3 Paragraph Essay Sample - Learning How to Write a Three-Paragraph Essay Sample

3 Paragraph Essay Sample - Learning How to Write a Three-Paragraph Essay SampleHow to write a three paragraph essay sample is a skill that needs to be learned and practiced. This is the one skill that is very difficult to master for many students who just do not have the time or inclination to learn. The basic skills are all there and can be learned quite easily if the student focuses on this and does it regularly.Writing a good first draft of an essay is important. The reader will get what you wrote and whether they like it or not. But if you do not have a chance to write it then it will not be good. Most students who have never written an essay before end up starting off with a horrible first draft that looks like a garbage dump. It is not even worth wasting the time to redo it because the reader will never see it.The first step in how to write a three paragraph essay sample is learning how to keep the paper to about three hundred words. Many students find this hard because they on ly have time to write about two hundred and fifty words. Even if you are writing a review for an exam or for a short report, this rule still applies.The next step in how to write a three paragraph essay sample is to follow up with the first paragraph. They should be able to go back and tell how much thought was put into that paragraph. This is important because if you have not given the reader a reason to think, they will not. If you make the readers think about something, then you will be in business.The last part of how to write a three paragraph essay sample is making sure the paragraphs flow together properly. In other words, you do not want to make them look like a bunch of random lines. People will assume that you are writing for their own purposes when the sentences do not flow together properly.This brings us to the third part of how to write a three paragraph essay sample, and that is how to finish the article. At the end of the essay the reader should feel like they are cl osing out the entire piece. You can also have your name or initials as the author on the last paragraph, but that is optional.These three steps are all there in how to write a three paragraph essay sample. They are just easy to forget about because you are in such a hurry to get the paper done.

America And Romes Struggles essays

America And Rome's Struggles essays Compare the early Roman struggle for independence to that of colonial Americas. What similarities do you see in the Roman and colonist outlook on their future government? There are many similarities between America and Romes attempts at independence. First, a higher party oppressed both. For the Romans, it was the Etruscans, while it was the British for the colonists. Both also shape how Romans and Americans lived their lives. In the sixth century B.C., the Etruscans moved south across the Tiber River and conquered Rome. They set up a monarchy that lasted for more than a hundred years. The Etruscans had an enormous political, cultural, and social effect on early Roman culture. The Etruscans adopted many of their ideas from the Greeks, including the Phoenician alphabet, and incorporated many of the Olympian Gods into their religion. The Etruscans also taught the Romans how to the arch in the building and also how to set up forums. In 509 B.C., the Romans overthrew the Etruscan monarchy and developed a republic. In a republic, the citizens elected the representatives to run the government. The American Revolution (1775-1783) was the conflict between the 13 American Colonies and Great Britain. The first war between the two, the Revolutionary War, resulted in America gaining independence from its mother country, Britain. Then in 1787, the Constitution was laid out by the American government. This led to the formation of the representative democracy that is still used by our government today. The similarities between the two are fairly clear. Both Rome and the Colonies felt that they were being held down for too long under a monarchy and that they did not receive enough rights. They eventually gained enough support to lead a revolution against its oppressor. Once the English and Etruscans were defeated, the people set up governments that gave the average citizen a say in politic ...

Everybody is a Native Speaker, Nobody is a Native Writer

Everybody is a Native Speaker, Nobody is a Native Writer Everybody is a Native Speaker, Nobody is a Native Writer Everybody is a Native Speaker, Nobody is a Native Writer By Michael Does writing English cause you pain? Maybe thats because youre not a native writer of English. But then, none of us is a native writer of anything. We all learned to talk before we could write. Linguists say that, in a real sense, written English is a different language than spoken English. Thats true of every language. Writing down your words changes what youre saying. For one thing, your tone of voice disappears. Written letters and characters may not correspond directly to the sounds of speech (especially true of English, unfortunately). Readers are less tolerant of missing or added words than listeners. A speech may make sense to the original audience members and even move their hearts, but the initial transcript may seem shockingly illiterate and even incomprehensible: And the reason you know not that I would recommend no, Im serious When students have trouble learning a foreign language, its often because their teachers treat the written language as primary, when actually the spoken language is primary. Chinese was considered a forbidding language for Westerners (all those characters!) until people such as Henry C. Fenn and Gardner M. Tewksbury at Yales Institute of Far Eastern Languages had the brilliant idea of teaching their students to speak Chinese before teaching them to write it. From personal experience, I can testify that they were right. To me, Chinese is simpler and more sensible than many other languages, especially I never had to learn to write it. (I still have problems with pronouncing tones, which change the meaning. But all Westerners do.) What prompted my thinking about writing vs. speaking was a question from a reader named Linda, who read my article The Yiddish Handbook: 40 Words You Should Know, and asked, If a Jewish person was singing, what language would they sing in: Hebrew or Yiddish? I sort of thought that Hebrew was the written language, but Yiddish was the spoken language of the Jewish people but I dont really know. Thank you! I answered: They usually sing in their native language most Jews arent fluent in either Hebrew or Yiddish. But Hebrew is the official language of the state of Israel, and Yiddish is the common language of the haredi, commonly called the ultra-Orthodox. So there are popular Jewish songs in both languages. Of course, Hebrew is the language of religion, and was often considered fancier or more formal than Yiddish, so it might be used for certificates and so on. Chants and prayers during worship are in Hebrew, and Yiddish is written in the Hebrew alphabet, but Eastern European Jewish folk songs and klezmer songs usually have Yiddish titles or lyrics. Hebrew is an example of a religious language that is read more than it is spoken. In my experience, many young Jewish people learn Hebrew only well enough to read it (often shakily) for their bar mitzvah ceremony. In Eastern Europe churches, Slavic Orthodox worshippers use the Church Slavonic language, but they dont speak it outside church. Language acquisition expert Tom Brewster told me that conservative Protestant Christians are able to understand the 1611 King James Bible only because theyve become partially bilingual in Elizabethan English. Im told that citizens of Greece can understand the first century Greek Bible about as well. Just as Muslims pray in Arabic without necessarily speaking it, for centuries Roman Catholics prayed in Latin. At first the language of the church service was simply a formal version of the Vulgar Latin (sermo vulgaris, folk speech) spoken in Europe. But over the centuries, as Vulgar Latin evolved into languages such as Spanish, Italian, French, Portuguese, Romanian, Catalan and Romansh, Catholic worshippers understood less and less of what the priest was saying. In the 1960s the Vatican began to allow the Mass to be said in local languages. Writing coaches often urge their students, Write the way you talk, and thats good advice. Your writing can be friendly and conversational, just as your speaking is. Aim to be understood, not to impress, in both your writing and speaking. But understand that written English and spoken English are two slightly different languages. When you write them down, your words can become even more expressive and precise than if you spoke them. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Writing Basics category, check our popular posts, or choose a related post below:15 Terms for Those Who Tell the Future"Certified" and "Certificated"List of 50 Compliments and Nice Things to Say!

Effectiveness of Patient Navigation Program For Underserved Patients Research Paper - 1

Effectiveness of Patient Navigation Program For Underserved Patients in Improving Diagnostic Resolution after Abnormal Cancer screening - Research Paper Example Most of the time, the underserved members of the community suffer from these abnormal tests. Failure to improve the situation could result into more people succumbing to the disease, which is curable and manageable at the earlier stages of its development. Through patient navigation programs, the underserved in community expect to receive medical care and diagnosis that provides them with solutions to the problem. The presentation of research material here deals with the challenge presenting the necessary literature on the challenge. The study presents the different challenges that the community faces in the wake of abnormal cancer screening in patients. The developing abnormal cancer screening in the underserved patients requires follow up in the patient navigation program. The different patient navigation programs developed aimed at dealing with patient challenges in relation to handling challenges such as cancer screening with quest to handle cancer in general as a problem. The challenge that the patient navigation program faces is the development of a cancer-screening program that ensures through management of the problem. The whole process seems to provide an ineffective answer to the diagnostic challenges that management of cancer faces. The problem provokes the need to improve the cancer diagnostic resolution to present viable results. The study presents a number of significance levels to different people in ranging from the writer, the future research developers on the same subject, the community and the government. The study is significant in the presentation of information that could guide medical workers in dealing with the problem and improving the cancer screening process. This significance plays to the researcher and the medical workers. The study is significant to the community in providing them with the necessary

What should be the future of 'diversity-management' Essay

What should be the future of 'diversity-management' - Essay Example The importance of diversity management is an integrative part of modern management. Global tendencies in the world lead to overall balancing of various people. Successful cooperation of people with diverse cultural and religious background, from different societies should be mediated by managers. Unfortunately, there is an efficient gap between theoretical and practical approaches to diverse management. Propagation of human freedom and equality of human rights and processes of democratization is not always followed by managers. There is a lack of professional knowledge about diverse management. Therefore it is relevant to develop theoretical and practical bases of diverse management in the future. â€Å"Culture is the totality of values, beliefs, and behaviors common to a large group of people. A culture may include shared language and folklore, communication styles, and ideas and thinking patterns—the â€Å"truths† accepted by members of the group. Members of a cultur e have similar expectations of life† (Cross, p. 48). People are different and they tend to interpret any behavior through the prism of their own values. Literature review Currently, the influence of diverse management on relations inside the organizations is vividly discussed. Thus, in the article by Dameron and Joffre â€Å"The good and the bad: the impact of diversity management on co-operative relationships† (2007) practical aspect of diversity management is discussed. There is given a dualistic approach to the discussion about cultural diversity at the workplace. There are two kinds of co-operation: â€Å"community based co-operation†, caused by human necessity to belong, and â€Å"complementary co-operation† (Dameron and Joffre, 2007). Strategic development of human resources is created in terms of diverse management. The authors of the articles claim that individual’s development happens in terms of diverse management. It is important to discu ss the influence of diverse management on the development of an individual employee and then on the human resources of the company. Thus, diverse management is a perfect background for interaction of employees in the business world among them and with their employers (Burke and Cooper, 2005). A separation of diversity management from the issue of diversity in the world is a modern tendency. What is the reason for this separation and what is the perspective of further development of this field? Every organization pays a great attention to the development of diversity management and it can be said that every organization follows national tendencies of culture development. In case of future development of diversity management, organizations and companies will benefit from cooperation with foreign partners in the international arena. Currently, there is even a greater progress in the field of diversity management. Diversity management is a motive force of modern businesses. In case an o rganization is successful, it operates in the international arena. Moreover, it is a common tendency in many organizations to hire employees and managers from different nations. From the article considered above, cultural diversity is titled as â€Å"a zone of uncertainty from which one can profit† (Dameron and Joffre). This concept was borrowed from Crozier and Friedberg (1977). These authors considered cultural diversity to be a ‘goal-oriented collective action’ (Crozier and Friedberg, 1977). Thus, Crozier and Friedberg (1977) considered cultural diversity in relation to a certain organization, but currently this concept is considered from a broader perspective. Other authors who discuss diversity management, are Ronald J. Burke and Cary L. Cooper in the book â€Å"Reinventing Human Resources Management: Challenges and New Directions† (2005). These authors underline the importance of a shift of consideration about diversity management from an organizatio nal context to a more global context. Dameron and Joffre underline that diverse management

Effects Of Domestic Fiction

Effects Of Domestic Fiction Domestic fiction as a genre was predominantly written for girls and young women by women writers, and the genre grew exceedingly popular and flourished in the nineteenth century, especially during the mid to late nineteenth century. Domestic fiction, often referred to as sentimental fiction (due to its sentimental plotlines and characters) or simply womens fiction, became the dominant genre for girls in both Britain and America and the majority of domestic writing upheld and supported the restrictions of the female role. Many novels of domestic fiction have thus been criticised for not attempting to challenge these limitations and empower young women to live a fuller and more rewarding life, rather than simply reinforcing the idea that women must exist solely within the domestic sphere. This dissertation will discuss three different texts of the domestic fiction genre Elizabeth Wetherells The Wide, Wide World (1852), Charlotte Mary Yonges The Clever Woman of the Family (1865) and Lo uisa May Alcotts classic tale Little Women (1868) and will examine whether literature aimed at girls and young women in the nineteenth century began to empower women and present them with the idea of a life away from the restrictions of the domestic sphere, or whether the genre of domestic fiction simply enforced the rules and restrictions of the female role. Introduction During the nineteenth century, the influences upon the lives of children and young adults were very few and far between. Whereas children of the twenty-first century are still undeniably influenced by literature, these children live in the age of television, extensive advertising, communication, the internet and modern technology, and have an eclectic range of influences at their disposal rather than just literature, one of the main and major influences for children during the nineteenth century was the literature that was written specifically for them. Literacy, and literature itself increased considerably during the reign of Queen Victoria, and this can be attributed to a number of factors one of the most important factors being the expansion of popular education. Children and the idea of childhood had begun to be viewed and treated as a state which was entirely set aside from adulthood, and the child was considered to be far more innocent, and possess a far more malleable mind th an the adult. As John Back observes in his study Towards a Sociology of Education: Everything to do with children and family life had become a matter of worthy attention. Not only the childs future, but his presence and very existence was of concern: the child had taken a central place in the family.  [1]   The Victorians of the nineteenth century created an increasingly sentimental view of childhood which would grow to become widely accepted. Queen Victoria herself and Prince Albert set an example for a prim and proper family in which the children were greatly loved and tenderly cared for. Additionally, Victorian parents were advised to be firm with their children, but to deal with them with a larger degree of tenderness than in the past, and adults increasingly saw childhood as a period in which the child needed to be protected from the complicated adult world and its concerns. As a result of this changing view, education for children became paramount, and increasing concern was placed upon ensuring that children were appropriately taught. As Judith Rowbotham writes in Good Girls Make Good Wives: Guidance for Girls in Victorian Fiction; The child was the father of the man, and it was important to adults to ensure that children, who represented the next generation, should be properly taught. The question that occupied many minds however, was of what did a proper education consist?  [2]   Boys were given penny dreadfuls; inexpensive novels which often featured violent adventure or crime and were issued in monthly instalments. However, a well-educated female at this time was assumed to have been fruitfully instructed in the importance of her domestic and social duties and responsibilities, as well as in academic subjects. As a result of this assumption, girls were presented with the domestic novel. Young women and girls were deemed to be more suited to life within the domestic sphere, and the aim of domestic fiction and girls stories was to justify the boundaries of the female position within society and to convince the female, especially the impressionable young woman, of the necessity to conform to the roles of the domestic sphere. Didactic writing of this kind was certainly not a contemporary phenomenon educational and instructive books for young minds were also featured heavily in the eighteenth century. These however, were intended for an upper-class market and w ere published in the form of essays rather than as books. The contribution that girls made in their home was very significant, however it should be noted that that their lives were not always solely made up of domestic duties and responsibilities it was quite common for girls to be as well educated as boys, and to be accomplished and taught in skills and talents such as art and music. Still more genteel than what their brothers were taught, yet there was life away from the duties of the home. Public schools were available to the lower and middle classes, although they were not yet made mandatory, and girls were educated most often from the age of six until they reached fourteen or fifteen. However despite this, women were still discouraged from pursuing an education, as this would interfere with their duties within the home. The July 1848 edition of the publication The Mothers Magazine featured an article entitled Female Education, which encouraged mothers to restrict the time that their daughters were in education, claiming that their accomplishments would be rendered unnecessary after they married. The article states that young women should remain focused on their duties within the home: [à ¢Ã¢â€š ¬Ã‚ ¦] let her seek a thorough practical understanding of those principles of which she may as a wife, mother and housekeeper, be called to make daily use. We are advocates for a thorough scientific education; but at the same time, for an education for the ordinary [à ¢Ã¢â€š ¬Ã‚ ¦] duties which females, as wives, daughters and mothers, will be called upon to perform. The piano, and the brush, should never take the place of the needle.  [3]   Domestic fiction at this time was renowned for sentimental and predictable plotlines, exceedingly dramatic scenes and weak, weepy female characters, and this characteristic earned the genre its description as the language of tears. This was a time when the biggest ambition of young girls was to be married and to marry well for a woman to remain single was considered not only to be a misfortune, but a travesty and yet many of the authors who wrote these books were themselves single women. These books were on of the very few ways that young girls could imagine a life other than their own and therefore must have a lasting and effective impact on how they viewed themselves, both in regards to society and personally. Furthermore, the writers of domestic fiction were generally exclusively women, and for a woman to be a writer was at this point a new notion, and additionally, if their works were considered unseemly or inappropriate material for young girls, no one would purchase them. Due to the fact that for these female authors writing was their only source of income, the sale and popularity of their creations was paramount. As a result, it was extremely rare that domestic fiction for girls in the nineteenth century would feature a character who would step outside of societys restrictions upon young women, and who pushed the boundaries of appropriate female behaviour. For this, the genre has experienced many forms of criticism. The early forms of domestic fiction, conceived by authors such as Maria Edgeworth and Mrs. Sherwood, achieved popularity and social status and these stories whilst being improving, were also considered to be entertaining. Alison Adburgham has commented that: the novels were handbooks to the language of the beau monde, to the etiquette of chaperonage, to permissible and impermissible flirtations, to extra-marital affairs, to all modish attitudes and affections.  [4]   The literature was instructive and the characters unrealistic and wooden domestic fiction was treated as the perfect device to teach young girls how they should behave and present themselves. However, writers such as Charlotte Mary Yonge and Louisa May Alcott nonetheless managed to write characters who did venture beyond the boundaries of assumed stereotypes in understated and subtle ways, and unlike authors such as Elizabeth Wetherell, these writers managed to present an alternative life for girls through their characters, and succeeded in upholding societys limitations upon girls in the process. Instead of doing nothing to challenge these stereotypes and being criticised for this issue, these writers somehow were able to empower their female audience to move beyond the restrictions of their domestic sphere and live a far more stimulating life, or in other cases if their female characters did eventually conform to the institution of marriage and a domestic orientated way of life, t hey would still manage to maintain the qualities which some readers may have deemed undesirable and inappropriate. Moreover, with the publication of Little Women in 1863, Alcott challenged and succeeded in changing what it was to be a young girl in the Victorian age, and for decades to come. Due to the vast popularity of the domestic fiction genre in the nineteenth century, it is certainly indisputable that the genre had great effect on its readers, whether it was the impressionable and innocent little girls which read them or the mothers who read them to their children. But an underlying question of this particular genre is whether the effect was constructive in terms of the development of womens rights and their prospects in life and the growth of their position within the social structure, or whether these novels merely upheld and supported the outdated and strict boundaries set upon women of the nineteenth century and earlier, and supported the stereotypes placed upon them without attempting to make changes to this. I will attempt to answer this question in the chapters that follow. Chapter 1: The embodiment of the feminine ideal: Elizabeth Wetherell, The Wide, Wide World (1850 published in Britain in 1852) The girl of the mid-nineteenth-century spent the majority of her time in the company of other women and middle-class girls in particular spent their time with their mothers, their sisters and female servants or nannies who may have lived with them in their houses. Their experience was majorly influenced and centred around a feminine community, in which domesticity and the domestic role which they would pursue in their futures was central to their lives. As the term implies, domestic literature presented the home and the family as the best context and environment for the character building and moral reformation. Drawing heavily on the Sunday school movement, the genre embodied children with the idea that they were able to transform and save others around them through charity, prayer and devotion. Domestic fiction generally tended to conform to one basic plot line, which featured the story of a young woman (possibly newly orphaned, or separated from her parents) deprived of support she had previously depended on and is thus faced with the task of making her own way in the strange and unfamiliar outside world. Her ego at the outset of the novel is often damaged or is simply non-existent, and she believes that her guardians will always be there to protect and coddle her; however she learns painfully that this is not the case as she becomes acquainted with the real world. This is a world in which she is extremely vulnerable certainly not immune to loss, pain or hardship as she may have previously been, and she is surrounded by people who are far less virtuous than her. The failure of the world to exceed her expectations awakens the young girl to her own possibilities, and what she herself is capable of due to her overwhelming good nature and spirituality. By the climax of the novel, the young woman would usually come to realize and believe in her own worth and most importantly, will come to realize an extremely significant Christian value that everything in life, e ven if it is bad, is caused by God and will eventually lead to something good. Commenting on domestic fiction, Nina Baym describes the genre of the domestic novel in Womens Fiction as the story of a young girl who is deprived of the supports she had rightly or wrongly depended on to sustain her throughout her life and is faced with the necessity of winning her own way in the world.  [5]  Written by Susan Warner and published under the pseudonym Elizabeth Wetherell, The Wide, Wide World is argued to be the novel which first established the genre of childrens domestic fiction, and one which certainly embodies these characteristics of the domestic novel. The Wide, Wide World is one of the earliest and best examples of what would grow to become the most popular genre of nineteenth century fiction the domestic (or sentimental) novel and furthermore, it is considered to be Americas first best-seller novel. Warner was an American evangelical writer of religious and childrens fiction and, of course, domestic fiction. However, as novels were considered by some to be sinful  [6]  and damaging to moral education, Warner described her novels as stories. Sales of the story were unprecedented during the time of its publication as in almost a year, The Wide, Wide World sold over 40,000 copies and this number would rise to 225,000 at the end of the 1850s. Her works were among some of the most popular of domestic fiction written in the nineteenth century, and many featured storylines in which both moral and religious messages were woven. Warners novel featured an accurate portrayal of what life was like during the Victorian era in America and this is one reason for its great popularity. Although the novel is written and set in America, the characters of the story are well-born English and Scottish, and they act according to their stock and upbringing, and a period at the end of the novel takes place in Scotland itself. As a result, despite this being an American text, The Wide, Wide World was wholly relevant and applicable to English readers. Mid-nineteenth century readers of the novel recognised and appreciated its relevance to their own lives and women saw themselves and their situations mirrored in the situation of the protagonist Ellen Montgomery, and the people she meets throughout the story. Although this book was written by a woman for women, it was not particularly aimed at children. What sets it aside as a childrens text and more importantly a girls text is the fact that the protagonist is a young woman. Published in 1850, the novel went through fourteen editions in just two years, and the novel was eventually published in Britain in 1852. It maintained its vast popularity throughout the nineteenth century; however it waned in popularity during the early part of the twentieth century, especially around the 1920s at a time when non-domestic childrens literature began to flourish. In What Katy Read: Feminist Re-readings of Classic Stories for Girls by scholars of nineteenth century girls fiction Shirley Foster and Judy Simons it is stated that Warners text served as a bridge between the pious Sunday school stories of the 1830s and the child-centred adventures of the latter half of the century and furthermore the novel featured an unprotected heroine overcomes suffering and tribulations to achieve spiritual perfection and moral maturity,  [7]  and this would become the archetypal plot which dominated the domestic fiction genre. As mentioned in the introduction, domestic fiction in some cases had become known as the language of tears, and Warners novel certainly conforms to this description, as we can see at many points throughout the text. The novel begins with the disruption of Ellens happy life, as her mother is dying and her father has lost his fortune and upon doctors recommendations, her parents travel to Europe, and it is unknown how long they will be absent. Ellen leads a fulfilling and pampered lifestyle in New York, and as a result of her parents departure, she must leave her home in order to live with her Aunt Fortune, her fathers sister (who seems to share his temperament) in the countryside. Ellen attempts to be brave for the sake of her mother; however she finds little comfort and is clearly devastated at her departure and Ellen, crying, flings her arms around her mother, and hiding her face in her lap gave way to a violent burst of grief that seemed for a few moments as if it would rend soul a nd body in twain.  [8]  As well as being a prime example of the domestic novel, The Wide, Wide World is considered to be a piece of sentimentalist literature, and the novel unquestionably portrays how sentimental Warners style is. The action of the story is introverted within Ellen, and we can see that she is a weepy character at many points throughout the novel. For example; Dressing was sad work to Ellen today; it went on very heavily. Tears dropped into the water as she stooped her heard to the basin,  [9]  is an extract from a four page stretch of the novel, and within these pages Ellen is portrayed to be crying on five separate occasions. On average, Ellen sheds her tears almost once every two pages, and it is clear that her readers are expected to cry with her, and many probably did. The Wide, Wide World is described as the quintessential domestic novel, and many feminist critics have focused on analyzing the novels portrayal of gender dynamics. Warners characters conformed to the stereotypes of ideal young women. Ellen Montgomery, the heroine of the novel, is the epitome of what society desired a young woman to be in the nineteenth century; her behaviour is always modest, indicative of unselfish submission to those in due authority over her, such as her parents. Elizabeth Wetherell was an early provider of the stereotype of a good girl on the most ideal lines.  [10]  Her conduct is perfectly ladylike and throughout the novel she pursues self improvement, and although she is descended from luxury and money, she discovers how to become domestic and to care for both the household and herself, and also commenting on this issue, Rowbotham goes on to claim; The message of didactic fiction throughout the nineteenth century was that feminine influence was more essential to the daily moral health and strength of the family unit and of the nation than that of a man. It was a womans first duty in life therefore, to become as professional in her sphere as a man in his; to cultivate her feminine talents in the emotional realm so as to maximise their usefulness within the domestic orbit  [11]   In addition to this, it was believed that self-sacrifice as opposed to self-sufficiency was what marked women as professionals, and Ellen certainly conforms to this belief and it is clear that she sacrifices her own desires for the benefit of those around her. We observe Ellens thoroughly good and self-sacrificing nature at many points in the novel, particularly when her Aunt Fortune becomes ill. Although her Aunt has treated Ellen badly since she arrived in her care, Ellen must cast this fact aside and take over as head of the household, as it was essential for an ideal nineteenth century girl to become adaptable and to keep her composure in difficult situations. Throughout the novel, Ellen experiences and learns self-sacrifice and unassuming nature and learns to do without the luxuries she has been used to, and it could be suggested that Ellen is the perfect embodiment of the Victorian feminine ideal, often referred to as The Angel in the House. The image of ideal womanhood, as def ined by Barbara Welter in her well-known article The Cult of True Womanhood features feminine virtues such as: Piety, purity, submissiveness and domesticity. Put them together and they spelled mother, daughter, sister, wife woman. Without them, not matter whether there was fame, achievement or wealth, was ashes. With them she was promised happiness and power.  [12]   Women were desired and largely required to embody these characteristics and to become the domestic ideal, and this Victorian image of the ideal wife and the ideal woman came to be known as The Angel in the House. The angel was powerless, passive and devoted to her husband, and completely pure. The expression Angel in the House originates from the title of the extremely popular poem by Coventry Patmore of the same name, in which he presents his wife Emily- the angel of the title as a model for all womankind, under the impression that his wife Emily was the absolute ideal Victorian wife. Warners novel is a text which features women, most notably Ellens mother and Alice Humphreys who conform to the ideals of The Angel in the House and it is from these women that Ellen learned to become the perfect and exemplary middle-class Victorian girl. As Signe O. Wegener observes in James Fenimore Cooper Versus The Cult Of Domesticity, Whereas [authors such as] Child and Sedgewick marginalize the mother, Warner allows her more prominence and influence, constantly emphasizing the almost symbolic attachment between mother and daughter. Mrs. Montgomery, although an invealid, is the most important person in the heroine Ellens life, carefully shaping her daughter into an angel in the house and a mirror of her pious and self-sacrificing self. As befits a mother from the hey-day of the cult of domesticity, she has the proper priorities.  [13]   Ellens mother is submissive to her husband, yet is conflicted as she does not want her daughter to be sent away and certainly does not want to go to Europe. However, since both her doctor and her husband (who are both dominant males) demand that she do, she must obey them and the narrator observes, Captain Montgomery added the weight of authority, insisting on her compliance. And of course, the submissive angel in the house, Mrs. Montgomery is required to succumb to the separation. Mrs. Montgomery has absolutely no power in her husbands household yet she never voices her complaints, even when she is to be separated from Ellen whom she loves and adores Ellen learns and demonstrates much throughout the novel from her guidance and it is evident that this is what her mother desires, and we are presented with this fact upon her mothers departure when Ellen is presented with a bible and workbox, essential items for the ideal Victorian girl. The reason for these gifts, her mother explains, is that these will provide everything necessary for keeping up good habits, and that this will help Mrs. Montgomery to rest assured that Ellen will: be always neat, and tidy, and industrious, depending upon others as little as possible; and careful to improve yourself by every means [à ¢Ã¢â€š ¬Ã‚ ¦] I will leave you no excuse, Ellen, for failing in any of these duties. I trust you will not disappoint me in a single particular.  [14]   Furthermore, under her the guidance of her mother (albeit, her invalid mother) Ellen learns to become the the angel in the house, and one instance in which we can see this is the point at which Ellen experiments in poking the fire in her home. As Mrs. Montgomery is unfit for housework, Ellen learns to recognize the unspoken agreement in which the household duties are transferred onto her: The room was dark and cheerless; and Ellen felt stiff and chilly. However, she made her way to the fire, and having found the poker, she applied it gently to the Liverpool coal with such good effort that a bright ruddy blaze sprang up, and lighted the whole room. Ellen smiled at the result of her experiment. That is something like, she said to herself; who says I cant poke the fire? Now, let us see if I cant do something else.  [15]   Ellen is often unsure of her abilities within the domestic sphere, and this experiment with the poker gives her some idea of what she could be able to perform, and what outcomes they could provide for the house and for others around her and this is clear as she continues experimenting within the room. This suggests, quite literally, that her labours could light up and bring warmth to a cold, dark and cheerless home. She could become the angel in the house or the light of the home and through her domestic labour, as we can see, Ellen herself becomes happier and far more contented. Furthermore, it would appear that her mothers instruction and influence was not in vain and Ellen has seemingly fulfilled her mothers wishes, as we can see by friends describing Ellen as: [à ¢Ã¢â€š ¬Ã‚ ¦] a most extraordinary child! said Mrs. Gillespie. She is a good child, said Mrs. Chauncey. Yes mamma, I dont think she could help being polite. It is not that, [à ¢Ã¢â€š ¬Ã‚ ¦] mere sweetness and politeness would never give so much elegance of manner. As far as I have seen, Ellen Montgomery is a perfectly well-behaved child. That she is said Mrs. Chauncey; but neither would any cultivation or example be sufficient for it without Ellens through good principle and great sweetness of temper.  [16]   The embodiment of the angel in the house seems to be a dominant theme throughout Warners text, however one of the women in the forefront of Ellens life who should essentially serve as a kind of substitute of Ellens mother, is the exact opposite of this feminine ideal. Ellen, despite all that her mother has left her with to make an ideal life for herself in her absence, finds little solace with her fathers sister, Fortune Emerson. Described in What Katy Read as: In terms of the paradigmatic fairy-tale structure of the novel, she is the wicked stepmother. Apparently incapable of affection and bearing deep grudges, she tyrannises over Ellen: she cheats her of her mothers letters, she refuses to make it possible for her to attend the local school, and in order to vindicate herself in the eyes of Mr. Van Brunt, her farm manager, she makes her niece confess to faults of which she is not guilty. [à ¢Ã¢â€š ¬Ã‚ ¦] In gender terms, indeed, she seems not only more male than female, but embodies a domineering and aggressive masculinity.  [17]   Ellens Aunt Fortune turns out to be the complete opposite of her mother. Unkind and callous, she shows Ellen no affection whatsoever, and in a letter to her mother, it is clear just how uneasy Aunt Fortune makes her, even in aspects beyond her control such as her appearance and manner: I wish there was somebody here that I could love, but there is not. You will want to know what sort of person my aunt Fortune is. I think she is very good looking, or she would be if her nose were not quite so sharp: but, mamma, I cant tell you what sort of feeling I have about her: it seems to me as if she was sharp all over. Im sure her eyes are as sharp as two needles. And she doesnt walk like other people; at least sometimes. She makes queer little jerks and starts and jumps, and flies about like I dont know what.  [18]   In her new life with her aunt who is neither a lady nor a Christian and who certainly does not behave in a familial manner towards Ellen, Ellen is clearly superior. Furthermore, Aunt Fortune blatantly denies Ellen the further education that her mother desired. Only when Ellen meets Alice Humphrey, a refined Christian woman (who is certainly reminiscent of her mother) does she find consolation in such an unforgiving and seemingly hopeless place. Alice is a pious and idealistic woman and as the daughter of a minister, she is a faithful churchgoer unlike anyone else in the area. Alice essentially takes Ellen under her wing and with this new found companionship, and Ellen receives the schooling and moral instruction that her Aunt Fortune has denied her. Alice and her bother John, who is often away studying at school, save Ellen from the unkind and impious atmosphere her aunt has created and this act of rescue by Alice supports the idea and instruction that girls should not affirm their own desires, but wait for a fellow Christian to act as a saviour and to intervene and of course in this kind of domestic novel, this was always the case. As well as supporting the ideal of the angel in the house and creating characters that appear to embody all of the characteristics of the Victorian feminine ideal, The Wide, Wide World also promotes the Christian idea that the good and virtuous die young, but despite an early demise their deaths are seen as being religiously meaningful however untimely. As a result of these deaths, other characters are able to recognize the failure in their own morals. Although Aunt Fortune is gravely ill, Warner does not allow her a meaningful death as she is not religious or devout enough to be worthy of it. However Alice Humphreys enters Ellens life as an ideal role model and certainly the embodiment of the feminine ideal, and her thoroughly good and pure nature essentially means that she is not for this world: She is able to mount a rescue mission and take over Mrs. Montgomerys duties. However, Alice Humphreys is such a perfect Angel in the House that it is not surprising that Death had already marked her for his own. Before she dies, Ellen learns from her how best to combine education, accomplishments and domesticity, taking over Alices place as daughter and provider of comfort in the Humphrey household.  [19]   Both

Essay --

Slaughter house 5 by Kurt Vonnegut is the story of Billy Pilgrim a soldier in WWII that time travels. At the beginning of the story In Slaughterhouse 5 the frequent use of time travel is Billy Pilgrim’s way of coping with the regrets, and reliving the accomplishments of his life Billy has many regrets in the story but there are 3 regrets that really trouble him a lot. The first is the death of Ronald Weary. Billy is in a huge battle and falls next to a tree where Weary helps him only to receive credit for the rescue. When Weary arrives the Germans spot them and they become prisoners of war they are put on a train and sent to a prison. While Weary is on the train he develops a deadly disease in his foot which consequently kills him. â€Å"There was death on the ninth day in the car ahead of Billy’s too. Ronald weary died of gangrene that had started in his mangles feet. So it goes. Weary in his nearly continuous delirium told of the three musketeers acknowledged that he was dying, gave many messages to be delivered to his family in Pittsburg. Above all, he wanted to be avenged, so he said again and again the name of the person who had killed him. Everyone on the car learned the lesson well. Who killed me he would ask. And everybody knew the answer whi ch was this Billy Pilgrim.† The next thing Billy regrets is going on an airplane that is headed to an optometry convention. He knows it is going to crash because of his ability to time travel yet, he still gets on the plane so he doesn’t make a fool out of himself. He survives the plane crash and wakes up in the hospital. â€Å"Billy pilgrim got on a chartered airplane 25 years after that. He knew it was going to crash but he didn’t want to make a fool of himself by saying so.† After the plane ... ... Traflamadorian philosophy he realizes that time travel to cope with his feelings is not a viable solution. The traflamadorians taught him that there is nothing he can to prevent change or alter the future in anyway because from the beginning the moment was is and always will be struvtured that way. Before he went to traflamadore Billy was time travaling quite frequently to try and cope with regrets and relive accomplishments to see if he could have done anything differently in any of the situations he found himself in. Billy seemed to kill himself over what he could and could not have done. After the experience on traflamadore Billy didn’t time travel as much and he seemed to be at peace with the world and his fate. So it is evident that the frequent use of time travel is Billy Pilgrim’s way of coping with the regrets, and reliving the accomplishments of his life.