Category: Writing

Does all human suffering call imperatively for a cure?
A life entirely free of suffering would be pleasanter, but would it still be human?
Is our vulnerability essential to our human identities and our human dignity?
Do you think that Frida Kahlo’s suffering affected her art? If so, in what way(s)?
How do you feel about Frida Kahlo’s style of art?
Select one painting from the “Masterpieces of Frida Kahlo” tab on fridakahlo.org and discuss how Kahlo gives visual form to her personal feelings in the image you select.

Using the short story, Lacrimosa by Silvia Moreno-Garcia, and the character Ramon, what are 3 types of figurative language used in the story, and 3 quotes from the story, and what does this reveal about the character/theme?

A teacher in a second-grade classroom often plays the following word game with her students. The teacher says a multisyllabic word. The children count the syllables in the word and write the number of syllables on their individual whiteboards. The first child who answers correctly says the word while clapping for each syllable. Then, this child says a new multisyllabic word. This pattern continues as time allows. According to convergent research, oral syllabication activities such as this multisyllabic word game are important because- Group of answer choices discriminating individual syllables in words helps facilitate students’ ability to identify increasingly smaller sounds in words and supports later abilities to read and write multisyllabic words. reading syllables within words helps facilitate students’ understanding of words and accelerates learning how to read and write multisyllabic words. segmenting one-syllable words facilitates students’ learning how to read and write multisyllabic words. practicing articulation of syllables in words helps facilitate students’ learning how to read and write multisyllabic words.

Which of the following is NOT considered appropriate e-mail etiquette?
Part 1
A. Avoiding text abbreviations such as LOL, u, and r
B. Always using Reply to All when responding to e-mail that is sent to multiple people.
C. Including a meaningful subject in the subject line
D. Adding a signature line that includes your contact information

Take a look at this image from Jonathan Price’s adaptation of Hamlet. An actor portraying Hamlet. Take a look at this image from Sir Lawrence Olivier’s adaptation of Hamlet. An actor portraying Hamlet. How do the actors’ portrayals affect their adaptations of Hamlet? Both actors appear to be calm and logical, emphasizing the idea that Hamlet has not fallen into madness. Both actors appear to be angry and tormented, emphasizing the idea that Hamlet has fallen into madness. The actors are not wearing similar clothes, indicating that it is necessary to change wardrobes for each separate production. The actors are not expressing the same emotions, indicating that it is difficult for actors to agree about how to interpret Hamlet.

Which best describes the conflict presented in the excerpt from the story? “He lay down to sleep that night beset by doubts. If he told the Belphins about the conspiracy, he would be betraying Corisande. As a matter of fact, he now remembered, he had already told them about the conspiracy and they hadn’t believed him. But supposing he could convince them, how could he give Corisande up to them? True, it was the right thing to do—but, for the first time in his life, he could not bring himself to do what he knew to be right.” Group of answer choices:
Character vs. Self
Character vs. Nature
Character vs. Character
Character vs. Supernatural

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Right to Fail Pgs. 166-168 DIRECTIONS: Read the article and fill in the chart below Characteristics and
Structural Elements of an Argument Audience The Hook The Claim Concessions and Refutations
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1.23 My Notes About the Author William Zinsser (1922-2015), American critic and writer, was born in New York and educated at Princeton. He wrote articles for many leading magazines and newspapers and authored 19 books. In perhaps his most famous book, On Writing Well, he preached brevity and writing concisely. He was known for his positive attitude and once deadpanned that he was “cursed with optimism.” Essay The Right to Fail by William Zinsser
I like “dropout” as an addition to the American language because it’s brief and it’s clear. What I don’t like is that we use it almost entirely as a dirty word.
We only apply it to people under twenty-one. Yet an adult who spends his days and nights watching mindless TV programs is more of a dropout than an eighteen-year-old who quits college, with its frequently mindless courses, to become, say, a VISTA volunteer. For the young, dropping out is often a way of dropping in.
To hold this opinion, however, is little short of treason in America. A boy or girl who leaves college is branded a failure-and the right to fail is one of the few freedoms that this country does not grant its citizens. The American dream is a dream of “getting ahead,” painted in strokes of gold wherever we look. Our advertisements and TV commercials are a hymn to material success, our magazine articles a toast to people who made it to the top. Smoke the right cigarette or drive the right car-so the ads imply-and girls will be swooning into your deodorized arms or caressing your expensive lapels. Happiness goes to the man who has the sweet smell of achievement. He is our national idol, and everybody else is our national fink.
I want to put in a word for the fink, especially the teen-age fink, because if we give him time to get through his finkdom-if we release him from the pressure of attaining certain goals by a certain age-he has a good chance of becoming our national idol, a Jefferson or a Thoreau, a Buckminster Fuller or an Adlai Stevenson, a man with a mind of his own. We need mavericks and dissenters and dreamers far more than we need junior vice presidents, but we paralyze them by insisting that every step be a step up to the next rung of the ladder. Yet in the fluid years of youth, the only way for boys and girls to find their proper road is often to take a hundred side trips, poking out in different directions, faltering, drawing back, and starting again.
“But what if we fail?” they ask, whispering the dreadful word across the Generation Gap to their parents, who are back home at the Establishment nursing their “middle-class values” and cultivating their “goal oriented society?” The parents whisper back: “Don’t!”
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What they should say is “Don’t be afraid to fail!” Failure isn’t fatal. Countless people have had a bout with it and come out stronger as a result. Many have even come out famous. History is strewn with eminent dropouts, ‘loners” who followed their own trail, not worrying about its odd twists and turns because they had faith in their own sense of direction. To read their biographies is always exhilarating, not only because they beat the system, but because their system was better than the one that they beat. Luckily, such rebels still turn up often enough to prove that individualism, though badly threatened, is not extinct. Much has been written, for instance, about the fitful scholastic career of Thomas P. F. Hoving, New York’s former Parks Commissioner and now director of the Metropolitan Museum of Art. Hoving was a dropout’s dropout, entering and leaving schools as if they were motels, often at the request of the management. Still, he must have learned something during those unorthodox years, for he dropped in again at the top of his profession.
His case reminds me of another boyhood-that of Holden Caulfield in J. D. Salinger’s The Catcher in the Rye, the most popular literary hero of the postwar period. There is nothing accidental about the grip that this dropout continues to hold on the affections of an entire American generation. Nobody else, real or invented, has made such an engaging shambles of our “goal-oriented society,” so gratified our secret belief that the “phonies” are in power and the good guys up the creek. Whether Holden has also reached the top of his chosen field today is one of those speculations that delight fanciers of good fiction. I speculate that he has. Holden Caulfield, incidentally, is now thirty-six.
I’m not urging everyone to go out and fail just for the sheer therapy of it, or to quit college just to coddle some vague discontent. Obviously it’s better to succeed than to flop, and in general a long education is more helpful than a short one. (Thanks to my own education, for example, I can tell George Eliot from T. S. Eliot, I can handle the pluperfect tense in French, and I know that Caesar beat the Helvetii because he had enough frumentum.) I only mean that failure isn’t bad in itself, or success automatically good.
Fred Zinnemann, who has directed some of Hollywood’s most honored movies, was asked by a reporter, when A Man for All Seasons won every prize, about his previous film, Behold a Pale Horse, which was a box-office disaster. “I don’t feel any obligation to be successful,” Zinneman replied. “Success can be dangerous-you feel you know it all. I’ve learned a great deal from my failures.” A similar point was made by Richard Brooks about his ambitious money loser, Lord Jim. Recalling the three years of his life that went into it, talking almost with elation about the troubles that befell his unit in Cambodia, Brooks told me that he learned more about his craft from this considerable failure than from his many earlier hits.
It’s a point, of course, that applies throughout the arts. Writers, playwrights, painters and composers work in the expectation of periodic defeat, but they wouldn’t keep going back into the arena if they thought it was eminent: successful and the end of the world. It isn’t the end of the world. For an artist-and perhaps for anybody-it is the only way to grow.
Unit 1 . The American Dream
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Today’s younger generation seems to know that this is true, seems willing to take the risks in life that artists take in art. “Society,” needless to say, still has the upper hand-it sets the goals and condemns as a failure everybody who won’t play. But the dropouts and the hippies are not as afraid of failure as their parents and grandparents. This could mean, as their elders might say, that they are just plumb lazy, secure in the comforts of an affluent state. It could also mean, however, that they just don’t buy the old standards of success and are rapidly writing new ones.
Recently it was announced, for instance, that more than two hundred thousand Americans have inquired about service in VISTA (the domestic Peace Corps) and that, according to a Gallup survey, “more than 3 million American college students would serve VISTA in some capacity if given the opportunity.” This is hardly the road to riches or to an executive suite. Yet I have met many of these young volunteers, and they are not pining for traditional success. On the contrary, they appear more fulfilled than the average vice-president with a swimming pool.
Who is to say, then, if there is any right path to the top, or even to say what the top consists of? Obviously the colleges don’t have more than a partial answer-otherwise the young would not be so disaffected with an education that they consider vapid. Obviously business does not have the answer-otherwise the young would not be so scornful of its call to be an organization man.
The fact is, nobody has the answer, and the dawning awareness of this fact seems to me one of the best things happening in America today. Success and failure are again becoming individual visions, as they were when the country was younger, not rigid categories. Maybe we are learning again to cherish this right of every person to succeed on his own terms and to fail as often as necessary along the way.
Making Observations . What words does the author use to indicate his feelings? What idea captured your attention in this text? vapid: dull or boring

Question 1
Match:
Antagonist
Chorus
Staging
Foreshadowing
Round Character
Drama
Tragedy
Climax
Exposition
Hubris
Aside
Protagonist
Stock Character
Conflict.
Monologuc
Dramatic irony
Denouement
Dynamic Character
Comedy
Acts
A character in opposition with the main character.
Brief comment spoken to the audience and assumed not to be heard by the other actors
Tragic flaw – overwhelming pride.
A group of actors in classical Greek drama who comment in unison in response to the hero.
The greatest tension or importance where the decisive action of a play takes place.
The themes and characters of a play are treated with humor and it usually has a happy ending.
A struggle between opposing forces which develops as the action does.
When the audience knows more about the situation than the character does.
A character that grows and changes in the course of the play.
Last scene of the play during which conflict is resolved, the main character “sees the light” and actors leave stage
Well developed character – closely involved in the action of the play.
The early presentation of situation, character, or objects that seem to be unimportant but in fact later have great significance
The main character in the play.
A play about a serious subject and involving persons of significance.
A stereotypical character who the audience can recognize instantly: a nerd or a jock.
Extended speeches by characters to help the audience better understand the play.
The major divisions in plays.
The beginning of the play, where the playwright presents the characters and setting.
The physical elements of a play.
Literature written to be performed
Question 2
Which common saying best sums up the play Beauty?
Group of answer choices
He is Barking Up the Wrong Tree.
They are a dime a dozen
The grass is always greener on the other side
She has a chip on her shoulder
Question 3
What literary term best describes the tone of “What Are You Going to Be?”:
Group of answer choices
Violent
Satirical
Sentimental
loving
Question 4
In “Post-its”, the male character admits that he regrets:
Group of answer choices
Asking his wife to buy milk
Not saving the post-its
Not being a good father
Separating for a while
Question 5
In the play, Trifles, the women allegedly solve the crime by finding the evidence:
Group of answer choices
A quilt
A canary
A bottle
A knitting needle
Question 6
In the play, “A Doll’s House”, Nora and Helmer get separated over:
Group of answer choices
Forgery
A loan
The children
Adultery
Question 7
In Fences, Troy does not want his son to play:
Group of answer choices
Baseball
Basketball
Football
Dodgeball
Question 8
In the play, A Doll House, ________ is blackmailing Nora.
Group of answer choices
Torvald
Mrs. Linde
Helmer
Krogstad
Question 9
Which two plays have the theme of sexism prevalent?
Group of answer choices
“A Doll’s” House” and “Trifles”
“The Appicant” and “A Doll’s” House”
“Trifles” and “Fences”
“Post-its” and “Fences”
Question 10
Which playwright can be considered a feminist?
Group of answer choices
Pinter
Roske
Pau
Glaspell
Question 11
Which play deals with when a the character will die?
Group of answer choices
“Beauty”
“The Applicant”
“Choices”
“What Are You Going to Be?”

A raisin in the sun
Ruth Younger Age: Character traits (at least 5 adjectives): What is Ruth’s dream? Evidence of dream (quotation) What’s the obstacle to achieving her dream? Evidence of obstacle (quotation):
Beneatha Younger Age: Character traits (at least 5 adjectives): What is Beneatha’s dream? Evidence of dream (quotation): What’s the obstacle to achieving her dream? Evidence of obstacle (quotation):

Which statement is true about the Online Learning Assessment? The Online Learning Assessment is required only for learners in hospitals that use RQI for NRP. The Online Learning Assessment is required only for learners in hospitals that use Instructor-led courses. The Online Learning Assessment replaces the NRP online exam for Lessons 1 through 4. The Online Learning Assessment evaluates the learner’s understanding of Lessons 5 through 11.