching the school’s history, poring over its website, data and public reports, and walking around the neighborhood to get a feel for the environment surrounding it. I then turned my attention to the library, checked out the current state of design, its catalog, digital resources, and its ordering history. I cannot say that I sought any of this information in order to brand the library, but I see now how invaluable it has been in the branding that was to come. What emerged from my research was an image of a strong school with deep roots. More like a small city, Edward R. Murrow High School has 4,000 students and over 250 faculty and staff members. The school was founded in 1974 by Saul Bruckner and was (and still is) a very progressive school for New York City. As an insider, I can say that I have never experienced a school with such a rich and established culture as Murrow. The culture is both palpable and ambiguous, yet layered with 44 years worth of history and tradition. Murrow was built on a solid foundation and has been well maintained. This information gave me a foundational understanding of the philosophies, goals, and attributes of the school as well as demographic and instructional/academic data. Foundational understanding is necessary, but practical understanding experienced by being in the environment is equally, if not more, crucial. However, the hard data was only half of the school’s story. Research and data only go so far in qualifying the feeling inside the building. Next, I needed to collect soft data; data that only interacting with the environment could offer. Being new to the school and one of a trio of librarians, my focus was to learn as much as I could about the school and build my knowledge about it by initiating conversation around the topics of school and library culture. Living in the environment to be branded is key. The culture of the library as well as the culture of the school in which it operates must be experienced firsthand. After each class I taught and at points throughout the day, I jotted down notes about things that happened between students, things I noticed, people I had met, and conversations we had. This soft data is more important in creating a positive library culture and brand than some of the hard data, in my opinion. Although hard data is valuable, practical experience (the soft data) is paramount. The interactions I had with students and teachers added texture to the school environment and allowed me to interpret the best ways to use the hard data. Interactions are memorable. Data is not (sorry data). Bringing it all together The soft data is important because a brand is a story that is always being told. In a school library, those stories are your library’s culture. I envision culture to be an invisible web that totally surrounds one’s organization and is made up of all the impressions, perceptions, feelings, stories, and experiences of everyone that acts within it. This blog post from USC Annenberg School for Communication and Journalism talks about a symposium held in Virginia to rebrand the United States Navy. Presenters like Ira Glass of NPR’s This American Life discussed ways to potentially refresh the Navy brand through effective storytelling. I was most interested in Glass’s assertion that “stories need to be about people, not events. By telling stories that make listeners feel something, and that help them relate to a specific person, we can better connect and resonate a universal idea.” Equally interesting to me was the position of Dr. Bruce Strong, a professor at the S.I. Newhouse School of Public Communications. “Effective storytelling begins with a compelling plot that eventually leads to the transformation of a person. All transformation comprises an emotional core, which, in turn, produces an unalterable emotional connection with the audience” (2015). At this point, I took stock of my observations and data and crystallized them into keywords, or tags. For each experience I was involved in or casually observed, I assigned it a tag in my notes. I assigned tags while reflecting on my observations and began to recognize patterns. Patterns are a signal to me that something noteworthy is happening. Patterns point to culture. Tags included: diverse students, academic minded students, collaborative teachers, accepting, honest kids, curious, rigorous instruction, independence, diversity, and strong culture. These keywords helped me to gain a more global view of who the patrons are. They are the main ideas and the many observations and points of data are the supporting details of the story. Now the real work could begin! The logo Lucid Press put it best when they said that “a brand exists only in the minds of your customers. Simply put, a brand is the sum total of all the impressions a customer has, based on every interaction they have had with you, your company and your products” (Wells, 2016). Replace “customers” with “patrons” and “library for “company,” and it is clear that through branding we should aim to think about what we want patrons to feel when they think about the library. Those feelings come together to create the library’s culture, and in that way it is the library’s culture that is being branded more than just the library itself. It is with these feelings in mind, coupled with hard and soft data, and conversations with my library colleagues, that we decided on a design direction for the library logo. Even though branding is so much more than a logo, a visual representation or symbol that calls upon these feelings is a hallmark of a solid brand. Using the tags discussed earlier, I searched Adobe Stock for inspiration and after much deliberation and editing, decided on 3 variations of a design. I mocked up all three using Adobe Illustrator, and presented them to my colleagues and my Assistant Principal. The colors in the final design pictured here represent the diversity of the school community. The multi-colored books represent our community, and the community is enmeshed in a continuous spine in the shape of a lowercase m for Murrow. The typeface honors and hearkens back to the journalistic background of our school’s namesake Edward R. Murrow. The logo was very well received and its recognition is growing every day. For a number of years, the library was not operating to its fullest potential for a variety of reasons. It is very exciting to be part of a ground-floor effort to reimagine the school library, amplify the library culture, and establish branding that is already showing its benefit through increased circulation, standing room only capacity levels, and a general feeling of happiness among students and faculty through conversations and word of mouth. It’s all about the culture We (my librarian trio) have a shared vision and are working hard to build the culture in the library. We’re doing this by: greeting all patronsgetting to know the students and learning their namesestablishing and maintaining relationships with studentsestablishing collaborative relationships with facultycreating programming like book clubs, author visits and a MakerSpacemaintaining a social media presence In addition, all that is publicized about or from the library bears the logo as does library signage, school LibGuide and email accounts. We want the symbol of our library to be synonymous with the feelings and qualities we are cultivating. Although those feelings are hard to define, they are made up of individual experiences, or impressions. Impressions build branding and those impressions are part of the library’s culture. Impressions make up the way a patron perceives you, so a question that I continuously ask myself is, “How do I want the library to be remembered?” Currently, I want it to be a remembered as a safe place to learn, explore, and just be. What I have learned so far Three months in, I feel that I have learned more about branding than I have collectively in my entire life. Branding is not a checklist, that can be ticked off like a shopping list. It is a living process that must be thought about in circular arcs rather than linear paths. A library’s brand has everything to do with the library’s culture which is complemented by the school’s culture. It is not possible to have one without the other. They are inextricably intertwined. I have learned that branding is certainly a big picture issue and relies almost completely on what the library has to offer in terms of culture and services and how those offerings are perceived by its patrons. The logo helps reinforce this by acting as a symbol that reminds patrons of the feelings that the library invokes for them. The branding process should be approached as a designer, thoughtful and methodicalâ€"not motivated for the simple thrill of seeing a design come to fruition. Stories, like culture, and like branding, are connected with the heart and the mind and it is through our reflection on those stories that we cultivate and sustain our brand. Ira Glass asserted that stories make listeners feel something. I feel the same can be said for library patrons. It is the stories they have experienced that make them feel something while the logo stands for it. It is not a logo or some letterhead that brands a library, but all the impressions and perceptions that create those stories. In branding the school library, it is the “transformation,” that Dr. Strong discusses in the USC article, that we are after. In order for transformation in patrons to occur, we must lure them in with a “compelling plot” in the form of programming, but not just the programming itself. More important are the stories that are woven through that programming. Those stories will elicit feelings. Branding a school library takes time, effort, and a consistent eye toward the elements that invoke in patrons those feelings of recognition. The stories are where the culture is and thus there resides branding. Easily create an MLA works cited like the one below using ! MLA format is always free, while APA format, Chicago style format, and thousands of other styles are available via an EasyBib Plus subscription. References Adobe Stock. (2018). Retrieved from https://stock.adobe.com/ Dawn. (2015, August 9). Brand storytelling “A brand is a story that is always being told.”â€" Scott Bedbury. Retrieved from http://buytheway.ascjclass.org/brand-storytelling-a-brand-is-a-story-that-is-always-being-told-scott-bedbury/ Edward R. MurrowHigh School. (n.d.). Retrieved from https://www.ermurrowhs.org/ Sykes, T., Patel, D. (2018). Branding definition Entrepreneur small business encyclopedia. Retrieved from https://www.entrepreneur.com/encyclopedia/branding Wells, R. (2016, August 3). What is branding, and why is branding important? Retrieved from https://www.lucidpress.com/blog/what-is-branding-and-why-is-branding-important Receive up to 20 free grammar check suggestions when you scan any paper in the EasyBib Plus proofreading tool. Also free are grammar guides

Teachers Are Not Comfortable Using Technology Essay

This data collected through IPI observations coincides with our 2015-2016 and 2016-2017 professional learning goals. Our AEA 267 representative conducted this walk-through data over five day’s days in the fall 2015, spring 2016, and fall 2016 semesters. At Columbus, 4.31% more students are engaged without technology, which matches the information I got from students and teachers through one-legged interviews and surveys. If that is the case, why are we 1:1? I think this question is an area of contention among staff and families especially because some staff members are not seeing the value, maybe they are not comfortable using it, or they have little desire to learn how to properly implement technology into their classrooms. Families become frustrated because they pay to rent the devices each year and feel like they are not worth the cost if we are not using them to enhance learning. Based on conversations with staff members, I believe there is a strong correlation between teacher confidence with technology and whether they use it or not. Many teachers are not comfortable using technology for themselves, therefore there is not a good chance they will be comfortable modeling technology for students. We have had some professional learning opportunities but we also have staff members that will not take the time to learn new methods at this point in their career. When looking at the same type of data collected at our middle school, the results are vastly different and thisShow MoreRelatedThe Challenges Of Learning That Teachers And Students Are Being Faced With Now1268 Words   |  6 PagesThis article examines the challenges of learning that teachers and students are being faced with now in the â€Å"traditional† classroom. It is believed that students are not being able to use their â€Å"higher-order† thinking because they are not being provided with contextual support that enables them to actually apply what they are being taught. It has been said that the lack of focus on higher order learning is due to the state standardized testing that the students are required to take each year. Read MoreTechnology As An Instructional Tool910 Words   |  4 Pagesis how educators feel about technology usage and specifically how they feel about using technology as a teaching strategy. I know that in order to be successful in learning , students must be motivated. If students are not motivated they may not stay engaged and could become disinterested in the learning process and using technology as a teaching strategy is just one way this goal can be achieved. Therefore, I chose the article, Teachers’ perspective on using technology as an instructional tool. TheRead MoreProfessional Learning And Technology Innovation Course Essay857 Words   |  4 PagesITEC 7460 Professional Learning and Technology Innovation course, I completed an Individual Teacher Technology Assessment using Knight’s (2007), Partnership Approach. The purpose of this artifact was to assess the technological need of a teacher and coach that teacher in effectively implementing digital tools. Using a Loti Questionnaire, six-point Likert Scale, and interviews, I assessed Mrs. Smith, an AP Calculus Teacher, to determine her level of technology use, her attitudes towards change, andRead MoreHigh Socioeconomic Status School Students9 83 Words   |  4 Pagesfrom three different teachers each within three different socioeconomic status schools. Teacher A teaches kindergarten to third grade learning support at a middle socioeconomic status school. 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If a teacher does not have a support system this can cause the teacher stress which much in the same way as a parent without support this is harmful for students. Ideally a strong community and support system should be in a child’s school and home life but if a child can just have one it can still benefit them. Technology is bigger than evert in classrooms. It is a staple now for teachers from preschool to high

Catcher In the Rye vs. Grapes of Wrath Essay - 1787 Words

Inherent Corruption in Society The inherent aversion to corruption in society often inspires individuals to respond to the issue in hopes of minimizing the drastic effects it may have on people. This shared disdain for such corruption is analyzed in The Catcher in the Rye and The Grapes of Wrath. Both authors address the corruption; however they do so from different perspectives they come to differing resolutions. Both protagonists in their novels experience isolation as a result of society’s corruption; however, Salinger’s chooses to isolate himself whereas Steinbeck’s experiences isolation inadvertently. J.D. Salinger’s The Catcher in the Rye and John Steinbeck’s The Grapes of Wrath share a social commentary about how corruption†¦show more content†¦Such harsh condemnation due to a place of origination reveals how society’s corruption has lead to the inadvertent alienation Tom receives throughout the novel. Though Holden Caulfieldà ¢â‚¬â„¢s isolation from others is deliberate, and Tom Joad is involuntarily segregated, isolation as a result of society’s corruption plays a significant role in both novels. Salinger and Steinbeck also use different motifs to illustrate society’s corruption and its effect on people. In The Catcher in the Rye Salinger uses the motif of the preservation of innocence to clarify the gravity of society’s corruption. Holden loses his innocence as a child when his brother Allie dies. Although he cannot come to terms with his brother’s death, Holden is confident that he can find solace by saving the other innocent children from the corrupt society they live in. Holden tells his younger sister Phoebe, his main inspiration for preserving innocence, that â€Å"[he has] to catch everybody if they start to go over the cliff†¦. [He will] just be the catcher in the rye and all. [He knows] it’s crazy but that’s the only thing [he’d] really li ke to be† (173). Holden’s only ambition in life is to rescue children from falling into society’s corruption. He is so infatuated with this notion that he even refuses to sleep with a prostitute that he has paid for. As the prostitute is waiting to do what she is getting paid for, Holden realizes how youngShow MoreRelated Censorship in the Classroom Essay2774 Words   |  12 Pagesor she objects to classroom material, the censor is reacting to something he or she fears (Fine 1996, 24).    Young adult novels, more so than the classics, have been the focus of the attacks because the dont have absolute good vs. evil, or right vs. wrong. This ambiguousness seems threatening to the censor. Contemporary young adult novels have just as many twists and turns as real life, and if those twists and turns involve sex, politics, or religion, the censors alarm is triggeredRead MoreBrief Survey of American Literature3339 Words   |  14 PagesRevolution(1789—1799) Romantic vs. Neoclassic (1) Neoclassicism: - reason, order, elegant wit - rationalism of enlightenment in 18th-cent. Romanticism: - passion, emotion, natural beauty - imagination, mysticism, liberalism (freedom to express personal feelings) Romantic vs. Neoclassic (2) Innovation: - subjects: common life; the supernatural; the far away and the long ago - style: common language really used by men; poetic symbolism Romantic vs. Neoclassic(3) Good poetry

The Return Midnight Chapter 33 Free Essays

Elena was waiting for the fog to disperse. It had come in as always, bit by bit, and now she was wondering if it would ever leave, or if it were actual y another trial itself. Therefore, when she suddenly realized she could see Stefan’s shirt in front of her, she felt her heart bound for joy. We will write a custom essay sample on The Return: Midnight Chapter 33 or any similar topic only for you Order Now She hadn’t messed anything up lately. â€Å"I can see it!†Stefan said, pul ing her up beside him. And then, â€Å"Voil†¦Ã¢â‚¬  – but in a whisper. â€Å"What, what?†cried Bonnie, bounding forward. And then she stopped too. Damon didn’t bound. He strol ed. But Elena was turning toward Bonnie at the time, and she saw his face as he saw it. In front of them was a sort of smal castle, or large gateway with spires that pierced the low clouds that hung above it. There was some kind of writing over the huge cathedral-like black doors in front, but Elena had never seen anything like the squiggles of whatever foreign language it was. On either side of the building, there were black wal s that were nearly as tal as the spires. Elena looked left and right and realized that they disappeared only off at the vanishing point. And without magic, it would be impossible to fly over them. What the boy and girl in the story had discovered only by fol owing the wal s for days, they had simply walked straight into. â€Å"It’s the Gatehouse of the Seven Treasures, isn’t it, Bonnie? Isn’t it? Look!†Elena shouted. Bonnie was already looking, both hands pressed against her heart, and for once without a word to say. As Elena watched, the diminutive girl fel to her knees in the light, powdery snow. But Stefan answered. He picked up Bonnie and Elena at the same time and whirled them both. â€Å"It is!†he said, just as Elena was saying â€Å"It is!† and Bonnie, the expert, gasping, â€Å"Oh, it real y, really is!†with tears freezing on her cheeks. Stefan put his lips to Elena’s ear. â€Å"And you know what that means, don’t you? If that is the Gatehouse of the Seven Treasures, you know where we are standing now?† Elena tried to ignore the warm, tingling sensation that shot up from the soles of her feet at the feeling of Stefan’s breath on her ear. She tried to focus on his question. â€Å"Look up,†Stefan suggested. Elena did – and gasped. Above them, instead of a fog bank or incessant crimson light from a sun that never stopped setting, were three moons. One was enormous, covering perhaps a sixth of the sky, shining in swirls of white and blue, hazy at the edges. Just in front of it was a beautiful silvery moon at least three quarters as big as it was. Last, there was a tiny moon in high orbit, white as a diamond, that seemed to be deliberately keeping its distance from the other two. Al of them were half ful and shone down with gentle, soothing light on the unbroken snow around Elena. â€Å"We’re in the Nether World,†Elena said, shaken. â€Å"Oh†¦it’s just like in the story,†Bonnie gasped. â€Å"Exactly like. Even the writing! Even the amount of snow!† â€Å"Exactly like the story?†Stefan asked. â€Å"Even to the phase of the moons? How ful they are?† â€Å"Just exactly the same.† Stefan nodded. â€Å"I thought they would be. That story was a precognition, given to you with the purpose of helping us find the largest star bal ever made.† â€Å"Well, let’s go inside!†cried Bonnie. â€Å"We’re wasting time!† â€Å"Okay – but everyone on your guard. We don’t want anything to go wrong now,†Stefan said. They went into the Gatehouse of the Seven Treasures in this order: Bonnie, who found that the great black doors swung open at a touch, but that she could see nothing, coming in from bright sunlight; Stefan and Elena, hand in hand; and Damon, who waited outside for a long time in the hopes, Elena thought, of being deemed â€Å"a different party.† Meanwhile the others were having the most pleasant shock since they’d taken the Master Keys from the kitsune. â€Å"Sage – Sage!†Bonnie shril ed as soon as her eyes adjusted. â€Å"Oh, look, Elena, it’s Sage! Sage, how are you? What’re you doing here? Oh, it’s just so good to see you!† Elena blinked twice, and the dim interior of the octagonal room came into focus. She went around the only piece of furniture in the room, the large desk in the middle. â€Å"Sage, do you know how long it seems? Did you know that Bonnie almost got sold for a slave at a public auction? Did you know about her dream?† Sage looked as he always had to Elena’s eyes. The bronzed, terminal y fit body, like a model of a Titan, the bare chest and bare feet, the black Levi’s, the long spiraling tangles of bronze hair, and the strange bronze eyes that could cut steel, or be as gentle as a pet lamb. â€Å"Mes deux petits chatons,† Sage was saying. â€Å"My two little kittens, you have astounded me. I have been fol owing your adventures. The Gatekeeper is not provided with much entertainment and is not al owed to leave this fortress, but you were most brave and amusing. Je vous felicite.†He kissed first Elena’s hand and then Bonnie’s, then embraced Stefan with the Latin two-cheeked kiss. Then he resumed his seat. Bonnie was climbing Sage as if she were a real kitten. â€Å"Did you take Misao’s star bal ful of Power?†she demanded, kneeling on his thigh. â€Å"Did you take half of it, I mean? To get back here?† â€Å"Mais oui, I did. But I also left Madame Flowers a little – â€Å" â€Å"Do you know that Damon used the other half to open the Gate again? And that I fel in too, even though he didn’t want me? And that because of that I almost got sold as a slave? And that Stefan and Elena had to come after me, to make sure I was okay? And that on the way here Elena almost fel off the bridge, and we’re not sure if the thurgs are going to make it? And do you know that in Fel ‘s Church the Last Midnight is coming, and we don’t know – â€Å" Stefan and Elena exchanged a long, meaningful glance and then Stefan said, â€Å"Bonnie, we have to ask Sage the most important question.†He looked at Sage. â€Å"Is it possible for us to save Fel ‘s Church? Do we have enough time?† â€Å"Eh bien. As far as I can tel from the chronological vortex, you have enough time and a little to spare. Enough for a glass of Black Magic to see you off. But after that, no dawdling!† Elena felt like a crumpled piece of paper that had been straightened and smoothed. She took a long breath. They could do it. That allowed her to remember civilized behavior. â€Å"Sage, how did you get stuck way out here? Or were you waiting for us?† â€Å"Helas, no – I am assigned here as punishment. I got an Imperial Summons that I could not ignore, mes amis.†He sighed and added, â€Å"I am just Out of Favor again. So now I am the ambassador to the Nether World, as you see.†He waved a languid hand around the room. â€Å"Bienvenue.† Elena had a sense of time ticking away, of precious minutes being lost. But maybe Sage himself would do something for Fel ‘s Church. â€Å"You real y have to stay in here?† â€Å"But assuredly, until mon pre – my father† – Sage said the word savagely and resentful y – â€Å"relents and I am al owed to return to the Infernal Court, or, much better, to go my ways without ever returning. At least until someone takes the pity on me and kil s me.†He looked inquiringly around the group, then sighed, and said, â€Å"Saber and Talon, they are well?† â€Å"They were when we left,†Elena said, itching to get on with their real business here. â€Å"Bien,† Sage said, looking at her kindly, â€Å"but we should have your entire group in here for the viewing, no?† Elena glanced at the doors and then again at Stefan, but Sage was already cal ing – both with voice and telepathy – â€Å"Damon, mon poussinet, do you not want to come in with your comrades?† There was a long pause, and then the doors opened and a very sul en Damon stepped in. He wouldn’t reply to Sage’s friendly, â€Å"Bienvenue,† instead saying, â€Å"I didn’t come here to socialize. I want to see the treasures in time to save Fel ‘s Church. I haven’t forgotten about the damned hick town, even if everyone else has.† â€Å"Alors maintenant,† Sage said, looking wounded. â€Å"You have al passed the tests in your way and may look upon the treasures. You may even use magic again, although I am not sure that it wil help you. It al depends upon which treasure you seek. Felicitations! â€Å" Everyone but Damon made some gesture of embarrassment. â€Å"Now,†Sage continued, â€Å"I must show each gate to you before you can pick. I wil try to be quick, but be cautious, s’il vous pla?t. Once you choose a treasure, that is the only door that wil open again for any of you.† Elena found herself clutching at Stefan’s hand – which was already reaching for hers – as one by one the doors shone with a faint, silvery light. â€Å"Behind you,†said Sage, â€Å"is the very gate you entered to get into this room, yes? But next to it, ah†¦Ã¢â‚¬ A door brightened to show an impossible cavern. Impossible because of the gems lying on the ground or sticking out of the cave wal s. Rubies, diamonds, emeralds, amethysts†¦each one as big as Elena’s fist, lying thick in great piles for the taking. â€Å"It’s beautiful, but†¦no, of course!†she said firmly, and reached out to put a hand on Bonnie’s shoulder. The next door lit up, brightened, then brightened more so that it seemed to disappear. â€Å"And here,†Sage sighed, â€Å"is the famous kitsune paradise.† Elena could feel her eyes widen. It was a sunny day in the most beautiful park she had ever seen. In the background a little waterfal spil ed into a creek, which ran down a green hil , while directly in front of her was a stone bench, just the size for two, underneath a tree that looked like a cherry in ful bloom. Blossoms were flying in a breeze that rustled other cherry and peach trees nearby – causing a rain of dawn-colored petals. Although Elena had only seen the place for a moment, it already seemed familiar to her. She could just walk into it†¦ â€Å"No, Stefan!†She had to touch his arm. He had been walking right into the garden. â€Å"What?†he said, shaking his head like someone in a dream. â€Å"I don’t know what happened. It just seemed as if I were going to an old, old home†¦Ã¢â‚¬ His voice broke off. â€Å"Sage, go on, please!† The next door was already lighting, showing a scene with rack after rack of Clarion Loess Black Magic wine. In the distance, Elena could make out a vineyard with lush grapes hanging heavily, fruit that would never see the light of the sun until it was made into a famous liquid. Everyone was already sipping at their glasses of Black Magic, so it was easy to say â€Å"no†even to the luscious grapes. As the next door brightened Elena heard herself gasp. It was bril iant midday. Growing in a field as far as she could see were tal bushes thick with long-stemmed roses – the blossoms of which were a velvety-looking black. Startled, she saw that everyone was looking at Damon, who had taken a step toward the roses as if involuntarily. Stefan put an arm out, barring his way. â€Å"I didn’t look very closely,†Damon said, â€Å"but I think these are the same as the one I†¦destroyed.† Elena turned to Sage. â€Å"They’re the same, aren’t they?† â€Å"But yes,†Sage said, looking unhappy. â€Å"These are al Midnight roses, noir pur – the sort in the white kitsune’s bouquet. But these are al blanks. The kitsune are the only ones who can put spel s on them – like the removal of the curse of a vampire.† There was a general sigh of disappointment among his listeners, but Damon just looked more sul en. Elena was about to speak up, to say that Stefan shouldn’t be put through this, when she tuned in to Sage’s words and the next gate, and felt a surge of simple, selfish longing herself. â€Å"I suppose you would cal it ‘ La Fontaine of Eternal Youth and Life,'†Sage said. Elena could see an ornate fountain playing, the effervescent spray at the top making a rainbow. Smal butterflies of al colors flew around it, alighting on the leaves of the bower that cradled it in greenery. Meredith, with her cool head and straightforward logic wasn’t there, so Elena dug her nails into her palms and cried â€Å"No! Next one!†as quickly and forceful y as she could. Sage was speaking again. She made herself listen. â€Å"The Royal Radhika Flower, which legends say was stolen from the Celestial Court many mil ennia ago. It changes shape.† A simple enough thing to say†¦but actual y to see it†¦ Elena watched in astonishment as a dozen or so thick, twining stems, topped by gorgeous white cal a lily blossoms, trembled slightly. The next instant she was looking at a cluster of violets with velvet leaves and a drop of dew shining on a petal. A moment later, the stems were topped with radiant mauve snapdragons – with the dewdrop Stillin place. Before she could remember not to reach out and touch them, the snapdragons had become deep, ful y open red roses. When the roses became some exotic golden flower that Elena had never seen, she had to turn her back. She found herself bumping into a hard, masculine, bare chest while forcing herself to think realistical y. Midnight was coming – and not in the form of a rose. Fel ‘s Church needed al the help it could get and here she was staring at flowers. Abruptly, Sage swung her off her feet and said, â€Å"What a temptation, especial y for a lover of la beaute like you, belle madame. What a foolish rule to keep you from taking just a bud! But there is something even higher and more pure than beauty, Elena. You, you are named for it. In old Greek, Elena means ‘light’! The darkness is coming fast – the Last, Everlasting Midnight! Beauty wil not hold it back; it is a bagatel e, a trinket, useless in times of disaster. But light, Elena, light wil conquer the darkness! I believe this as I believe in your courage, your honesty, and your gentle, loving heart.† With that, he kissed her on the forehead and set her down. Elena was dazed. Of al the things she knew, she knew best that she could not defeat the darkness that was coming – not alone. â€Å"But you’re not alone,†Stefan whispered, and she realized that he was right beside her, and that she must be wide open, projecting her thoughts as clearly as if she were speaking. â€Å"We’re al here with you,†Bonnie said in a voice twice her size. â€Å"We’re not afraid of the dark.† There was a pause while everyone tried not to look at Damon. At last he said, â€Å"Somehow I got talked into this insanity – I’m Stillwondering how it happened. But I’ve come this far and I’m not going to turn around now.† Sage turned toward the final door and it brightened. Not by much, however. It looked like the shady underside of a very large tree. What was odd, though, was that there was nothing at allgrowing under it. No ferns or bushes or seedlings, not even the normal y ever-present creepers and weeds. There were a few dead leaves on the ground, but otherwise it was just dirt. Sage said, â€Å"A planet with only one corporeal form of life upon it. The Great Tree that covers an entire world. The crown covers al but the natural freshwater lakes it needs to survive.† Elena looked into the heart of the twilit world. â€Å"We’ve come so far, and maybe together – maybe we can find the star bal that wil save our town.† â€Å"This is the door you pick?†asked Sage. Elena looked at the rest of the group. They al seemed to be waiting for her confirmation. â€Å"Yes – and right now. We have to hurry.†She made a motion as if to put her cup down and it disappeared. She smiled thanks at Sage. â€Å"Strictly speaking, I shouldn’t give you any help,†he said. â€Å"But if you have a compass†¦Ã¢â‚¬  Elena had one. It was always dangling from her backpack because she was always trying to read it. Sage took the compass in his hand and lightly traced a line on it. He gave the compass back to Elena and she found that the needle no longer pointed to the north, but at an angle northeast. â€Å"Fol ow the arrow,†he said. â€Å"It wil take you to the trunk of the Great Tree. If I had to guess at where to find the largest star bal , I would go this way. But be wary! Others have tried this path. Their bodies have nourished the Great Tree – as fertilizer.† Elena scarcely heard the words. She had been terrified at the thought of searching an entire planet for a star bal . Of course, it might be a very smal world, like†¦like†¦ Like the little diamond moon you saw over the Nether World? The voice in Elena’s mind was both familiar and not. She glanced at Sage, who smiled. Then she looked around the room. Everyone seemed to be waiting for her to take the first step. She took it. How to cite The Return: Midnight Chapter 33, Essay examples

Persin development free essay sample

Silkysteps early years forum planning ideas for play Welcome to Silkysteps Early Years Forum Early Years Discussion Forums Training, Qualifications CPD Level 3 Diploma NVQ SCH 32 2. 3 Describe how own values belief systems and experiences affect practice User Name Remember Me? Password Register FAQ Members List Calendar Arcade Level 3 Diploma NVQ Level 3 : NVQ Childrens Care, Learning and Development and Diploma for the Children and Young Peoples Workforce. Please DO NOT COPY and PASTE information from this forum and then submit the work as your own. Plagiarism risks you failing the course and the development of your professional knowledge. Go to Page Page 1 of 2 1 2 Thread Tools Display Modes #1 10-16-2010, 08:02 PM easylife Acorn ~~Putting down roots ~~ Join Date: Mar 2010 Posts: 11 SCH 32 2. 3 Describe how own values belief systems and experiences affect practice Hi, I really would like to thank every one here in this site. We will write a custom essay sample on Persin development or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Without posting any question last year for my NVQ Level 2 that I passed I really benefit from all of your posted answers. I have now started my Level 3 Diploma for the Children and Young Peoples Workforce and we have 21 units this year I am in unit 052 is any one here doing the same course? Just need some help with 2. 3 : Describe how own values, belief systems and experiences my effect working practice? Manythanks easylife View Public Profile Find all posts by easylife #2 10-16-2010, 10:11 PM Ruthierhyme Administrator Join Date: Nov 2005 Posts: 5,959 Hi a warm welcome to the site xx You need to look at what you value, what beliefs you personally have and the experiences that you have that may or maynot affect the way you work. How would you describe your outlook on life? Negative? do you feel things will go badly Optimistic? maybe youre open to a range of possible outcomes Are you positively focussed? do you find it easy to be keen, motivated, eager to plan, witness and take part. The collins handbook lays out guidance for this assessment criteria by category .. Family background: the make-up of your immediate and extended family and their impact; whether you were an only child or were there many children; sibling rivalry; a mix of genders; the history of your family; whether there was a harsh discipline or permissive attitude. Environment: the house/flat/caravan you grew up in and its location, within town or rural setting, within a cetain geographical area, or a different country. Finances: whether you were wealthy or struggled to have your basic needs met. Education: the ethos of your school; whether single or mixed sex; boarding or day school; inspirational teachers; success academiucally; whether you were bullied; whether you developed special interests. Religious or spiritual beleif system including if you embraced or rejected this. Moral influences: values passed onto you as being of central importance to the way you live your life. Pg 54 Everyone is influenced and shaped by their unique experience of life. It can be hard to separate personal and professional responses when youre asked to perform both simultaneously throughout each working day. For the ability to maintain objectivity or be unaffected by personal bias maybe look at your personal views, beliefs, feelings about aspects that you might find relate to daily practice. Would it help to evaluate examine them by refelcting on your feelings? .. eg. if you were asked to write a sentence using your positive/indifferent/negative thoughts on each of the following, what would that single sentence be/ what would it sum up? childrens rights? a good idea or bad idea? human rights? ECM and positive outcomes? partnership and working together as an internal and external team? male / female roles who stays home to care for children, who goes out to work, who uses different tools, who drives different vehicles, who takes which managerial position human appearance skin colour, eye colour, hair, height, weight, family size/number smacking, time-out, other methods for behavioural management homosexuality: same sex union, same sex parents transgender transvestism labels disability sensory impairement hearing, sight, smell, touch, taste infection control risk individual faiths prayer, worship, marriage:religions local community worldwide networks country based culture language, accent, dress, food, music, art, festivals, weather age does age change capability? pregnancy and age welfare, safeguarding, protecting adults, children, animals academia, training and opportnities to gain knowledge lifestyles and lifestyle choices - multicultural lifestyle - veganism, vegetarianism - activism - celebrity - products, brands - homes a house, flat, caravan, boat, tent - traditions, celebrations, annual occurances, observances discrimination how do you react when others discriminate against others, against you. How do you know when youve discriminated against others or found youve contradicted yourself. healthy eating substance use smoking, drugs, alchol mental health sexual health Consider the role that youre charged with, the title description of your job and the responsibilities involved that mean you implement ways for children to achieve positive outcomes during their time with you and as an underpinning expectation for their forevers. Which of the above do you feel you can whole heartedly support, enjoying all the opportunities available that would promote learning about it. Which do you accept are an individuals own choice, whilst not your personal choice you respect their rights/right to be safe, express themselves Which do you struggle to understand, challenges your thinking, causes you to feel defensive or makes you feel a need to justify or re-examine your reasoning. How supportive could you be to someone with views and beliefs that conflict with your own. How do you think your views, beliefs impact on your practice? Are you able to separate personal and professional responses? Are you able to see what difference exists between personal and professional practice objectivity? Are you able to overcome strength of personal feeling to safeguard the children in your care and work in partnership with parents and colleagues? For ideas on methods of relective practice ie. thinking, writing, discussion, enacting or role play this thread may help