Cadden, M. (2000). The Irony of Narration in the Young Adult Novel. Children 's Literature Association Quarterly , 147-154. [Online]. Retrieved at: www.longwood.edu [August 23rd 2011].…
Munro, Alice. “How I Met My Husband.” Perrine’s Literature Structure, Sound & Sense. Eds. Thomas R. Arp and Greg Johnson. Boston: Wadsworth Cengage Learning, 2009. 125-140.…
©2000−2005 BookRags, Inc. ALL RIGHTS RESERVED. The following sections of this BookRags Premium Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare &Contrast, What Do I Read Next?, For Further Study, and Sources. ©1998−2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. The following sections, if they exist, are offprint from Beacham's Encyclopedia of Popular Fiction: "Social Concerns", "Thematic Overview", "Techniques", "Literary Precedents", "Key Questions", "Related Titles", "Adaptations", "Related Web Sites". © 1994−2005, by Walton Beacham. The following sections, if they exist, are offprint from Beacham's Guide to Literature for Young Adults: "About the Author", "Overview", "Setting", "Literary Qualities", "Social Sensitivity", "Topics for Discussion", "Ideas for Reports and Papers". © 1994−2005, by Walton Beacham. All other sections in this Literature Study Guide are owned and copywritten by BookRags, Inc. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher.…
©2000-2007 BookRags, Inc. ALL RIGHTS RESERVED. The following sections of this BookRags Premium Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare & Contrast, What Do I Read Next?, For Further Study, and Sources. ©1998-2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. The following sections, if they exist, are offprint from Beacham's Encyclopedia of Popular Fiction: "Social Concerns", "Thematic Overview", "Techniques", "Literary Precedents", "Key Questions", "Related Titles", "Adaptations", "Related Web Sites". © 1994-2005, by Walton Beacham. The following sections, if they exist, are offprint from Beacham's Guide to Literature for Young Adults: "About the Author", "Overview", "Setting", "Literary Qualities", "Social Sensitivity", "Topics for Discussion", "Ideas for Reports and Papers". © 1994-2005, by Walton Beacham. All other sections in this Literature Study Guide are owned and copywritten by BookRags, Inc. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher.…
(Warning: This novel contains some explicit language. If this is an issue for you or your child, please contact the English Department Chair at karthur@bcps.org to discuss. An alternate assignment can be created.)…
©2000-2007 BookRags, Inc. ALL RIGHTS RESERVED. The following sections of this BookRags Premium Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare & Contrast, What Do I Read Next?, For Further Study, and Sources. ©1998-2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. The following sections, if they exist, are offprint from Beacham's Encyclopedia of Popular Fiction: "Social Concerns", "Thematic Overview", "Techniques", "Literary Precedents", "Key Questions", "Related Titles", "Adaptations", "Related Web Sites". © 1994-2005, by Walton Beacham. The following sections, if they exist, are offprint from Beacham's Guide to Literature for Young Adults: "About the Author", "Overview", "Setting", "Literary Qualities", "Social Sensitivity", "Topics for Discussion", "Ideas for Reports and Papers". © 1994-2005, by Walton Beacham. All other sections in this Literature Study Guide are owned and copywritten by BookRags, Inc. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher.…
In her “Sapplings in the Storm” essay, Mary Pipher brings attention to the struggles, changes, and hardships young girls experience when they reach the age of adolescence. She uses similes, allusions, and metaphors to pull her reads into her reflections. “Just as… ships disappear…into the Bermuda Triangle… the selves of girls…crash and burn in a social and developmental Bermuda Triangle.” Pipher connects the suddenness of the girls’ changes to a mystery that most have heard of. Early on in her essay she wants her readers to realize the severity of the topic. Pipher includes metaphors and imagery to add reality to what these girls deal with; including, “girls who rushed to drink in experiences in enormous gulps sit quietly in the corner,” “described the wreckage,” and “their voices have gone underground.” Pipher inserts a story from the Shakespearean play, Hamlet, along with a description of the stereotypical fairy tale story, in order to show how adolescence manifests itself in many different ways. Figurative language in this writing makes these continually occurring situations real and present; not just an assumption.…
The following sections of this BookRags Premium Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare &Contrast, What Do I Read Next?, For Further Study, and Sources. ©1998−2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. The following sections, if they exist, are offprint from Beacham's Encyclopedia of Popular Fiction: "Social Concerns", "Thematic Overview", "Techniques", "Literary Precedents", "Key Questions", "Related Titles", "Adaptations", "Related Web Sites". © 1994−2005, by Walton Beacham. The following sections, if they exist, are offprint from Beacham's Guide to Literature for Young Adults: "About the Author", "Overview", "Setting", "Literary Qualities", "Social Sensitivity", "Topics for Discussion", "Ideas for Reports and Papers". © 1994−2005, by Walton Beacham. All other sections in this Literature Study Guide are owned and copywritten by BookRags, Inc. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher.…
Brown, Sanborn. Wines& Beers of Old New England A How-To-Do-It History . Hanover, NH: The UP of England, 1978. Print.…
Sexuality and personal growth has and always will be a topic of conversation in real life and even in fiction short stories. The idea of sexuality has just recently not only became an open idea to discuss but one to also write and publish about. Both Alice Munro and John Updike both illustrate the idea of sexuality and personal growth in very different ways. “The Found Boat” by Alice Munro, deals with sexuality in an aggressive manner while “A&P” by John Updike, deals more with the idea of sexuality rather than sexuality itself. They also have very similar elements of fiction that include (but is not limited to) characters, theme and conflict. The characters relate in both stories because as some have similar actions others begin to explore their sexual thoughts. The themes in these stories are sexuality, personal growth and gender conflict. Conflict has to do with “the battle of the sexes (or ideas)”. All three of these fictional elements directly relate to the idea of sexuality, gender conflict, coming of age and rebellion.…
Self-growth and self-identity are common themes among many literary works. In Bernice Friesen’s “Brother Dear” and Alice Munro’s “Boys and Girls” character growth is a key concept. The conflict encountered by each protagonist, and the growth of their individual mentality is what results in their happiness, as shown through the conflict between their dreams versus reality, the obstacle of family, and their resistance against conformity.…
In “Boys and Girls” and “Brother Dear” the brave yet defiant ways of two characters act as reasons for which they go through parental strain. In “Brother Dear”, it can be seen why Greg experiences parental strains. Sharlene says, “He’s off on his life adventure...” (Friesen, 9). The braveness of Greg as well as his defiance is clearly defined in this as his disregard to his parents is shown. Similarly, in “Boys and Girls”, defiance is seen in the girl through her disregard of her grandparents, “I continued to slam the doors and sit awkwardly as possible, thinking that by such measures I kept my self free,” (Munro, 52). Defiance is evident here as the girl continues to misbehave even after the request of her grandparents. In “Brother Dear”, Gregs’ characteristics are replayed by Friesen so that his character is clearly understood. Greg says, ““Excuse me,” he gets up and walks out the door,” (Friesen, 6). Once again, bravery and defiance are shown in Greg at the same time, his disregard towards his parents is further developed in him leaves the dinner table in the process of conversing with his father. Correspondingly, no errors are allowed in “Boys and Girls” as multiple examples are provided to show defiance in the protagonist. The girl is characterized through her dreams, “These stories were about myself...presented the opportunity for courage, boldness and self sacrifice...I rescued people from a bombed building...I shot two rabid wolves who were menacing the schoolyard...teachers cowered...I rode a horse...acknowledging the townspeople’s gratitude for some yet-to-be-worked-out piece of heroism...there was always riding and shooting in these stories...” (Munro, 47). The girl is distinguished as brave and manly thus creating a contrast to the thoughts of the society, even though the girl realizes the negative reactions her mother has…
On his college campus he find himself demonized by certain female peers because of his sex. Women accuse him of being part of group collectively “guilty of keeping all the joys and privileges to [themselves]” He finds himself condemned to share the guilt of the few, the few who actually took advantage. The jarring contrast, between the individual and the standard they are held to, recurs throughout the text. The saddening theme of the tragedy of assigned identity, the struggle with inescapable assigned guilt, rears its head throughout both texts. To amplify this feeling of injustice, both authors use vivid imagery to juxtapose the reality of their subjects against the supposed evil they both have cherished. Kingston’s Aunt vilified and despised by villagers for her supposed immorality is described as a gentle happy woman, the apple of her father's eye, a loving woman, a mother who didn’t abandon her child. The men Sanders knew, who stole all the pleasures in the world, live with the privilege of hernias, finicky backs , missing fingers, bent backs, “hands tattooed with scars”. The poignancy of these characters comes from their reality as the antithesis of what society has labeled them as. It strikes the reader, makes them understand what the writers have being trying convey, an understanding of the vast inequity of these…
Having unique techniques and practices in the field of dentistry is evident in the practice of Gavin Laidlaw Dentistry. You can say that they are rather innovative and they take time to develop strategies and policies that will cater to patients and make lives just easier in general. Their list of satisfied clientele is proof of their excellent services which are safe and suitable for your budget. What makes them stick to their satisfied customers? A lot of them rave about just how friendly everyone is, then some are really impressed at the results of the procedures that were done to them. Dental work requires a lot of training and your mouth hold more sensitive nerves than you can ever imagine.…
In the novel, “Moby Dick” by Herman Melville, Flask is the lowest officer rank on the ship and he is oppressed by his fellow officers. It is shown in chapter thirty-four: “The Cabin Table”. “And poor little Flask, he was the youngest son, and little boy of this weary family party. His were the shinbones of the saline beef; his would have been the drumsticks” (Melville 143). This is the first part that shows Flask is at the bottom of the food chain. Flask is the one to get the scraps and undesired pieces of meat, while Ahab, Starbuck and Stubb get thighs and breasts. He is the last one served on top of getting the least amount of food out of everyone else. This shows Flask is oppressed by his fellow officers because he isn’t treated with the same respect of the first and second in command behind Ahab.…