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As the importance of recycling becomes more apparent, questions about it linger. Is it worth the effort? How does it work? Is recycling waste just going into a landfill in China? Here are some answers.

Add this article to your reading list by clicking this button. Strong Ego! IT IS an awful lot of rubbish. Baby! Since 1960 the amount of strong, municipal waste being collected in America has nearly tripled, reaching 245m tonnes in 2005. According to traits, European Union statistics, the strong ego amount of abington vs schempp, municipal waste produced in western Europe increased by 23% between 1995 and 2003, to reach 577kg per person. Strong Ego! (So much for the plan to reduce waste per person to 300kg by 2000.) As the a raisin in the volume of ego, waste has increased, so have recycling efforts. In 1980 America recycled only character 9.6% of its municipal rubbish; today the rate stands at 32%.

A similar trend can be seen in Europe, where some countries, such as Austria and the Netherlands, now recycle 60% or more of their municipal waste. Britain's recycling rate, at 27%, is low, but it is improving fast, having nearly doubled in the past three years. Even so, when a city introduces a kerbside recycling programme, the sight of all those recycling lorries trundling around can raise doubts about whether the collection and transportation of waste materials requires more energy than it saves. We are constantly being asked: Is recycling worth doing on environmental grounds? says Julian Parfitt, principal analyst at Waste Resources Action Programme ( WRAP ), a non-profit British company that encourages recycling and develops markets for strong recycled materials. Studies that look at the entire life cycle of a particular material can shed light on this question in a particular case, but WRAP decided to take a broader look. Loss: A Research Paper! It asked the Technical University of Denmark and the Danish Topic Centre on Waste to conduct a review of 55 life-cycle analyses, all of which were selected because of their rigorous methodology. The researchers then looked at more than 200 scenarios, comparing the strong impact of nick carraway character traits, recycling with that of burying or burning particular types of waste material. Strong Ego! They found that in 83% of all scenarios that included recycling, it was indeed better for the environment. Based on this study, WRAP calculated that Britain's recycling efforts reduce its carbon-dioxide emissions by low context cultures 10m-15m tonnes per year.

That is equivalent to a 10% reduction in Britain's annual carbon-dioxide emissions from transport, or roughly equivalent to taking 3.5m cars off the roads. Ego! Similarly, America's Environmental Protection Agency estimates that recycling reduced the country's carbon emissions by 49m tonnes in 2005. Recycling has many other benefits, too. It conserves natural resources. It also reduces the traits amount of strong, waste that is buried or burnt, hardly ideal ways to get rid of the stuff. (Landfills take up valuable space and nick carraway character traits, emit methane, a potent greenhouse gas; and although incinerators are not as polluting as they once were, they still produce noxious emissions, so people dislike having them around.) But perhaps the most valuable benefit of recycling is the saving in energy and strong ego, the reduction in greenhouse gases and pollution that result when scrap materials are substituted for virgin feedstock. If you can use recycled materials, you don't have to mine ores, cut trees and drill for oil as much, says Jeffrey Morris of Sound Resource Management, a consulting firm based in vs schempp, Olympia, Washington. Strong Ego! Extracting metals from shmoop a raisin in the sun ore, in particular, is extremely energy-intensive. Recycling aluminium, for example, can reduce energy consumption by as much as 95%. Strong Ego! Savings for other materials are lower but still substantial: about 70% for plastics, 60% for steel, 40% for paper and 30% for glass. Recycling also reduces emissions of pollutants that can cause smog, acid rain and a time closing argument, the contamination of ego, waterways.

The virtue of recycling has been appreciated for centuries. For thousands of years metal items have been recycled by melting and reforming them into new weapons or tools. It is said that the broken pieces of the abington Colossus of Rhodes, a statue deemed one of the seven wonders of the ancient world, were recycled for scrap. During the ego industrial revolution, recyclers began to form businesses and A Stage of Writing a Research Paper, later trade associations, dealing in the collection, trade and processing of metals and paper. America's Institute of Scrap Recycling Industries ( ISRI ), a trade association with more than 1,400 member companies, traces its roots back to one such organisation founded in 1913. In the 1930s many people survived the Great Depression by peddling scraps of metal, rags and other items. In those days reuse and recycling were often economic necessities. Recycling also played an important role during the second world war, when scrap metal was turned into weapons. As industrial societies began to produce ever-growing quantities of garbage, recycling took on a new meaning.

Rather than recycling materials for strong ego purely economic reasons, communities began to think about how to reduce the waste flow to landfills and incinerators. Carraway Character! Around 1970 the environmental movement sparked the creation of strong, America's first kerbside collection schemes, though it was another 20 years before such programmes really took off. In 1991 Germany made history when it passed an ordinance shifting responsibility for the entire life cycle of shmoop sun, packaging to ego, producers. In response, the industry created Duales System Deutschland ( DSD ), a company that organises a separate waste-management system that exists alongside public rubbish-collection. By charging a licensing fee for its green dot trademark, DSD pays for the collection, sorting and recycling of packaging materials. Although the system turned out to be expensive, it has been highly influential. Many European countries later adopted their own recycling initiatives incorporating some degree of producer responsibility. In 1987 a rubbish-laden barge cruised up and abington vs schempp, down America's East Coast looking for ego a place to unload, sparking a public discussion about waste management and serving as a catalyst for the country's growing recycling movement. By the abington vs schempp early 1990s so many American cities had established recycling programmes that the resulting glut of materials caused the market price for kerbside recyclables to fall from around $50 per ton to about $30, says Dr Morris, who has been tracking prices for recyclables in the Pacific Northwest since the mid-1980s. Ego! As with all commodities, costs for recyclables fluctuate.

But the average price for kerbside materials has since slowly increased to about $90 per closing ton. Even so, most kerbside recycling programmes are not financially self-sustaining. Strong Ego! The cost of collecting, transporting and nick traits, sorting materials generally exceeds the revenues generated by selling the recyclables, and is also greater than the disposal costs. Exceptions do exist, says Dr Morris, largely near ports in dense urban areas that charge high fees for landfill disposal and enjoy good market conditions for the sale of recyclables. Originally kerbside programmes asked people to strong, put paper, glass and cans into separate bins. But now the trend is toward co-mingled or single stream collection. About 700 of America's 10,000 kerbside programmes now use this approach, says Kate Krebs, executive director of America's National Recycling Coalition. But the switch can make people suspicious: if there is nick character traits, no longer any need to separate different materials, people may conclude that the waste is simply being buried or burned. In fact, the switch towards single-stream collection is being driven by new technologies that can identify and strong, sort the various materials with little or no human intervention.

Single-stream collection makes it more convenient for householders to vs schempp, recycle, and means that more materials are diverted from the waste stream. San Francisco, which changed from strong multi to single-stream collection a few years ago, now boasts a recycling rate of 69%one of the gone baby gone tomatoes highest in America. With the exception of garden and strong, food waste, all the city's kerbside recyclables are sorted in a 200,000-square-foot facility that combines machines with the manpower of 155 employees. The $38m plant, next to the San Francisco Bay, opened in 2003. Operated by Norcal Waste Systems, it processes an average of 750 tons of paper, plastic, glass and metals a day. The process begins when a truck arrives and gone rotten, dumps its load of recyclables at one end of the strong building. The materials are then piled on to large conveyer belts that transport them to a manual sorting station. There, workers sift through everything, taking out plastic bags, large pieces of cardboard and other items that could damage or obstruct the sorting machines. Plastic bags are especially troublesome as they tend to get caught in the spinning-disk screens that send weightier materials, such as bottles and cans, down in one direction and the paper up in another. Corrugated cardboard is separated from mixed paper, both of which are then baled and sold.

Plastic bottles and cartons are plucked out by hand. The most common types, PET (type 1) and HDPE (type 2), are collected separately; the rest go into a mixed-plastics bin. Next, a magnet pulls out any ferrous metals, typically tin-plated or steel cans, while the non-ferrous metals, mostly aluminium cans, are ejected by eddy current. In The! Eddy-current separators, in use since the early 1990s, consist of a rapidly revolving magnetic rotor inside a long, cylindrical drum that rotates at a slower speed. As the aluminium cans are carried over ego, this drum by a conveyer belt, the magnetic field from the rotor induces circulating electric currents, called eddy currents, within them. A Research Paper! This creates a secondary magnetic field around the cans that is repelled by ego the magnetic field of the rotor, literally ejecting the aluminium cans from the other waste materials. Finally, the glass is separated by hand into clear, brown, amber and green glass. For each load, the entire sorting process from start to finish takes about an baby rotten tomatoes hour, says Bob Besso, Norcal's recycling-programme manager for San Francisco. Although all recycling facilities still employ people, investment is increasing in ego, optical sorting technologies that can separate different types of low context cultures, paper and plastic. Development of the strong first near-infra-red-based waste-sorting systems began in the early 1990s.

At the time Elopak, a Norwegian producer of drink cartons made of plastic-laminated cardboard, worried that it would have to pay a considerable fee to meet its producer responsibilities in Germany and other European countries. To reduce the overall life-cycle costs associated with its products, Elopak set out to low context, find a way to strong ego, automate the sorting of its cartons. The company teamed up with SINTEF , a Norwegian research centre, and in 1996 sold its first unit in Germany. The technology was later spun off into a company now called TiTech. TiTech's systemsmore than 1,000 of to kill closing argument, which are now installed worldwiderely on ego, spectroscopy to identify different materials. Paper and plastic items are spread out on a conveyor belt in a single layer.

When illuminated by a halogen lamp, each type of material reflects a unique combination of gone baby, wavelengths in the infra-red spectrum that can be identified, much like a fingerprint. By analysing data from a sensor that detects light in both the visible and the near-infra-red spectrum, a computer is able to determine the strong colour, type, shape and position of each item. Air jets are then activated to push particular items from nick traits one conveyor belt to another, or into a bin. Numerous types of paper, plastic or combinations thereof can thus be sorted with up to 98% accuracy. For many materials the process of turning them back into useful raw materials is straightforward: metals are shredded into pieces, paper is reduced to pulp and glass is crushed into cullet. Metals and glass can be remelted almost indefinitely without any loss in quality, while paper can be recycled up to six times. (As it goes through the process, its fibres get shorter and the quality deteriorates.) Plastics, which are made from fossil fuels, are somewhat different. Although they have many useful propertiesthey are flexible, lightweight and can be shaped into strong any formthere are many different types, most of which need to be processed separately. In 2005 less than 6% of the plastic from America's municipal waste stream was recovered. And of that small fraction, the only two types recycled in significant quantities were PET and HDPE . For PET , food-grade bottle-to-bottle recycling exists.

But plastic is often down-cycled into other products such as plastic lumber (used in place of wood), drain pipes and carpet fibres, which tend to sun, end up in landfills or incinerators at the end of their useful lives. Even so, plastics are being used more and more, not just for packaging, but also in consumer goods such as cars, televisions and personal computers. Because such products are made of a variety of materials and can contain multiple types of plastic, metals (some of them toxic), and glass, they are especially difficult and expensive to dismantle and recycle. Europe and Japan have initiated take back laws that require electronics manufacturers to recycle their products. But in America only a handful of states have passed such legislation.

That has caused problems for companies that specialise in recycling plastics from complex waste streams and depend on take-back laws for getting the necessary feedstock. Ego! Michael Biddle, the boss of MBA Polymers, says the lack of such laws is character, one of the reasons why his company operates only a pilot plant in America and has its main facilities in China and Austria. Much recyclable material can be processed locally, but ever more is being shipped to developing nations, especially China. Strong Ego! The country has a large appetite for raw materials and that includes scrap metals, waste paper and plastics, all of which can be cheaper than virgin materials. Abington! In most cases, these waste materials are recycled into consumer goods or packaging and returned to Europe and strong ego, America via container ships. With its hunger for Loss: A Stage resources and the availability of cheap labour, China has become the strong ego largest importer of recyclable materials in the world. But the practice of shipping recyclables to shmoop a raisin in the sun, China is controversial. Especially in Britain, politicians have voiced the concern that some of those exports may end up in strong ego, landfills. Many experts disagree. According to Pieter van Beukering, an economist who has studied the trade of waste paper to India and waste plastics to China: as soon as somebody is paying for the material, you bet it will be recycled. In fact, Dr van Beukering argues that by importing waste materials, recycling firms in developing countries are able to Loss: of Writing, build larger factories and strong ego, achieve economies of scale, recycling materials more efficiently and at lower environmental cost.

He has witnessed as much in India, he says, where dozens of inefficient, polluting paper mills near Mumbai were transformed into a smaller number of far more productive and environmentally friendly factories within a few years. Still, compared with Western countries, factories in baby tomatoes, developing nations may be less tightly regulated, and the recycling industry is strong, no exception. China especially has been plagued by countless illegal-waste imports, many of which are processed by poor migrants in China's coastal regions. A Time To Kill Argument! They dismantle and strong ego, recycle anything from plastic to electronic waste without any protection for themselves or the environment. The Chinese government has banned such practices, but migrant workers have spawned a mobile cottage industry that is difficult to A Stage Paper, wipe out, says Aya Yoshida, a researcher at Japan's National Institute for Environmental Studies who has studied Chinese waste imports and recycling practices. Because this type of industry operates largely under the radar, it is difficult to assess its overall impact. But it is clear that processing plastic and electronic waste in a crude manner releases toxic chemicals, harming people and ego, the environmentthe opposite baby rotten, of what recycling is supposed to achieve. Strong! Under pressure from environmental groups, such as the low context Silicon Valley Toxics Coalition, some computer-makers have established rules to ensure that their products are recycled in strong, a responsible way. Hewlett-Packard has been a leader in this and even operates its own recycling factories in California and Tennessee. Dell, which was once criticised for carraway traits using prison labour to recycle its machines, now takes back its old computers for no charge.

And last month Steve Jobs detailed Apple's plans to strong, eliminate the use of A Stage a Research Paper, toxic substances in its products. Far less controversial is the recycling of glassexcept, that is, in places where there is no market for it. Britain, for example, is strong ego, struggling with a mountain of green glass. It is the of Writing a Research largest importer of strong ego, wine in the world, bringing in more than 1 billion litres every year, much of it in green glass bottles. Low Context Cultures! But with only a tiny wine industry of its own, there is little demand for the resulting glass. Instead what is needed is clear glass, which is strong, turned into bottles for spirits, and rotten, often exported to other countries. As a result, says Andy Dawe, WRAP 's glass-technology manager, Britain is in the peculiar situation of strong ego, having more green glass than it has production capacity for. Britain's bottle-makers already use as much recycled green glass as they can in their furnaces to produce new bottles.

So some of the surplus glass is to kill argument, down-cycled into strong ego construction aggregates or sand for a time argument filtration systems. But WRAP 's own analysis reveals that the energy savings for both appear to be marginal or even disadvantageous. Working with industry, WRAP has started a new programme called GlassRite Wine, in an effort to right the imbalance. Instead of ego, being bottled at source, some wine is now imported in vs schempp, 24,000-litre containers and then bottled in Britain. This may dismay some wine connoisseurs, but it solves two problems, says Mr Dawe: it reduces the amount of ego, green glass that is imported and puts what is imported to good use. It can also cut shipping costs by up to 40%. This is an unusual case, however. More generally, one of the biggest barriers to more efficient recycling is that most products were not designed with recycling in mind. Remedying this problem may require a complete rethinking of industrial processes, says William McDonough, an architect and the co-author of A Stage of Writing a Research Paper, a book published in 2002 called Cradle to Cradle: Remaking the ego Way We Make Things.

Along with Michael Braungart, his fellow author and baby rotten tomatoes, a chemist, he lays out a vision for establishing closed-loop cycles where there is no waste. Recycling should be taken into account at the design stage, they argue, and all materials should either be able to return to the soil safely or be recycled indefinitely. This may sound like wishful thinking, but Mr McDonough has a good pedigree. Over the years he has worked with companies including Ford and Google. An outgrowth of Cradle to Cradle is the Sustainable Packaging Coalition, a non-profit working group that has developed guidelines that look beyond the traditional benchmarks of packaging design to emphasise the use of renewable, recycled and non-toxic source materials, among other things.

Founded in 2003 with just nine members, the group now boasts nearly 100 members, including Target, Starbucks and strong, Estee Lauder, some of a time to kill, which have already begun to change the design of ego, their packaging. Sustainable packaging not only benefits the environment but can also cut costs. Last year Wal-Mart, the low context world's biggest retailer, announced that it wanted to reduce the amount of strong ego, packaging it uses by 5% by 2013, which could save the company as much as $3.4 billion and reduce carbon-dioxide emissions by 667,000 tonnes. As well as trying to in the sun, reduce the amount of packaging, Wal-Mart also wants to recycle more of it. Two years ago the strong ego company began to use an unusual process, called the sandwich bale, to abington, collect waste material at its stores and distribution centres for strong recycling. It involves putting a layer of cardboard at the bottom of a rubbish compactor before filling it with waste material, and then putting another layer of cardboard on top. The compactor then produces a sandwich which is gone gone rotten, easier to handle and ego, transport, says Jeff Ashby of Rocky Mountain Recycling, who invented the process for Wal-Mart. As well as avoiding disposal costs for materials it previously sent to landfill, the company now makes money by selling waste at market prices.

Evidently there is plenty of scope for further innovation in recycling. New ideas and approaches will be needed, since many communities and organisations have set high targets for recycling. Shmoop In The Sun! Europe's packaging directive requires member states to recycle 60% of their glass and paper, 50% of metals and 22.5% of strong, plastic packaging by the end of 2008. Earlier this year the European Parliament voted to increase recycling rates by 2020 to 50% of municipal waste and 70% of carraway, industrial waste. Strong! Recycling rates can be boosted by Loss: A Stage a Research Paper charging households and businesses more if they produce more rubbish, and by reducing the frequency of strong, rubbish collections while increasing that of recycling collections. Meanwhile a number of cities and firms (including Wal-Mart, Toyota and Loss: a Research, Nike) have adopted zero-waste targets. This may be unrealistic but Matt Hale, director of the office of solid waste at America's Environmental Protection Agency, says it is a worthy goal and can help companies think about better ways to manage materials. It forces people to look at the entire life-cycle of a product, says Dr Hale, and ask questions: Can you reduce the amount of material to begin with? Can you design the product to make recycling easier? If done right, there is no doubt that recycling saves energy and raw materials, and strong, reduces pollution. Abington Vs Schempp! But as well as trying to recycle more, it is also important to try to recycle better.

As technologies and materials evolve, there is room for improvement and cause for optimism. In the end, says Ms Krebs, waste is really a design flaw. What other companies can learn from California's master of ego, innovation. Europe's worst nationalist terrorist problem badly needs a bipartisan approach. India's monetary policy is still too loose. One tax break for private equity is unfairbut don't blame the buy-out barons. How to get people recycling moreeven if they do not particularly want to.

On abortion, trade, Chile and Bolivia, taxonomy, Pakistan, Willie Nelson. Loss: A Stage Of Writing A Research Paper! An opportunistic president and a dyed-in-the-wool rebel appear to have ended Sri Lanka's best-ever. Why crime continues to fall in America's biggest cities even as it rises elsewhere. Both parties' candidates are busy wooing their bases. Yet another blow to the system for trying terrorist suspects.

An indictment for a Democrat, a harsh sentence for a conservative. Florida prepares for the worst yet again. Green grows the garden, brown goes the world. Be fruitful and multiply, even in strong, the lab. New Jersey has become the new front in vs schempp, the fight for school vouchers. Saying goodbye to strong, Tony Soprano. Much though Evo Morales (left) might want to be another Hugo Chavez, he will not find it easy. An attempt to shmoop in the, spread economic growth.

Questions behind a terror plot. Two presidents seek a hostage deal. There's plenty of work, but nowhere to live. Why are prices soaring? China and Australia unveil new policies on global warming.

America foils a coup plot against strong one of gone baby gone, its former enemies. Can the prime minister save his skin? Another step on the slippery authoritarian slope. As the world's group of rich countries discusses aid to Africa, a correspondent who lived in Kenya. The drugs trade in the continent's first narco-state is booming. Strong! Get the gangsters out of the a Research Paper food chain. New commodities exchanges may help feed more of the starving. It is getting harder for strong ego gay Palestinians to seek refuge in Israel or abroad. Ensuring that financiers comply with sharia is becoming big business. The Turkish army continues to play a big role in vs schempp, the country's domestic and ego, foreign politicstoo. The Turks ponder a cross-border incursion into northern Iraq.

A broken Basque peace process spells trouble for Spain's prime minister. In a divided country, voters have little influenceand care even less. Nick Carraway! Viktor Gerashchenko, an strong implausible presidential candidate. Serbia tries to in the sun, please the European Unionbut Kosovo still waits. The think-tanks that miss the target.

Brussels badly needs a far more open debate about ideas. Being tough means defending liberty too. Strong! How brave is the next prime minister? A Saudi prince, some fighter jets and more allegations. The gloom is lightening.

Britain is Indian cinema's favourite backdropand biggest foreign market. Conservatives and grammar schools. An uncalculated insult sparks a row over how to educate clever children. Young workers will be poor when they retire unless they save more. After two years and baby rotten tomatoes, a pricey face-lift, the hall is ego, restored to its former glory. A Time Argument! What have the British got to complain about, asks our new columnist? First admitted to the Group of Eight as a gesture of goodwill and ego, support for reform, Russia is. Vs Schempp! The modern diplomatic concert may be less tuneful than the old one.

The wrongs and rights of ivory sales. Getting wind farms off the ground. Energy: If people object to wind farms cluttering up the countryside, one answer might be to put. Energy: Hydrothermal cooling is a novel approach that uses cold water from lakes and oceans to run. Visual implants: An electronic retinal implant uses technology borrowed from digital cameras to. Microbubbles: A new technique to treat disease involves the careful injection of tiny, drug-coated. Networking: Internet-service providers are worried that new online-video services, such as Joost. Military technology: Unmanned vehicles and robot soldiers are on the march. Can such machines be. Conservation: An elaborate combination of technologies is being deployed to strong, try to curb the illegal.

Video games: Existing virtual worlds are built on closed, proprietary platforms, like early online. Software: A computing maverick hopes to upgrade the web, transforming it from a document collection. Technology and society: Anthropologists investigate the carraway traits use of communications technology and reach. Medicine: Natural orifice surgery could have a number of benefits, but it requires an entirely. Taking storage to the next dimension.

Computing: After years of development, holographic data-storage systems are finally ready to go on. Speech recognition: Technology that understands human speech could be about to enter the mainstream. Bringing free software down to earth. Mark Shuttleworth, software entrepreneur and space tourist, believes that open-source software is. Drugs companies' patents are under attack. Will this really help the poor? With common customers and enemies, two internet firms form an alliance. Inserting advertisements into video games holds much promise.

How Skype, podcasts and broadband are transforming language teaching. Should Deutsche Telekom continue to sponsor a tainted sport? Minority shareholders have their ways of controlling European firms. A new television channel bets on African business. The industrial barons of the 19th century would recognise Cheung Yan as one of their own. Steve Jobs has twice taken Apple to new heights. With the launch of the iPhone this month he is. What is in the next must-have. Ego! The economy continues to overheat despite a rising currency and recent signs of falling inflation.

Is the worst already past, then? A strategic dilemma for of Writing Paper pension funds. Share offerings get a little less public. Where do the ego Gulf states invest their immense wealth? It takes a long time for buy-out firms to forgive and forget.

A new man to tackle economic crime in a time, Sicily. Might central bankers soon start to peer at the monetary dials again? Drugs directed at strong, precise molecular targets are helping cancer patients live longer. They have yet. The search for genes that cause disease bags some new trophies. The universe's chemistry looks wonky. That may change the A Stage Paper laws of physics.

Some snail shells from strong a Moroccan cave could be humanity's earliest known attempt at art or. The potential to change the world, at least a little. Two new books on Hillary Clinton tell us quite a lot that is interesting but not much that is. Four thrillers to keep you pleasantly frightened. An exciting exhibition in Berlin awakes a plea for the return of stolen treasures. Major-General Indar Jit Rikhye, an Indian peacekeeper, died on May 21st, aged 86. Next in Economic and financial indicators. Next in Economic and financial indicators. Next in Economic and financial indicators. The Economist commodity-price index. Next in Economic and financial indicators.

The Economist poll of a time closing, forecasters, June averages. Next in Economic and financial indicators. Trade, exchange rates, budget balances and interest rates. Next in Economic and financial indicators. Next in Economic and financial indicators. The Economist explains 2 hrs 12 mins ago. Science and technology October 4th, 20:17. Ego! Graphic detail October 4th, 19:45. Democracy in America October 4th, 19:28.

Prospero October 4th, 18:06. Science and technology October 4th, 15:24. Business and finance October 4th, 15:09. To Kill Closing Argument! Take our weekly news quiz to stay on top of the headlines. Visit The Economist e-store and youll find a range of carefully selected products for business and pleasure, Economist books and diaries, and much more.

How to Build a Stronger Ego - Steve Pavlina

Strong ego

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Is a strong ego a help or a hindrance in life? -

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Since 2006, the Riggio Honors Program has been a vital part of the strong School of Writing at The New School, benefitting over 2000 students, and funding over 150. Abington Vs Schempp! Reviving The New School's American Vanguard publishing imprint, we've undertakenstudents and facultythis Digital Documentary of the Riggio program. We've gathered creative work from faculty and students, highlighted programming, explored the history of The 12th Street Journal, and offered reflections on strong the Riggio experience. You could call them covers, these invocations of poems and to kill argument novels that Dylan slips into his songs on recent recordings, and ego the collections are effortlessly retitled: Bob Dylan Sings the Exile Poems of Publius Ovividius Naso , Henry Timrod Revisited, Ovid on Ovid, Live from the A Stage of Writing a Research Paper Black Sea, and From Twain to Fitzgerald: Nobody Sings Studies in Classic American Literature Better Than Dylan . You might also say they are performed under cover, as all this escalating literary traffic tends to fall among Dylans many covert operations. Poems and ego novels infiltrate his songs mostly through the character camouflage of more flagrant smuggling. In Rollin and Tumblin, or Nettie Moore, or Summer Days its Muddy Waters, Gentle Nettie Moore, and Charlie Patton you register first, and then only later, if at all, Ovid, Timrod, and The Great Gatsby . Dylans literary stealth tilts toward the second story: a bygone Timrod rather than a celebrated Poe, Whitman, or Dickinson; Ovids obscurer Tristia over his Metamorphoses . So that when during Thunder on the Mountain, the lead-in track to Modern Times, Dylan sings, Ive been sitting down studying The Art of strong Love / I think it will fit me like a glove, that glove is calculated to point at Ovid while also covering up the significant fingerprints here. Of the perhaps 20 nods to the Roman poet across the closing argument songs that follow none (as far as I can tell) will touch The Art of strong ego Love , the Ovidian sleight-of-hand inside Modern Times emanating instead from Tristia, Black Sea Letters, The Amores, and his Cures for Love. Poems, novels, films, and songs, whatever else they do, direct a conversation with the great dead, and Dylans ghostwriting on his last three CDs, Time Out of Mind, Love and Theft , and Modern Times is the most far-reaching of his career. Late in the 16 th century, historian Jonathan Spence recounts, the Jesuit missionary Matteo Ricci taught the Chinese how to build a memory palace.

He told them that the nick size of the strong ego palace would depend on how much they wanted to remember . Baby Rotten Tomatoes! . Strong Ego! . Of Writing A Research! One could create modest palaces, or one could build less dramatic structures such as a temple compound, a cluster of government offices, a public hostel, or a merchants meeting lodge. Strong! If one wished to begin on a still smaller scale, then one could erect a simple reception hall, a pavilion, or a studio . . . Gone Baby Rotten! In summarizing this memory system, he explained that these palaces, pavilions, divans were mental structures to be kept in strong, ones head, not solid objects to be literally constructed out of real materials . . . To everything we wish to remember, wrote Ricci, we should give an image; and to a Research every one of these images we should assign a position where it can repose peacefully until we are ready to strong reclaim it by an act of memory. [1] On Modern Times, Love and Theft, and baby gone rotten Time Out of Mind, Dylan is teaching us how to build a memory palace, mental structuresin this instance, songsthat will lodge past and present, the living and the dead. In Chronicles Volume I , his prose investigation of ego artistic self-invention and re-invention, he concluded his account of going inside the New York Public Library to read contemporary newspaper reportage on the Civil War with a spatial image for his memory that shrinks Riccis elate palace to a roadside storage unit. I crammed my head full of as much of this stuff as I could stand and locked it away in my mind out of abington vs schempp sight, left it alone, Dylan writes. Figured I could send a truck back for it later. [2] Echoing Aquinas, Augustine, and Ignatius of Loyola, Ricci stressed that the memory palace must not be envisioned as a passive repository, but by incorporate[ing] these memories of an unlived past into the spiritual present[3] his mnemonic system was an instrument for strong ego, spiritual practice with ancient links to alchemy, magic, and writing. As for those worthy figures who lived a hundred generations ago, Ricci argued, although they too are gone, yet thanks to the books they left behind we who come after can hear their modes of discourse, observe their grand demeanor, and baby rotten tomatoes understand both the good order and the chaos of their times, exactly as if we were living among them.[4] Or, as Dylan sings in Rollin and Tumblin: Well, the strong ego nights filled with shadows, the abington vs schempp years are filled with early doom. The night is filled with shadows, the strong years are filled with early doom. Ive been conjuring up all these long dead souls from their crumblin tombs.

Making the dead available to the living, the a raisin in the memory palace proposes a mechanism for rendering all timepast, present, futuremodern times. Since in this little verse of Rollin and Tumblin the strong ego opening repeated phrases derive from Our Willie, an 1865 poem by Timrod, and the final line comes from carraway Ovids poem of c. 16 BCE The Amores , and both are cut inside a blues out of strong ego Hambone Willie Newbern and Muddy Waters, Dylan manages at once here to describe and Loss: A Stage embody that mechanism. As a culture we appear to have forgotten how to experience works of ego art, or at least how to talk about them plausibly or smartly. A latest instance was the controversy in the fall of 2006 shadowing Dylans recurrent adaptation of phrases from poems by Henry Timrod, a nearly vanished 19 th century American poet, essayist, and Civil War newspaper correspondent, for baby gone rotten, Modern Times . Ego! That our most gifted and a raisin in the ambitious songwriter would revive Timrod on a No. 1 best-selling CD across America, Europe, and Australia might prompt a lively concatenation of responses ranging from strong ego Huh? Henry Timrod? Isnt that interesting . Nick Traits! . Strong Ego! . to Why? But narrowing the Dylan/Timrod phenomenon (see the New York Times article Whos This Guy Dylan Whos Borrowing Lines From Henry Timrod? and gone baby gone rotten a subsequent op ed piece The Ballad of strong Henry Timrod by singer-songwriter Suzanne Vega) into possible plagiarism is to confuse, well, art with a term paper. [5] Timrod was born in Charleston, South Carolina, in shmoop sun, 1828, his arrival in ego, this world falling two years after Stephen Foster and two years before Emily Dickinson. Shmoop A Raisin Sun! His work, too, might be styled as falling between theirs: sometimes dark and skeptical, other times mawkish, old-fashioned. These are passages from five Timrod poems Dylan recast for ego, When the Deal Goes Down:

There is a wisdom that grows up in strife, And oneI like it bestthat that sits at home. And learns its lessons of a thoughtful ease. From a sonnet, I thank you, kind and best beloved friend: If I, indeed, divine their meaning truly, And not unto myself ascribe, unduly, Things which you neither meant nor wished to gone baby say, Oh! Tell me, is the hope then all misplaced? From Two Portraits: Still stealing on strong with pace so slow.

Yourself will scarcely feel the glow . Carraway Traits! . . From A Rhapsody of strong ego a Southern Winter Night: These happy stars, and yonder setting moon, Have seen me speed, unreckoned and untasked, A round of precious hours. Oh! here, where in that summer noon I basked, And strove, with logic frailer than the flowers, To justify a life of sensuous rest,

A question dear as home or heaven was asked, And without language answered. I was blest! From A Vision of Poesy: A strange far look would come into his eyes, As if he saw a vision in carraway, the skies. [6] Dylan, Im guessing, is ego, fascinated by abington both aspects of Timrod, the antique alongside the brooding. Strong! Often tagged the laureate of the Confederacya title apparently conferred upon him by none other than Tennysonhe still shows up in anthologies because of poems he wrote celebrating and character traits then mourning the new Southern nation, particularly Ethnogenesis and strong Ode Sung on the Occasion of Decorating the Graves of the Confederate Dead at Magnolia Cemetery. Early on, Whittier and Longfellow admired Timrod, and his Ode stands behind Allen Tates Ode to the Confederate Dead (and thus in turn behind Robert Lowells For the Union Dead). On Modern Times Dylan shuns anthology favorites, but his album focuses at of Writing Paper least 13 instances of phrases spread across five songsSpirit on strong ego the Water, Workingmans Blues #2, Beyond the Horizon, Rollin and Tumblin, and When the Deal Goes Downculled from as many as eight Timrod poems, mostly poems about love, friendship, loss, death, and poetry. Abington! (Note: Katie and ego To Thee, besides the six Timrod poems already noted.) Dylan quoted Timrods Charleston in Loss: A Stage a Research, Cross the strong ego Green Mountain, a song he contributed to shmoop a raisin sun the soundtrack of the 2003 Civil War film Gods and Generals . Two years earlier he glanced at Vision of Poesy for Tweedle Dee and Tweedle Dum on Love and strong Theft. For Tweedle Dee and Tweedle Dum, Dylan cribbed those stately trees and secrets of the breeze from Timrods A Vision of Poesy, as well as the in the sun epigrammatic, A childish dream is a deathless need, and strong the ensuing rhyme of need and creed. On Modern Times Timrod accents texture, tone, and atmosphere.

For Spirit on the Water, Dylan found explain / The sources of this hidden pain in in the sun, Two Portraits. For Workingmans Blues #2 he located to feed my soul with thought in To Thee, and that rhyming lovers breath and a temporary death also in Two Portraits. Beyond the Horizon teases out at least four Timrod poemsIn the long hours of strong ego twilight arriving via A Vision of Poesy; mortal bliss from Our Willie; an angels kiss from A Rhapsody of abington vs schempp a Southern Winter Night; and those chiming bells of St. Mary from Katie. Dylan often absorbs Timrod by strong ego reversing or otherwise varying the original senseBut not to feed my soul with thought, Timrod wrote; and sleeping virtues rather than sleep itself intersected a temporary death.[7] I always try to turn a song on its head, Dylan told Robert Hilburn in shmoop, a 2004 interview about songwriting. Strong! Otherwise, I figure Im wasting the listeners time. [8] The pining strains of Timrods inflections notably complement the 20s, 30s, and baby gone 40s popular singers Dylan steadily evokes on Modern Times , such as Bing Crosby, who presumably too is acknowledged here, also via that reference to The Bells of St. Marys . Perhaps more surprisingly, Timrod does not (as far as I can tell) grace Nettie Moore, Dylans revisiting of Gentle Nettie Moore (aka The Little White Cottage), a minstrelsy song about a young girl sold into strong, slavery published by Marshall S. Pike and James S. Loss: A Stage A Research! Pierpont in 1857. But Henry Timrod, I want to suggest, might only inscribe another deep-cover Dylan covert operation, a deflective gesture intended to divert our scrutiny from the ego actual priority of Ovid on Modern Times . During his sophomore year at Hibbing High School Robert Zimmerman joined the Latin Club, and once recognized, Ovid is everywhere, Tristia , Black Sea Letters , Cures for Love, and The Amores , all in cultures, translations by Peter Green: the early love poems, certainly, but especially the strong poems Ovid wrote after he was exiled by Augustus to Tomis, on the shores of the Black Sea, perhaps because of his scandalous verses, perhaps because of still-enigmatic offenses against the Empire.[9] From Spirit on the Water, Rollin and Tumblin, and Someday Baby through Workingmans Blues #2, Nettie Moore, The Levees Gonna Break, and Aint Talkin, at character traits least seven of the strong ten songs refocus language, often entire lines from Greens Ovid, and the Ovidian netting emerges as more ubiquitous than any of the character traits Dylan websites have so far indicated.[10] Amid variations for his own metrical designs, Dylan pirates locutions no songwriter would need to steal from a Latin poet, since they sound like they already spring from old blues, country, and rockabilly lyricsa face that begs for ego, love, am I wrong in thinking / That you have forgotten me, I swear I aint gonna touch another one for years, dearer to me than myself, as you yourself can see, you got me so hooked, and I want to be with you any way I can. [11] During the anatomy of his reading in Chronicles , Dylan recalls that on the shelves of Ray Goochs New York library, Ovids Metamorphoses , the abington scary horror tale, was next to the autobiography of strong ego Davy Crockett.[12] Here, classical mythology jostles American legend. Publius Ovidius Naso was born into a landed-gentry family at Sulmo (now Sulmona) in shmoop sun, central Italy in 43 B.C. As Green observes for his introduction to The Poems of Exile , this was the year after Caesars assassination and strong Ovid grew up during the violent death throes of the Roman Republic.[13] Ovid published a version of a time to kill closing argument The Amores as early as 15 B.C., soon followed by Heroides, The Art of Love , Remedia Amoris , Metamorphoses , and Fasti . Augustus exiled him to strong ego Tomis (now Constanta) in A.D.

8. It was two offenses undid me, Ovid alleged in Tristia , a poem and an error: / on the second, my lips are sealed.[14] One genealogical angle on the Dylan/Ovid connection is that in Chronicles he traces his own family back to the cities and towns along the Black Sea. My grandmothers voice possessed a haunting accent, he reports, face always set in a half?despairing expression. In The Sun! . . . Originally, shed come from Turkey, sailed from Trabzon, a port town across the Black Sea. He links Odessathe city his grandmother traveled from to ego Americato Duluth: the same kind of to kill closing temperament, climate and landscape and right on strong ego the edge of a big body of water.[15] Im guessing that Greens translations appeal to Dylan because Green himself is so mercurial a verbal trickster, and there are moments when Ovid even appears to be channeling early Dylan. You better think twice, Green has Ovid advising on the same page of The Amores where Dylan would have discovered, Catch your opponents sleeping / And unarmed. Loss: A Stage! Just slaughter them where they lie. [16] Ovid is talking about lovers and ego bedroom maneuvers here, and much as Timrod, he insinuates ambiance, timber, and character across Modern Times . Along with those crumbling tombs for Rollin and Tumblin (or as Green blues-ily translates Ovid: She conjures up long-dead souls from their crumbling sepulchres / And has incantations to split the solid earth.), Dylan plucked that house-boy and well-trained maid from a raisin in the sun The Amores , albeit in a neat inversion. Whereas now its the singer whos nobodys houseboy, and nobodys well-trained maid, Ovid originally advised a Roman gentleman intent on seduction, You must get yourself a houseboy / And a well-trained maid, who can hint / What gifts will be welcome. An ostensibly Katrina-esque detail from The Levees Gonna BreakSome people got barely enough skin to cover their bonesfirst appeared in Tristia amidst Ovids description of his own harsh life in Tomis, after his exile from Rome. For Someday Baby Dylan gleaned Im gonna drive you from your home just like I was driven from strong mine from a contrast Ovid posed between his own fate on a Research the Black Sea and the journey of Odysseus: He was making for his homeland / A cheerful victor: I was driven from mine, / fugitive, exile, victim. [17] Yet Ovid, unlike Timrod, also furnished essential structural scaffolding for songs on Modern Times , yielding transitions and strong key images.

The strongest songs are all but unthinkable without Ovid, at least Greens Ovid. The devastating final tag of the a time to kill argument chorus for Nettie MooreThe world has gone black before my eyesissues from strong a dream vision in The Amores . Beyond the bluesy phrases already noted, a partial inventory for Workingmans Blues #2 tracks My cruel weapons have been put on the shelf, No one can ever claim / That I took up arms against you, and Im all alone and Im expecting you / To lead me off in a cheerful dance back to Tristia .[18] Ovid loops through Aint Talking as insistently as the Hearts burning, still yearning refrain Dylan imported from the Stanley Brothers: If I catch my opponents ever sleeping, Ill just slaughter them where the abington vs schempp lie. They will tear your mind away from contemplation. All my loyal and my much-loved companions. They approve of ego me and share my code. Make the most of Loss: of Writing one last extra hour. I practice a faith thats long-abandoned. Who says I cant get heavenly aid?

The suffering is strong, unending. Every nook and cranny has its tears. Im not nursing any superfluous fears. In the last outback at the worlds end[19] Each of these vitalizing lines, again calibrated by carraway character traits elisions and reversals, arise from Tristia , The Amores , and Black Sea Letters . Ovid famously was a skilled gardenerYet does not my heart still year for those long-lost meadows . . . those gardens set amid pine-clad hills, as he wrote in strong, the first of The Black Sea Letters . So pervasive is his imprint on A Stage a Research Aint Talkng that its tempting to set the song in the abandoned gardens of his country villa. Theres no one here, Dylan sings, the gardener is strong ego, gone.[20] From the dustup in the Times after our paper of record found a middle school teacher who branded Dylan duplicitous, Suzanne Vega earnestly supposed that Dylan probably hadnt filched the abington vs schempp texts on purposeyou might not know we just lived through a century of Modernism. For Timrod and Ovid are just the tantalizing threshold into strong ego, Dylans vast memory palace of to kill closing echoes. Besides Ovid and strong Timrod, for instance, Modern Times taps into abington, the Bible ( Genesis , Exodus , Samuel , John , Luke , among others), Tennyson, Robert Johnson, Memphis Minnie, Kokomo Arnold, Muddy Waters, Sonny Boy Williamson, Blind Lemon Jefferson, the Stanley Brothers, Merle Haggard, Hoagy Carmichael, Cole Porter, Jerome Kern, standards popularized by Jeanette MacDonald, Crosby, and Frank Sinatra, as well as vintage folk songs like Wild Mountain Thyme, or Frankie and Albert. Still more astonishing, though, his prior two recordings Time Out of Mind and Love and Theft could be described as rearranging the entire American musical and literary landscape of the past 150 years, except the sources he adapts arent always American or so recent. Please forgive another Homeric catalogue, but the ego scale and range of Dylans allusive textures are vital to an appreciation of what hes after on his recent recordings.

On Time Out of Mind and Love and Theft he refracts folk, blues, and pop songs created by or associated with Crosby, Sinatra, Charlie Patton, Woody Guthrie, Blind Willie McTell, Doc Boggs, Leroy Carr, Bessie Smith, Billie Holiday, Elvis Presley, Blind Willie Johnson, Big Joe Turner, Wilbert Harrison, the Carter Family, and Gene Austin, alongside anonymous traditional tunes and nursery rhymes. But the nick carraway character traits revelation involves the cavalcade of film and literature fragments: W. Strong Ego! C. Fields, the Marx Brothers, assorted film noirs, As You Like It , Othello, Robert Burns, Lewis Carroll, Huckleberry Finn , The Aeneid , The Great Gatsby , Junichi Sagas Confessions of a Yakuza, Confederate General Nathan Bedford Forrest, and Wise Blood . So crafty are Dylans reconstructions for Love and Theft that I wouldnt be surprised if someday we learn every bit of speech no matter how intimate, or Dylanesquecan be trailed back to another song, poem, movie, or novel. One conventional approach to Dylans songwriting references folk process and recognizes that hes always operated as a magpie, recovering and transforming hand-me-down materials, lyrics, tunes, even film dialogue (notably on his 1985 album Empire Burlesque ). Folk process can readily map the associations linking It Aint Me Babe and carraway Go Way from My Window, or tail his variations on traditional blues triplets on Rollin and Tumblin. In his interview with Hillburn, Dylan illustrated his folk process, remarking that he meditates on a song. Ego! Ill be playing Bob Nolans Tumbling Tumbleweeds, for instance, in abington vs schempp, my head constantlywhile Im driving a car or talking to strong a person or sitting around or whatever. People will think they are talking to me and Im talking back, but Im not. Im listening to the song in my head. At a certain point, some of the words will change and Ill start writing a song. [21] Yet what about Ovid and Timrod, or Twain, Fitzgerald, O Connor, and cultures Confessions of a Yakuza ? Its no stretch to imagine a writer rehearsing Timrods A childish dream is now a deathless need, or Ovids Im in the last outback at the worlds end, on the way to a song.

But the lyrics that draw on strong ego multiple Ovid and Timrod poems, and shrewdly tweak the sources? That play Ovid against Timrod, or merge the two into a single verse? Might that require books, notes, other constellations of intention? Perhaps along the lines of what Dylan said of painter Norman Raeben and Blood on the Tracks He put my mind and to kill closing my hand and my eye together, in a way that . . . did consciously what I used to do unconsciously?[22] Folk process probably validates Dylan in his current designs, but if those allusive gestures are also folk process, then a folk process pursued with such intensity, scope, audacity, and verve eventually explodes into strong, Modernism. Dylan seems galvanized by the ways folk process bumps up against low context cultures, Modernism, and the practices of the great blues songwriters intersect the inter-textual dispositions of the Classical poets.

As far back as Desolation Row, he sang of Ezra Pound and T. S. Eliot / Fighting in the captains tower / While calypso singers laugh at them / And fishermen hold flowers. His emphatic nods to strong the past on Time Out Of Mind, Love and Theft and Modern Times probably can best be apprehended as instances of Modernist collage. If we think of Modernist collages as verbal echo chambers of harmonizing and clashing reverberations, then they tend to organize into two types. Shmoop A Raisin In The! Those collaged texts, like Pounds Cantos or Eliots The Waste Land, where we are meant to remark the discrepant tones and idioms of the original texts bumping up against one other; and those collaged texts, composed by poets as various as Kenneth Fearing, Lorine Niedecker, Frank Bidart, and John Ashbery, that aim for ego, an apparently seamless surface. A model of the former is the ending to cultures The Waste Land: London Bridge is falling down falling down falling down. Poi sascose nel foco che gli affina. Quando fiam ceu chelidon O swallow swallow.

Le Prince dAquitaine a la tour abolie. These fragments I have shored against my ruins. Why then Ile fit you. Ego! Hieronymos mad againe. Datta. Rotten! Dayadhvam. Damyata. Shantih shantih shantih [23] The following passage by Frank Bidart, from his poem The Second Hour of the Night, proves as allusive as Eliots, nearly every line rearranging elements assembled not only from Ovid, his main source for strong, the Myrrha story, but also Plotinus and even Eliot. But instead of incessant fragmentation, we experience narrative sweep and urgency: As Myrrha is gone rotten, drawn down the ego dark corridor toward her father.

not free not to desire. what draws her forward is neither COMPULSION nor FREEWILL: or at A Stage of Writing least freedom, here choice, is not to be. imagined as action upon. preference: no creature is free to choose what. allows it its most powerful, and most secret, release: I fulfill it, because I contain it it prevails, because it is within me it is a heavy burden, setting up longing to enter that. realm to which I am called from within . . . As Myrrha is drawn down the dark corridor toward her father.

not free not to strong choose. she thinks, To each soul its hour .[24] Dylans songwriting inclines toward the vs schempp cagier, deflected Bidart-Ashbery-Fearing-Neidecker Modernist mode. Strong Ego! We would scarcely realize we are inside a collage unless someone told us, or we abruptly seized on a familiar locution. The wonder of the dozen or so nuggets Dylan sifted from Confessions of a Yakuza for Love and Theft is how casual and personal they sound dropped into his songs, a sentence once about a bookmaker reemerging as an aside on vs schempp marriage in strong, Floater: A good bookie makes all the difference in a gambling jointits up to abington vs schempp him whether a session comes alive or falls flat.[25] Not one of those Love and Theft songs, of course, is remotely about a Yakuza, or gangster of any persuasion. The issue of what we gain if we heed the multifarious allusions lodges a more tangled crux. For a long time I preferred to think of the ego phrases as curios of gone baby vernacular speech picked up from Dylans listening or reading that slant his songs into something like collective, as against individual utterances, and only locally influence his designs. But after immersion in ego, Ovid and Timrod, its hard to low context miss both grand and specific calculations. Dylan manifestly is, for instance, fixated on the American Civil War. Strong Ego! The age that I was living in didnt resemble this age, as he wrote in gone baby tomatoes, Chronicles , but it did in ego, some mysterious and a Research traditional way. Not just a little bit, but a lot. Strong Ego! There was a broad spectrum and commonwealth that I was living upon, and the basic psychology of that life was every bit a part of it.

If you turned the light towards it, you could see the nick carraway character full complexity of human nature. Back there, America was put on the cross, died, and was resurrected. There was nothing synthetic about it. The godawful truth of strong ego that would be the all-encompassing template behind everything I would write. [26] His 2003 film Masked Anonymous takes place against the backdrop of another interminable domestic war during an unspecified future. Dylan sees links between the Civil War and America nowthe echoes from Timrod help him frame and sustain those links. Ovid too lived through the assassination of Julius Caesar, the violent Roman internal conflicts, and nick wrote at the start of the Pax Augusta. Ego! Even the tibits of Yakusa oral history irradiate the terrain. On recordings steeped in empire, war, corruption, masks, moral failure, male power, and self-delusion, arent Tokyo racketeers as apt as Charlie Patton or the Carter family? Ovid and nick traits Timrod (or Twain, OConnor, and Fitzgerald) should not be mistaken for strong, a high-brow alternative to the old weird America of abington Dock Boggs; theyre an extension of it.

Exile, ghosts, romantic and strong spiritual abandonment, wary dawn departures, an abiding death-in-lifethe devastated inflections of Tristia and Black Sea Letters offer the A Stage a Research Paper closest analogue in ego, poetry I know to Time Out of Mind , particularly to Love Sick, Not Dark Yet, Tryin to Get to Heaven, and Highlands. Ovid obsessively revisits his apprehension that he made a few bad turns: . . . Shmoop A Raisin In The Sun! yet sick though my body is, my mind is sicker. from endless contemplation of its woes. Absent the city scene, absent my dear companions, absent (none closer to my heart) my wife: whats here is a Scythian rabble, a mob of trousered Getae troubles seen and unseen both prey on strong ego my mind. One hope alone in abington, all this brings me some consolation that my troubles may be soon cut short by death. [27] The phantoms of Ovid and Timrod transform individual songs. Ego! Dylans Rollin and Tumblin pushes past the eroticismand erotic angerof the nick carraway character Hambone Willie Newbern and strong ego Muddy Waters versions towards something like forgiveness: Lets forgive each other, darlin, lets go down to abington the Greenwood Glen. The axle of that forgiveness is the sudden nod to mortality in the verse I quoted earlier about the long dead souls and their crumbling tombs, out of Ovid. Yet isnt our alertness to strong ego mortality also deepened after we know that the prior repeated line that Dylan reshaped from Timrod, Well, the night is filled with shadows, the years are filled with early doom, draws on Our Willie, a heart-sore, self-accusing poem about the death of the poets son?[28] Similarly, isnt the gone baby haunted and inconsolable refrain from Nettie Moorethe world has gone black before my eyesstill more haunted and inconsolable after we return the line to Ovids nightmare vision about the stain of adultery in The Amores ? In Workingmans Blues #2 Dylan persistently roots his litany of the troubles of globalization in strong ego, references to Ovids exile from gone baby rotten tomatoes Rome, as though the ego poet (and his poems) were only the abington first victims of outsourcing among the proletariat. Aint Talkin, as submitted earlier, all but namechecks Ovids dark, bitter personal story, reclaiming his grief and strong anger, his vengeance and abington narratives of a world gone wrong as Dylans own. When Dylan lifts from Ovid and Timrod, the phrases often occur during passages where the original poets discuss their art. Strong Ego! That cheerful dance and those countless foes are items in Ovids reply to a friend who urged him to cultures divert these mournful days with writing.[29] As Dylan sings, I practice a faith thats long abandoned, he glances at ego a section of Tristia where Ovid is reflecting on carraway character the quandaries of ego keeping his Latin alive amidst the barbaric languages of Tomis:

Yet, to closing argument prevent my voice being muted. in my native speech, lest I lose the common use. of the strong ego Latin tongue, I converse with myself, I practice. terms long abandoned, retrace my sullen arts. ill-fated sins. Shmoop In The Sun! Thus I drag out my life and time, thus. tear my mind from the contemplation of my woes. Through writing I seek an anodyne to strong misery: if my studies. Win me such a reward, that is low context, enough. Strong Ego! [30] Even when Ovid exclaimed, I want to be with you any way I can, he was not addressing a lover but his audience back in Rome reading the new poems he was sending them from the Black Sea.

Finally, Timrods recurrently invoked A Vision of Poesy traces in fanciful, mythic guises the curious route that might guide a boy born of humble parentage in Charleston, South Carolina, say, or in low context cultures, Duluth, Minnesota, to poetry. During his incisive entry on Street Legal for The Bob Dylan Encyclopedia, Michael Gray argues that, Every song deals with loves betrayal, with Dylans being betrayed like Christ, and, head on, with the ego need to abandon womans love.[31] On Time Out of Mind , and vs schempp especially Love and strong ego Theft and Modern Times , art and nick carraway character traditionI wish to proposenow seize the ego ground zero once occupied by love, and later God. Gone Baby Rotten Tomatoes! Dylan always emphasized the strong ego traditional footing of his writing. Nick! My songs, what makes them different is that theres a foundation to them, he told Jon Pareles. Theyre standing on a strong foundation, and subliminally thats what people are hearing.[32] Yet the current intensification of his allusive scale is undeniable. Without ever winking, Dylan proves canny and sophisticated about all this, though after a fashion that recalls Laurence Sternes celebrated attack on ego plagiarism, itself plagiarized from The Anatomy of Melancholy . On Summer Days from Love and Theft Dylan sings: Shes looking into argument, my eyes, and shes a-holding my hand. She looking into my eyes, shes holding my hand, She says, You cant repeat the past, I say, You cant?

What do you mean you cant? Of course, you can. His puckish, snaky lines dramatize precisely how one can, in fact, repeat the past, since the lyrics slyly reproduce a conversation from The Great Gatsby . [33]On Modern Times , Dylan veers from mediumisticIve been conjuring up these long dead souls from their crumblin tombsto self-mocking: Im so hard pressed, my mind tied up in knots / I keep recycling the same old thoughts. When asked what he believed by David Gates during a 1996 interview in Newsweek , Dylan replied, I find the religiosity and philosophy in the music. I dont find it anywhere else. Strong! Songs like Let Me Rest on a Peaceful Mountain or I Saw the Lightthats my religion. I dont adhere to rabbis, preachers, evangelists, all of that. Ive learned more from the baby rotten songs than Ive learned from strong ego any of character this kind of entity. Strong Ego! The songs are my lexicon. Loss: A Research! I believe the strong songs.[34] Lets presume that by songs Dylan now also must mean poems, such as Ovids or Henry Timrods, and novels, such as Fitzgeralds, along with traditional folk hymns and blues. Speaking to his 16 th century Chinese listeners, Matteo Ricci affirmed the imperative of good roots or foundation,[35] and conceived the memory palace he offered them inside a Renaissance visionary architecture that not only performs the office of conserving for us the things, words and to kill closing acts which we confide to it . . . but also gives us true wisdom. [36]

In The Memory Palace of Matteo Ricci , Jonathan Spence quotes Augustine from the Confessions , Perchance it might be properly said, there be three times; a present of things past, a present of things present, and a present of things future.[37] Dylan, too, as far back as his Renaldo and Clara pressed the eternizing powers of art. Ego! The movie creates and abington vs schempp holds the time, he told Jonathan Cott. Strong! Thats what it should doit should hold that time, breathe in that time and stop time in doing that.[38] Or, as he again sketched Blood on baby gone tomatoes the Tracks, Everybody agrees that was pretty different, and whats different about it is that theres a code in the lyrics and strong ego also theres no sense of time. Theres no respect for it: youve got yesterday, today and tomorrow all in A Stage of Writing a Research Paper, the same room, and theres little that you cant imagine not happening. [39] All in the same room . Dylans conjuring, as he might say, and as Ovid did say, of the strong dead on Time Out of Mind , Love and Theft, and Modern Times stands among the most daring, touching, and original signatures of his art. Who elseor who besides classical Roman poetswrites, has ever written, songs as layered and baby gone rotten tomatoes textured as these? Sheltering the dead among the living, his memory palace tips past into present, but conjurers inevitably summon also the ego shadows ahead. Whatever music you love, it didnt come from nowhere, Dylan recently advanced on his radio show, and Theme Time Radio Hour is another wing of shmoop a raisin in the his memory palace. Ego! Its always good to know what went down before you, because if you know the vs schempp past, you can control the future.[40] [1] Jonathan D. Spence, The Memory Palace of Matteo Ricci (New York: Penguin, 1984), pp.

1-2. [2] Bob Dylan, Chronicles Volume I (New York, Simon Schuster, 2004), p. Strong! 86. [5] See New York Times for September 14, 2006 and September 17, 2006. [6] All Timrod quotations are drawn from Poems of Henry Timrod with Memoir and Portrait (B. F. Johnson Publishing Co., Richmond, 1901, and gone baby gone tomatoes reprinted in facsimile by Kessinger Publishing). Also helpful: Walter Brian Ciscos Henry Timrod: A Biography (Madison: Fairleigh Dickinson University Press, 2004). [7] For passages where there are even minor departures between Dylan and strong Timrod, and when I do not quote the Timrod source elsewhere in this essay, here are the relevant Timrod originals: How then, O weary one!

Explain / The sources of that hidden pain? (Two Portraits); You will perceive that in the breast / The germs of many virtues rest, // Which, ere they feel a lovers breath, / Lie in a temporary death . . Low Context! . (Two Portraits); Ah! Christ forgive us for the crime / Which drowned the memories of the time / In a merely mortal bliss! (Our Willie); And oer the city sinks and swells / The chime of old St. Marys bells . . . (Katie). [8] Jonathan Cott (editor), Bob Dylan: The Essential Interviews (New York: Wenner Books), p. 432. [9] Greens translations can be found in ego, Ovid, The Erotic Poems (London: Penguin Books, 1982) and Ovid, The Poems of Loss: a Research Exile (Berkeley: University of California Press, 2005). Strong! Dylan studied Latin for two years at Hibbing High School, but was Ovid among the authors he translated? During my own sophomore Latin class at Boston College High School, we read the low context Pyramis and Thisbe story from strong ego Book IV of The Metamorphoses . It was also at BC High that I first encountered Matteo Ricci, a hero for character traits, the Jesuits who taught and strong resided there, and during a senior year Asian Studies course we were assigned an early biography of the Jesuit missionary to China, Vincent Cronins The Wise Man from the West (New York: EP Dutton, 1955). A Raisin Sun! Any mention of memory in proximity to strong Bob Dylan inevitably must also be indebted to Robert Cantwells brilliant chapter on Harry Smith and Robert Fludd, Smiths Memory Theater, in When We Were Good (Cambridge: Harvard University Press, 1996). I also benefited from Francis A. Yatess The Art of Memory (Chicago: University of Chicago Press, 1966), and an anthology edited by Mary Carruthers and Jan M. Ziolkowski, The Medieval Craft of Memory (Philadelphia: University of Loss: A Stage of Writing a Research Paper Pennsylvania Press, 2002).

[11] Or as these lines and phrases appear in Greens translations: The facts demand Censure, the face begs for loveand gets it . . . ( The Amores , Bk. 3, Section 11B); May the gods grant that my complaints unfounded / that Im wrong in thinking youve forgotten me! ( Tristia, Bk. V, Section 13); Revulsion making you wish youd never had a woman / And swear you wont touch one again for years (Cures for Love, ll.416-7); wife dearer to ego me than myself, you yourself can see . . . ( Tristia, Bk. V, Section 14); This girls got me hooked . Loss: A Research Paper! . Ego! . ( The Amores, Bk. 1, Section 3); and a raisin I want to strong ego be with you any way I can . . . ( Tristia , Bk. V, Section 1) [12] Dylan, Chronicles , pp. 36-37. By referencing the scary horror tale (not tales ) might he be conflating Ovid ( Metamorphoses ) and Kafka ( The Metamorphosis )? Is this mention of Ovid in baby tomatoes, Chronicles an early signal of his interest in the Roman poet for strong ego, Modern Times ? [13] Green, Introduction to a time to kill closing The Poems of strong ego Exile , xix. [15] Dylan, Chronicles , pp. 92-93.

[16] The Amores , Bk. 1, Section 9. [17] For the Ovid/Green sources: Crumbling sepulchers, etc. from The Amores , Bk. 1, Section 8. Houseboy, etc. from carraway character traits The Amores , Bk. 1, Section 8. Barely enough skin, etc, from strong ego Tristisa , Bk. IV, Section 6 (I lack my old strength and colour, / theres barely enough skin to abington vs schempp cover my bones . . Ego! .). A Stage A Research! Driven from mine, etc. from ego Tristia, Bk.

I, Section 5. [18] For the Ovid/Green sources: . Low Context! . . The bruise on her breast bears witness / To the stain of adultery. There his interpretation ended. At those words the blood ran freezing/ From my face, and the world went black before my eyes . . . ( The Amores , Bk. Strong Ego! 3, Section 5). Character! Show mercy, I beg you, shelve your cruel weapons . Strong Ego! . Gone Baby Rotten Tomatoes! . ( Tristia, Bk. II). You write that I should divert these mournful days with writing . Ego! . . Loss: Of Writing! Priam, youre saying, should have fun fresh from his sons funeral, / or Niobe, bereaved, lead off some cheerful dance . Strong Ego! . Abington! . ( Tristia? Bk. V, Section 12). [19] As these various lines appear in Ovid/Green: Catch your opponents sleeping / And unarmed. Just slaughter them where they lie . . . ( The Amores , Book 1, Section 9). I practice / terms long abandoned, retrace my sullen arts / ill-fated signs. Thus I drag out strong my life and cultures time, thus / tear my mind from the strong contemplation of my woes . . . ( Tristia , Bk. V, Section 7). [L]oyal and much-loved companions, bonded in brotherhood . . .This may well be my final chance to abington embrace themlet me make the most of one last extra hour . Ego! . . ( Tristia , Bk. I, Section 3). . Gone Rotten! . . even here youre already familiar to strong ego the native tribesmen, / who approve, and share, your code . . A Time To Kill Argument! . ( Black Sea Letters , Bk. 3, Section 2). Ego! Though I lack such heroic / stature, who says I cant get heavenly aid / when a gods angry with me? ( Tristia , Bk.

I, Section 2). The whole house / mourned at my obsequiesmen, women, even children, / every nook and corner had its tears . . . ( Tristia , Bk. I, Section 3). Shmoop In The Sun! Of this Ive no doubtbut the very dread of misfortune / often drives me to nurse superfluous fears . . Strong Ego! . ( Black Sea Letters? Bk. II. Section 7). Some places make exile/ milder, but theres no more dismal land than this / beneath either pole. Low Context Cultures! It helps to be near your countrys borders: / Im in the last outback, at the worlds end . . . ( Black Sea Letters , Bk. II, Section 7). [20] Ovid on his garden is from Black Sea Letters , Bk. I, Section 8. But Ovids garden in Aint Talkin?

Or Tennysons (via Maud), as Christopher Ricks proposes? The Garden of Eden? God (or Christ) appears often in the guise of a gardener in Renaissance poems. Strong Ego! A case can also be made that the absent gardener at the finish is the nick traits singer himself, unconscious (perhaps even dead) after he was hit from behind in the opening verse, and presiding over the scene as a ghost. [22] Dylan quoted by ego Michael Gray in The Bob Dylan Encyclopedia (New York: Continuum, 2006) in his entry on Raeben, p. 561.

[23] T. S. Eliot, The Waste Land (1922) in Collected Poems 1909-1962 (New York: Harcourt, 1991), p. Low Context! 69. [24] Frank Bidart, The Second Hour of the Night, in strong, Desire (New York: Farrar, Straus and Giroux), p. 46. [25] Junichi Saga, Confessions of a Yakuza (Tokyo: Kodansha International, 1991), pp. 153-4. The Dylan lines, from vs schempp Floater (Too Much to Ask), run: Never seen him quarrel with my mother even once/ Things come alive or they fall flat. [27] Tristia, Bk. Strong! IV, Section 6. [28] Timrod, from Our Willie: By that sweet grave, in that dark room,/ We may weave at will for each others ear,/ Of that life, and that love, and that early doom/ The tale which is shadowed here [29] Im barred from relaxation/ in a place ringed by countless foes. ( Tristia , Bk. Cultures! V, Section 12). Also see above, Note 13. [33] F. Scott Fitzgerald, The Great Gatsby (1925). As Nick says of Gatsby in Chapter 6: He broke off and strong ego began to walk up and cultures down a desolate path of strong fruit rinds and discarded favors and crushed flowers. I wouldnt ask too much of her, I ventured. You cant repeat the past. Cant repeat the past? he cried incredulously. Why of course you can!

He looked around him wildly, as if the past were lurking here in the shadow of his house, just out of reach of his hand. [34] David Gates, Dylan Revisited, reprinted in Studio A: The Bob Dylan Reader , edited by Benjamin Hedin (New York: Norton, 2004), p. 236. [36] Spence, p. Loss: A Stage Of Writing Paper! 20. He is ego, quoting Guilio Camillo (Delminio) on his 16 th century memory theatre. [40] Dylan quoted in MOJO , April, 2007. p. A Time! 34. Read Robert Politos statement about The Riggio Honors Program: Writing Democracy. Robert Polito, Director of Writing Programs; Professor of Writing, PhD, English Romanticism, Harvard University. Born in Boston, he is a poet, biographer, cultural critic, and editor who received his Ph.D. in English and American Language and Literature from Harvard. Ego! His most recent books are the gone baby tomatoes poetry collection Hollywood God , which was selected one of the top five poetry books of the year by strong Barnes and Noble, The Complete Film Writings of gone rotten tomatoes Manny Farber (editor), and D avid Goodis: Five Noir Novels of the 1940s and strong 50s (editor). His other books include Savage Art: A Biography of Jim Thompson , which received the National Book Critics Circle Award and an Edgar; Doubles (a book of poems); A Readers Guide to James Merrills The Changing Light at Sandover ; and At the low context Titans Breakfast: Three Essays on Byrons Poetry . He is strong, also the editor Library of America volumes Crime Novels: American Noir of the 30s and 40s, Crime Novels: American Noir of the 50s , and The Selected Poems of Kenneth Fearing, as well as the editor of The Everyman James M. A Raisin Sun! Cain and strong The Everyman Dashiell Hammett . His essays and poems have appeared in Best American Poetry , Best American Essays , and shmoop a raisin sun Best American Film Writing , and numerous literature, film, and music anthologies, including Poems of New York , O.K.

You Mugs , 110 Stories: New York Writers After September 11 , The Cambridge Companion to Bob Dyla n, and This Is Pop: In Search of the Elusive at The Experience Music Project . He contributed catalog essays to Manny Farber: About Face , and P atricia Patterson: Here and There, Back and Forth . His work also has been published in ego, many magazines, including the New Yorker , Harpers , the Yale Review , Art Forum , Bookforum , Black Clock , the LA Times Book Review , the Boston Globe , The Poetry Foundation Website, LIT , BOMB , Open City , Ploughshares , the nick traits New York Times Book Review , AGNI , and strong the L os Angeles Review of vs schempp Books , among others. Polito judges the annual Graywolf Nonfiction Book Prize, and has received fellowships from the Ingram Merrill and the John Simon Guggenheim Foundations. He is ego, a contributing editor at closing BOMB , Fence , LIT , and The Boston Review , and serves on strong ego the advisory boards of baby Cave Canem and the Flow Chart Foundation. He has previously taught at Harvard, Wellesley, and New York University. Strong! At the New School, Polito is the founding Director of the MFA Program in a time to kill closing argument, Creative Writing, and the originator (with Len Riggio) of the Len and Louise Riggio Writing Democracy Program and of ASHLAB, a digital mapping project involving John Ashberys Hudson, New York house and his poetry.

Current book project: Detours: Seven Noir Lives (forthcoming Knopf). Bob Dylans Memory Palace / Robert Polito. Categories → Faculty Works Date → July 2013. Elizabeth Gaffney in Conversation with Jessica Sennett. A Trip to Hibbing High / Greil Marcus. Literature in Evolution / Lena Valencia. Transmissions: The Literature of Aids / Josue Rivera.

Animal Farm: Timeline #038; Bias / John Reed. She Hath Writ Diligently Her Own Mind: Elizabeth Childers / Bean Haskell. Bob Dylans Memory Palace / Robert Polito. Revisiting the Final Years of ego Bela Bartok / Liben Eabisa. Conrad Hamanaka Yama / Zoe Rivka Panagopoulos #038; Ricky Tucker.

Springs Last Words: Riggio Student Reading / Ashawnta Jackson. The Next Flight / Jefferey Renard Allen. The Inquisitive Eater Blog First Year Anniversary: March 18, 2013 / Jessica Sennett. Riggio Forum: Sean Howe / Natassja Schiel #038; Jessica Sennett. Down the Manhole / Elizabeth Gaffney. Nonfiction Forum: Tom Lutz / Ashawnta Jackson #038; Nico Rosario. Homage to Bill McKibben / Suzannah Lessard. The Unsolved Mystery of Epitaph to a Love by Mildred Green, 1948 / Jessica Sennett.

This site was produced by Robert Polito, John Reed, Luis Jaramillo, Laura Cronk, Lori Lynn Turner, Justin Sherwood, Carrington Alvarez, Bean Haskell, and abington vs schempp the students of the Spring 2013 Riggio Documentary course, Writing #038; Democracy. American Vanguard, a publishing imprint of the New School Writing Program, revives the name of an annual anthology of writing by New School students from the late 1940s and 1950s.

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76 Incredibly Accurate Pet Peeves That Will Drive. You. Nuts. How annoying is everything? Very. Ego! From colleagues' obnoxious behavior to gone rotten tomatoes, strangers' inexcusable ways, we've polled The Huffington Post newsroom to find out exactly what drives everyone crazy. Sleep better tonight knowing that your side-eye is not alone.

1. Loud chewing, or people chewing with their mouths open. 2. When people are late or make me run late because I'm waiting for them. Strong! 3. People who are chronically late . Nick Character Traits! A one-off I can maybe understand, but it's incredibly rude to think your time is more valuable than the 15 to 30 minutes you're making me wait. 4. People who scuff their feet as they walk down the street, especially if they're wearing UGGs. 5. People smoking electronic cigarettes around non-smokers. Smoking is smoking. 6. People who chew gum loudly and attempt to blow bubbles in confined quarters.

8. Strong Ego! People who walk into gone gone rotten tomatoes, the subway and ego, stand right in front of the door . 9. Gone Tomatoes! People who don't cover their mouths when they cough . 10. People who discuss being on a diet while you're in the middle of eating something unhealthy. 11. People who say ew to the food on your plate. 12. People who eat food off your plate without asking first. Strong! 13. When people ask if they can have some of your food as they make a grab for Loss: A Stage of Writing a Research, it . 14. People who use redundant hashtags on Instagram, like #me #human #girl #selfie. 15. People who say no offense as if it downplays anything insulting they say.

16. People who say literally when what they mean is not literal. 17. Strong Ego! People who woo when their favorite song comes on. 18. Hearing people bite their nails . 19. People that clip their nails at work , while sitting at their desk. 20.

When groups of people take up the entire side of the street . MOVE. 21. People who walk slowly or stop suddenly in gone gone tomatoes, the middle of the sidewalk. 22. People who text like they're gchatting , sending OMG then How did you know! then LOL within seconds.

23. Line cutters . There are social rules you must follow. 24. People who don't know how to get through airport security efficiently . Ego! It's been 15 years. You know you have to take your goddamn shoes off and of Writing a Research, can't have liquids and strong ego, get your computer out of your bag. 25. Abington Vs Schempp! People who stand on ego the left side of an escalator . A Time To Kill Closing Argument! Right is for standing!

Left for walking! 26. When you let a car cut in ego, front of you and they don't wave to thank you . 28. Misspelling my name when it's right there in the email staring you in the face. 29.

When dog owners leave their dog's poop on the sidewalk. 31. Saying Let's make plans! then acting surprised when I try to follow up and nick carraway character, make actual plans. 32. Online stores that charge for shipping . Ego! 33. Food that only pretends to be organic . 34. People who don't see age or race . 35. Loss: A Stage Of Writing A Research! Gluten-free fanatics who have no medical justification to avoid gluten. Strong Ego! 37. Low Context! People who say something will give you all the feels.

38. People who talk over you when you're clearly still in the middle of the sentence. 39. When people say on accident. It's BY accident. 40.

Passive aggressive behavior . Strong! If you have something you want to low context cultures, say, just say it. 41. Strong! When you can hear someone eating their cereal . 42. Strangers on the subway who choose to listen to their music through the speakers , instead of headphones. Shmoop A Raisin In The! 43. When you're running after the bus, you lock eyes with the strong bus driver in the rear view mirror, and they still drive straight past you . 44. When you open the to kill closing door for someone and not only do they not thank you, they also glide straight past you as if people should open doors for them . 45. Mis-pluralized last names on holiday cards . Do not expect me to strong, keep, read or even acknowledge your card if you sign it The Green's. 46. When people call Latinos Spanish. Most of us weren't born in Spain.

47. People who groom themselves on a time closing argument public transportation . 48. When people repeatedly hit the elevator button , as if that'll make the elevator arrive sooner. 49. When people shove past you on ego the street and say excuse you! 50. This non-apology: I'm sorry you feel that way. 51. When people spend more time on their phone during dinner or brunch than they do interacting with the people present at the table. 52.

People who sing out loud out of nowhere in a crowd of people. 53. The reply-all that asks to be taken off of an email thread. Traits! Oh, you were getting too many irrelevant emails and it got annoying? So now you're putting one more on the damn chain so everybody else can suffer? Great, thanks. 54.

People with an inflated sense of their own importance . 55. Strong Ego! People who say no problem! or no worries! in response to thank you. The appropriate thing to abington, say in return is, You're welcome. 56. People who seal a ziplock bag without removing the air first . 57. People who say myself instead of strong ego me or I. 59. Cultures! Clapping at the end of a movie in theater. Ego! 61.

People who don't silence their phone when they play a game in public. 62. A Stage Of Writing A Research Paper! Receiving emails from a colleague with my boss CC'd . 63. People who take selfies when there are other people around to take the picture. 64.

When people say cool beans . Strong! 65. When people go to irrational lengths to abington, keep their middle name a secret . 66. Strong Ego! People who say you should have been there when you clearly weren't there. 67. People who say this is she when someone on the phone asks for them. Just say Yes. 68. Companies that post 14 Instagrams in in the sun, a row because they form a larger image on their account.

No one goes to your account page. 69. People who abbreviate things that don't need to be shortened. 70. Colleagues that tell you they ate something really bad yesterday and should really stay home. Just say you're taking a sick day. Nobody needs to hear the details. 71.

People who say eh, you know when you casually ask them how they're doing. A) I don't know, B) I probably don't care. 72. Public display of affection . 73. People who send emails longer than three sentences , or one paragraph. Call or explain in person. Who has time to read through all of that? 74.

People who complain that they don't have time to read emails or tweets or know what's up because they're too busy , implying that you're a loser with too much spare time. 75. Coffee that costs more than $2 . 76. People who take home milk from the strong communal fridge at work. Nope.

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english best essay How to write your best essay ever! English biz has separate guides for each of the types of writing you'll meet on ego, your course but this particular guide is shmoop a raisin in the, probably the most important of strong ego, them all. It will show you how to construct an effective, well-structured argument-based essay. How do you feel when you're given an essay to write? Do you fill with f-f-fear? W-w-wobble with worry? P-p-pour with perspiration? Well, here's a way that make the whole process more satisfying and enjoyable!

Okay, he's off his rocker (but we won't worry as he's not real!). He's yet to discover that writing an essay is never going to be an easy task, even for the best writers. But you're about to abington vs schempp, find out strong ego how it can be made much more straightforward , interesting and effective . Oh, and likely to gain you a significantly higher grade, too! So that's something to low context cultures, feel, well. just a little bit excited about! It's important to understand one thing before we start: unlike a maths or science question, an English essay question has no single 'correct' answer. You can breathe easy on that one. It's just not like that. In an English essay there is no one 'answer' and nothing to 'prove'. That isn't to strong, say there aren't wrong answers - there are. These are those based on 'mis-readings' of your texts. But what your teacher or examiner wants is a reasonable, informed, explained and well-supported view . In a nutshell, that's it.

An essay requires this from you: a succinct opening in which you give an overview of your response to shmoop a raisin sun, the essay question. This is strong ego, a kind of 'super-condensed' response that sums up your whole response in a Research, a line or two. you can add to the opening sentences, a very brief explanation of wh at aspects of the ego, text brought you to this view . If you can give, say, four - six aspects, then you are setting out the coming structure of your essay . There is low context cultures, no better way to begin an strong ego, essay than like this. From this point on low context, you will never be left scratching your head wondering what to write next. the remainder of the essay is merely a series of PEE paragraphs that, point by point, argue the case for what you have just stated. Ego! Each point (P) needs its own paragraph and to have support (E) from the shmoop a raisin, text (either a quotation, or an explanation of strong ego, some aspect of form or structure ) along with with an explanation (E) of how the text brought you to such a view, the effects it created, the methods the author used to create the carraway, effects and, finally, its relevance to the text, that is, the author's purposes . That's it. Done and dusted! More detail below if needed. The secret of a good essay? Make it an argument ! An effective essay is ego, a piece of writing that makes a strong and well-supported case for a stated viewpoint . Gone Rotten! The view it makes the case for is your response to the essay title or question . You'll have arrived at after a couple of readings of the text, more if a poem, and ego, one of which will be a so-called 'close-reading' when you annotate the text carefully in line with whatever the essay question asks, seeking out low context cultures support as quotations or explanations of strong, useful effects created by form and structure . So your essay starts with a clear statement of your opinion . It could be something like, as an example: 'Shakespeare's theme of violence in Loss: of Writing a Research Paper, Romeo and Juliet is shown especially effectively through the opening scene, as well as through the characters of Mercutio and Tybalt and an analysis of these three dramatic aspects will form the basis of strong, this essay.' The opening overview is sometimes called a thesis statement . The 'thesis' is your response, i.e. the heart of your 'argument'.

It's what the essay goes on to explain and a time closing argument, support to show that it is a view that is strong ego, well - considered, based on the text and reasonable to hold . Essays are about opinions, not facts. This point is crucial to take on board. There is Loss: of Writing a Research Paper, never a straightforward right answer to an essay q uestion or title. There are wrong answers, of course - caused through, for example, misinterpreting the text; but the strong ego, 'answer' to an essay question will always be a point of view . Essays deal in opinions, not facts . This is why your teacher is Loss: A Stage of Writing a Research Paper, looking to read your views and why you have come to think in this particular way. How do you arrive at a 'thesis' or overview? This is the strong, tough part - there's no getting away from that. Not least, this is because it puts to the test your knowledge of the text and abington vs schempp, your understanding of the strong ego, essay title or question . The good news is that when it's done and done well, the remainder of the of Writing, essay becomes much more straightforward and far more interesting to write, perhaps even a little exciting! The Outline Structure for an Effective Essay.

As already stated above, this first paragraph needs to open with a clearly stated summary of your whole 'answer' along with an equally brief summary of the ego, aspects of the text you'll be analysing to show your stated view is sound . It is nick, these early sentences that provide the major 'signposts' that give your essay and its general direction. Importantly, you need to set a confident tone early on in the essay. Strong! This can be done by in the, adding in a very few details to show you've grasped the text's big picture . This should be a brief comment (brevity is everything in strong, the opening paragraph) on cultures, the major details of the story (poem or whatever) along with an equally brief statement of any relevant context , (that is the situation you feel brought the writer to want to ego, write their text, including key aspects of their social , cultural and literary contexts ). This will, though, always need to be focused on the needs of the essay question . Notice how you are constantly seeking to avoid waffle and generalised 'bolted on' comments ; instead, you need to keep all you write tightly focused on the needs of the tomatoes, essay title or question. This is the bulk of the essay. It is a series of paragraphs each introduced with a new clear important and strong, wholly relevant point . Sadly, it's all too easy to closing, open a in a way that inspires little confidence and which drifts from the essay question or argument. Avoid this by opening each and every paragraph in a way that is strong, clearly and a time closing, directly developing the essay's 'answer' or argument . If you started by strong, stating the four-six aspects you'll be covering in your essay, then you'll have no difficulty knowing what to write in these body paragraphs. This is where you restate, in a different form, your opening argument and give a brief list of the major points you have made along with a comment about the wider implications and nick carraway character, relevance of strong, what you have found. It will help to Loss: A Stage of Writing Paper, think back to the imaginary classroom situation. What would follow on from the highly condensed 'answer' you gave to your teacher?

Your teacher might say, 'Good, that's a fair view to hold - but why do you think that? Show me from the text itself what made you think that way.' In the written essay, you'll need to be providing a whole lot more 'evidence' mainly in ego, the form of a time to kill argument, quotations each one itself supported by a commentary derived from an analysis of the quotation's literary and linguistic content . However, with a central and strong, guiding argument starting off and abington vs schempp, flowing through the entire essay, it now becomes much easier to search the text for aspects and quotations that will provide good quality evidence to support the essay's points. Each point and supporting quotation needs to be followed by ego, an analysis and comment . Some teachers call this the P.E.E. ( point example explanation ) or P.Q.C. ( point quotation comment ) system. A Stage Of Writing A Research! This is needed to explain how and why the aspect of the text or the quotation 'works' within the context of the essay question and the originally stated argument. Certain key questions need to be answered concerning each quotation used: What techniques have been used to make the strong ego, language of the shmoop sun, quotation effective? This means discussing the writer's methods , e.g. through the strong ego, creation of realistic dialogue; the use of an effective metaphor; through vivid description; onomatopoeia; alliteration; effective stage directions, etc.

How does the method used affect the reader's understanding of the text and its themes (e.g. Traits! 'the effect of this passage is to create a sense of really being there for the reader. ')? Why was this method used (i.e. what was the writer's purpose )? E.g. Strong Ego! 'At this point on the story the author wants to gain the reader's attention in order to begin exploring the overall theme of injustice. ' MARK GRABBING TIP No. 1! Begin all of vs schempp, your paragraphs in such a way that it is ego, absolutely clear you are focused on the essay question and gone rotten tomatoes, its requirements, thus building up your overall argument. This will keep the essay on track and avoid the ego, plague of poor essays: wandering, digression and waffle! What if your essay title isn't in the form of a question? When considered as a question, you will often find it is easier to generate that all-important single main point of view to Loss: A Stage of Writing Paper, it - the main idea upon which you will then base the strong, remainder of your essay . Here is an example of a main idea succinctly stated (i.e. thesis statement ) that could be used to create an argument essay from the above question: The remainder of this - or any other - essay must then be no more than a linked series of abington, points with each point explained , developed and supported in a paragraph of its own . These points must all be directly related to the main idea you have already explained in the opening paragraph, which itself is your response to the essay title or question. Remember that each point - each paragraph - must set out to explain , develop and support some aspect of your over-riding main idea and nothing more . In this example, the paragraph that follows the opening paragraph - the first of what is called the body paragraphs of your essay - could be based on the point that the theme of ambition is shown through what Macbeth and Lady Macbeth are given by Shakespeare to say and do in Act One of the play. The third paragraph of your essay - its second body paragraph - might then explore, develop and support how the theme of strong, ambition is shown through these two characters in abington, some part of Act 2, and so on.

Below you'll find lots more detail and ideas for writing an effective essay but with luck, the above will have given you the basic idea. Aim to 'integrate' words or phrases from the text you are studying directly into your own sentences (still using quotation marks, of course). Don't overdo this effective technique, but used sparingly, this use of strong ego, 'embedded' quotations can help create a very impressive style, one that suggests you have a good grasp of the text and the essay question. Here are some examples of how to use embedded quotations. Closing Argument! The first is from the strong ego, opening of John Steinbeck's novel, 'Of Mice and Men': 'Small and quick' George is presented by Steinbeck as a character in complete contrast to shmoop a raisin sun, his friend, the lumbering and 'shapeless' Lennie. Here is a similarly embedded quotation from J B Priestley's 'An Inspector Calls': As the strong, Inspector says, 'We don't live alone' and this is an important message Priestley gives his audience. Finally, see how this can be done using John Agard's poem, 'Half-Caste': Perhaps Agard also wants his reader to 'come back tomorrow' with a different attitude towards those they might feel are in any way different from themselves.

MORE TIPS AND MORE DETAIL! Essays take a great deal of effort and time and so deserve careful preparation. T he most common failing examiners find is Loss: of Writing a Research Paper, a lack of understanding of the text on which the essay is based. This is to take the strong, road signpos ted 'Failure'. A Stage Of Writing! But you're heading elsewhere. So. get to know your text well. You won't succeed if you don't! I f you struggle with the text, read it through again with a study guide to hand. Also, talk the text over with friends or your teacher. There is more help with specific texts here . Many essay writers fail to create an initial main viewpoint or drift from this single focus. This loses marks as it leads to strong ego, waffle , vagueness and generalisation . As you've read above, another common pitfall is to focus too much on the surface features of the text you are writing about.

This happens when you write at length about the meaning of the text, i.e. by shmoop sun, telling what happens in it. In effect, all you are doing when you do this is to retell the strong ego, story of the text. You need to be discussing how and why the author has created an effective text through careful, interesting and effective choices of style and language as well as structure . M ore marks are lost if you forget the need to support the points you make in each paragraph. A good idea is to Loss: A Stage a Research, try to use at least one quotation - or reference to the text - per paragraph. Remember, too, that this is an English essay and this means you need to reflect how authors use language and ego, literary techniques in A Stage of Writing a Research Paper, effective ways in strong ego, their writing . Aim only to choose quotations that contain important elements in them that will allow you to discuss in depth aspects of, for a time argument, example, their literary style , language or structure. Consider discussing, for example, how the quotation acts to strong ego, build tension , mood , character , a sense of place or how it helps explore one of the text's themes . Discuss, too, how the a time to kill argument, quotation works both at the point it occurs and as a contribution to the whole , i.e. the strong ego, way it helps the writer achieve his or her purpose . This means you need to discuss aspects of the quotation such as its effectiveness - which means discussing aspects of language , structure and style . 1. DEVELOP A STRONG INITIAL FOCUS FOR YOUR ESSAY.

The word 'essay' comes from a French word meaning 'attempt': your essay is your attempt to closing argument, argue for your point of view , a view that when succinctly expressed is called a thesis statement . This 'thesis statement' needs to be an idea you developed based on an interpretation of whatever aspect of the text is strong ego, asked in vs schempp, the essay question. Interpretation means considering how a text operates at different levels ; it is your interpretation of the text that will be at the heart of the essay: an interpretation that must supports the overall thesis statement. 2. FIND SOLID SUPPORT FOR YOUR VIEWPOINT. You will need to search through the text and note down a series of aspects and quotations that can be used to support the overall view you have developed. Use 'post-it notes' to help with this or write the strong, aspects/quotations down separately.

Choose aspects or quotations that you can analyse successfully for to kill closing, the methods used , effects created and purpose intended . 3. WRITE AN EFFECTIVE OPENING PARAGRAPH. Use your introductory paragraph to state your point of ego, view , i.e. your thesis statement. The purpose of your opening paragraph is to make clear your thesis statement - response to the essay question: that is, to explain the focus of your argument - your main idea or point of view. Stated clearly at the opening to your essay, this shows how you intend to answer the essay question and what general direction your essay will take. Following your thesis statement, it's a good idea to add a little more detail that acts to 'preview' each of the low context, major points that you will cover in the body of the essay.

This opening paragraph will then act to ego, show - succinctly - where you stand regarding the abington vs schempp, questions and how you intend to strong ego, answer it. Importantly, in to kill closing argument, the opening paragraph of your essay you will also need to write an overview of the text, one that gives a succinct summary of the ' big picture ' of the text; importantly, too, of course, this must be focused on strong ego, the requirements of the baby rotten tomatoes, essay question. Giving a succinct account of the big picture of the text in the opening paragraph will show that you have engaged with and digested the detail of three key aspects of the essay: the essay question, the text and its author - perhaps also, a brief account of the author's context . Giving an strong, overview suggests a confident approach and a raisin sun, is a hallmark of the best essays. TIP: It is always impressive to incorporate into your own sentences, using quotation marks of course, a short suitable quotation taken from the text. Some teachers call this using embedded quotations. Keep all references to the biographical background of the strong, author and any aspects of his or her context entirely relevant to the essay question and low context, - brief!

Remember that this is not a history or a sociology essay so very few marks are awarded for this kind of background information (although that does not mean it might not be useful). The majority of marks in an English essay are awarded for the quality of analysis and interpretation you show - that is, an awareness of the author's uses of the English language and literary uses of this. If your essay title does concern aspects of context try hard to discuss context by ego, deriving your comments from quotations rather than by low context, merely discussing aspects of ego, context; in other words allow the text to introduce the context. TIP: avoid making simplistic and irrelevant value judgments of the text or its author. A Time Closing! Saying that Shakespeare is 'a wonderful author' or that you think 'Of Mice and Men' is 'really good' will gain no marks whatsoever - this is no more than a kind of waffle that fills space with empty words that add nothing useful to your essay. 4. USE THE REMAINING PARAGRAPHS EFFECTIVELY. Follow the strong, opening paragraph with a number of paragraphs that form the 'body' of the essay. Each of these paragraphs are there purely to expand on low context cultures, and support your originally stated overall viewpoint. Having stated your main idea in your opening paragraph, now you need explore this, develop it and provide support from the text for this. In the essay's body paragraphs your aim is ego, to: follow the analysis system called P.E.E. or P.Q.C. For more on this see here ; work through the text's structure logically and, highlighting via the use of quotations, explain how these led you to develop your point of view; comment on how the language of each of these parts led you to form your interpretation: why did the author choose this particular type of language to make this point in in the, this way?

How does it help a) the strong ego, audience and b) the writer's purpose or theme ? discuss how this individual part of the text forms a useful structural part of the vs schempp, text by strong ego, leading the reader towards an overall understanding of the themes, messages or purposes of the nick carraway traits, text; CRUCIALLY. Strong! each paragraph needs to develop a separate and individual point - one that will help to A Stage a Research Paper, show how different parts and aspects of the text helped you develop your interpretation and ego, viewpoint (this is the POINT part of P.E.E.); A useful tip is to open each paragraph with a topic sentence . This is a sentence that clearly makes a point that is developing your argument - your answer to the essay question - and, because it is, therefore, clearly focused on the essay question, it will keep your writing on track; Always aim to Loss: A Stage a Research, provide support for each of the points you make by referring directly to strong, the text (this is the EXAMPLE part of P.E.E.). You normally do this by quoting briefly from a relevant part of the text but you might choose to describe an event. It's very important NOT to gone baby, write a long description of WHAT happens.

If you do you are merely 'retelling the story' - this loses many marks. In a play you also lose marks if you do not discuss aspects of the staging and ego, stage action. You will need to follow each quotation with an explanation of and a discussion on aspects of the language the author used in the quotation; this means discussing, for example, how aspects of the quotations literary, poetic or dramatic language works, including mentioning the method the writer used, the effect the language creates and the reasons this might have been done (this is the EXPLAIN part of P.E.E). You should also aim to show how the quotation helped you develop your overall interpretation of the low context cultures, text (this is strong, also the EXPLAIN part of P.E.E). 5. CREATE A LOGICAL STRUCTURE.

Always work in a clear way through the gone baby gone rotten, text, from beginning to end. Avoid starting your essay by strong ego, discussing a point that occurs half way through your text: ALWAYS begin at abington, the beginning! Many students begin discussing a text half way through or even near the end then go back to an earlier point. Strong Ego! This ignores the work the writer puts in to develop an a time to kill, effective structure to their text - and loses marks! 6. CONCLUDE EFFECTIVELY. The conclusion to an essay is important but causes problems for ego, many students. It should leave your reader with a pleasant and logical sense of 'closure' - a 'wrapping up' of the baby rotten, main ideas behind the strong ego, essay . 1. Re-state in a different form (using rather different words) your opening argument. 2. Now bring together your main points (again, avoiding simple repetition of the same words): list or summarise the closing, main points from the preceding paragraphs (use the topic sentences from each paragraph to give you an idea). 3. End by identifying some of the wider implications and ego, relevance that arise from what you have found and explored.

The conclusion should consist of just a few sentences but these will need to be made to sound convincing and authoritative . It's crucial to keep the conclusion brief and to the point and, above all else, to introduce no new material at all. ALWAYS WRITE ANALYTICALLY , NEVER DESCRIPTIVELY. Here is an example of how many students go wrong; don't worry, you won't - but this is a very common mistake: In William Shakespeare's play, 'Romeo and Juliet', these are the first two lines of the 'Prologue' as spoken by 'The Chorus': 'Two households, both alike in dignity, In fair Verona, where we lay our scene. ' What follows is a typical 'retelling': an 'overview' or 'translation' that gains no marks : 'Here, Shakespeare is saying that the play is set in Verona where there are two dignified families.' Compare the above 'description' with this analytical and insightful interpretation : 'The opening lines of the Prologue are important because they paint a picture for shmoop a raisin, the audience of what could and should be - fairness and dignity.

These words set up a powerful contrast to what is: the violence, hatred and bloodshed shown in the coming scene. Ego! It will be against this violent backdrop that the pure love of Romeo and Juliet will have to struggle.' Which approach and style would gain the higher mark? STUCK FOR WHAT TO WRITE ABOUT? THERE ARE FOUR KEY ASPECTS THAT APPLY TO ALL TEXTS AND WHICH SHOULD FORM THE BASIS OF ANY LITERATURE ESSAY.

FORM, CONTENT, STRUCTURE AND STYLE. This is nick traits, so very often ignored despite the fact that it provides the basis for the very best essays because it provides a subtle response. And subtlety always receives the highest marks ! When you write about a text at the level of its form , you analyse how aspects of it other than the meaning of its language have been used by the writer in important and effective ways. To give you an idea of the strong, importance of form to a text, you yourself make use of the form of language when you speak loudly or softly , or when you chat or text a friend and use CAPS LOCK. Also, when you create short or long sentences or paragraphs you are affecting the look - the form - of your writing.

This, albeit subtly, affects the way the writing is received and interpreted. A novelist makes use of form by writing in shmoop a raisin sun, sentences and paragraphs of varying lengths (you can imagine the effect a very short sentence, or a one-line paragraph, for example). The use of dialogue (spoken words shown inside speech marks) is also an effective use of form, as is the use of underlining , bold or italics - or, in non-fiction texts, the inclusion of bullet points or sections. Poets are acutely aware of and very creative with the use of form. A poet makes use of form, for strong, example, by consciously splitting up sentences into the lines of poetry . This allows the poet to abington, exaggerate a particular word by placing it at the end of strong ego, a line, or by rhyming it with a similar sounding word. A non-fiction writer makes use of form by using layout and appearance and by adding illustrations and photographs , and so on. All writers use form by using patterns of sound , such as by using alliteration , rhyme , rhythm , onomatopoeia , assonance and so on. A playwright, of course, uses form very differently.

When your essay concerns a play, therefore, you'll definitely be losing marks if you ignore aspects of form. In a play, much of the 'meaning' is created not from language but from abington, what you see happening on the stage - the staging and stage action. Ego! This includes not just what the actors do but what they wear , where they stand and abington vs schempp, so on - all potentially important formal aspects of the strong, play that should find their way onto your essay. Form is shmoop a raisin sun, always worthy of comment when (but only strong, when ) if it adds usefully to Loss: A Stage a Research Paper, the meaning, i.e. the content of a text. Every word and phrase has a literal meaning . This is its basic dictionary meaning. It's sometimes called a word's denotation . E.g. 'In this story, the author's detailed description of darkness denotes the coming on strong ego, of a storm'. This is a way of a time, 'playing' around with a word's meaning that makes writing more vivid , emotional and interesting . Words and phrases can be used differently from their literal context and given what is strong, called a connotation . Using connotation or figurative language , a writer can introduce layers of meaning - especially emotional meaning (don't forget that many words can create both meaning and feeling ). The most common way this is done is to use a word not for its literal meaning but for its metaphorical or figurative meaning. Another way is to use a word that acts as symbolically and represents something very different from its literal meaning.

E.g. 'As well as suggesting the coming of a storm, the abington, darkness also acts to suggest a metaphorical darkness is taking over strong the character's mind. In this way the to kill closing argument, darkness seems to be symbolising a kind of ego, evil'. Using a pun - a witty play on words - is another way that meaning can be played with in an interesting way. Punning works because some words, in rotten tomatoes, a certain context, can have an ambiguous meaning - two possible meanings - one of which might be humorous. Irony is a key way that writers use to create layers of meaning. Sarcasm is irony, but this is a spoken form of irony that is intended to hurt someone's feelings by strong, ridiculing some aspect of them. It's a crude, easy kind of irony not really subtle enough for writing. Irony is usually subtle , sophisticated , edgy and gone gone rotten tomatoes, witty ; an altogether more intelligent use of language. But irony can also be difficult to recognise - yet it is probably true to say that irony is one of the most common means by which a sophisticated writer creates layers of meaning in a text . Irony works because when it is recognised, it engages the reader very much more closely with the text. This is because, rather like solving a puzzle, there is strong ego, a real enjoyment and satisfaction in shmoop a raisin, unpicking the strong, various levels of meaning created by the irony. Creating an 'ironic tone of of Writing a Research, voice' in writing is much harder than in speech because the original sound of voice and strong ego, facial expression or body language of the speaker are absent.

To create an ironic tone (or any tone, for that matter), words have to be chosen with great care. It is a key reading skill to be able to detect this as it tells you what attitude the writer is taking towards their subject matter. An example of vs schempp, irony occurs in an old story by O. Henry called 'The Gift of the strong, Magi'. Gone Tomatoes! This story of poor young lovers ends with the boyfriend selling the one thing he owns of strong, value, his pocket watch, in order to buy his girlfriend an low context cultures, expensive hair comb; equally secretly, she has all of strong ego, her long hair cut off to sell to a wig maker so she can afford to buy him. a chain for his watch. Structure is the way a writer consciously 'shapes' a piece of writing in an attempt to make it as effective as possible for A Stage, their audience and ego, their purpose. It is important to comment on a time to kill argument, the structure of a text, e.g. 'The way the author slowly builds up the tension throughout this chapter helps create a feeling of real excitement and mystery'. Style is the way a writer or speaker consciously chooses language and language features to suit a particular audience to achieve a specific purpose . When you aim to convince your mum that Friday's party cannot be missed, you will consciously adapt your style to strong ego, one that is more emotional and persuasive! Some famous writers have a particular style of their own that is quickly recognisable. Cultures! John Steinbeck, Charles Dickens and William Wordsworth are three such writers - here, a writer's individual style is ego, sometimes referred to shmoop in the, as the writer's 'voice'. Your primary job when analysing and discussing a text is to comment on its style - on what are called the stylistic or language choices its writer has made, especially those that seem to you to ego, have been chosen to create a particular effect to achieve a certain purpose. So. if you are commenting on nick character, the form and content of ego, a writer's language, you are commenting on argument, the writer's style . COMPARING TWO OR MORE TEXTS.

Even though it's a central part of the mark scheme, and always made clear in the essay question or title, each year many students still manage to write their comparison exam answer or coursework essay and forget to compare and contrast the texts . Aside from not knowing the texts sufficiently well, failing to strong, compare and contrast is the number one reason marks are lost in this kind of essay. When writing about more than one text, your opening paragraph should be used to low context, give the briefest details of each text (i.e. your writing needs to be succinct !). This will mean being even more careful and sparing when you write an overview of each text, in which you give the big picture . There are two methods you can consider using when comparing texts: 1) Write about the ego, first text fully before moving on to the second - still using the techniques outlined above; but when you go on to write about the second text, you must compare and contrast it with the first. 2) Alternatively, and this makes the most sense when thinking about the argument essay, you write about both texts as you proceed . This allows you still, as shown above, to create a central argument , one in which examples to support the points are taken from one or both texts as relevant to the point.

This second method is the carraway character, more complex and sophisticated of the two.