And Reflection In Kate Steinsheel's Death, By Kate Mildenhall

When we have strong love for others, we take risks, we go against our beliefs, we put ourselves in danger, and we let our loved ones go. Without love, there would be none of that. In this book, The Dead and the Gone, written by Susan Beth Pfeffer, a comet smashes the moon closer to earth and it creates all sorts of problems. Alex, a teenage boy with two sisters, starts a long journey of survival and risks. This story is so realistic, at times was hard to read. You start to ask yourself these tough questions, like what you would do in a specific situation. Through out the whole story, love is definitely a recurring theme. It shows you how well love can hold a family is distress together.

Kate is also very tough and modest like most men, who are raised and taught to hide their emotions in public. However deep inside Kate is still a female. In the second investigation which Kate had with Ellen, Kate does end up allowing herself to break down with tears in the midst of her conversation about her dead lover Anne. Here, Forrest shows that even though some women are masculine, they are limited to an extent because they are in custody to the biological determinism which determines the limits for the advancing of success based on sex (Rubin Thinking Sex). It is important that Forrest was able to show both sides of Kate: the tough masculine side and the soft elegant feminine side.

In addition, Kate’s final monologue, also in Act 5, scene 2, tells the audience a lot; about the play itself, as well as the society in Shakespeare’s era. On face value, Kate’s final monologue seems to be a long lecture about serving your husband, no questions asked. “Then vail your stomachs, for it is no boot, / And place your hands below your husband’s foot” (v, ii, lines 92-3, page 221). However, Shakespeare gave Kate the last word in the play, a sign of her consistent power and control. As well, her monologue can be perceived as quite ironic. Kate is aware of the beliefs about how women in the household should act and, as clearly portrayed throughout the entire play, the role Petruchio has been trying to get her to fill. By playing along fullheartedly with society’s expectations, in front of the large audience of guests, Kate becomes “truly tamed” - or just incredibly

Memory is used as a powerful conduit into the past; childhood experiences held in the subconscious illuminate an adult’s perception. Harwood uses tense shifts throughout her poetry to emphasise and indicate the interweaving and connection the past and the present hold. By allowing this examination of the childhood memories, Harwood identifies that their significance is that of an everlasting memory that will dominate over time’s continuity and the inevitability of death.

From our text, Race, Class, and Gender, we read Unit III E: The Structure of Social Institutions; The State and Violence: Policing the National Body: Sex, Race, and Criminalization; The Color of Justice; Rape, racism, and the Law; and Interpreting and Experiencing Anti-Queer Violence : Race, Class, and Gender Differences among LGBT Hate Crime Victims. We also encountered and excerpt from Social Work Practice With a Difference; The Spirit Catches You and You Fall Down, by Anne Fadiman. The first four reading from our text explore the association of the manner in which state power organizes race, class, and gender. We also get a view of how the intersectional approach of race, class, and gender may help us to understand some forms

These short and simple paragraphs convey Christopher’s thoughts and opinions towards his mother’s death. However, strangely there is no emotions conveyed in this passage which suggests that Christopher has a very different way of thinking and processing events to a ‘normal’ person. He did not seem to be upset with the loss of his mother at all.

This is evident when Kate had her second round of fits. Once Kate realized that her symptoms could incite talk in the close-knit town, she decided to have another fainting fit. Sarah Bates described Kate as a lifeless corpse when she arrived at the house. However, when Kate overhears that she is about to be bled, she jumps back to life almost immediately (Godbeer 18). This shows that Kate was truly conscious the entire time. She only let go of her act once she believed she was about to be harmed. However, after learning that the pain would be minimal, she agrees to be bled. After she is bled, Kate lets out a scream and her mistress, Abigail Wescot, declares that “She is bewitched” (Godbeer 19). This prompts Kate into a laughing outburst, astonishing Sarah Bates once again. The fact that Kate only laughed after her mistress professed that she was bewitched exposed her guiltiness. She laughed because her acting turned out to be believable. She had successfully fooled her mistress with her false symptoms. Furthermore, her deceiving symptoms of bewitchment are also evident in her accusations, specifically her accusation of Mercy Disborough. When Abigail Wescot believed Kate was “no longer in her right senses,” she proceeded to name Mercy Holbridge, later known as Mercy Disborough, as the woman who she thought was responsible for Kate’s torments (Godbeer 38-39). Before this statement, Kate was unable to name the woman

50% of children experience the divorce of their parents according to www.marriage-success-secrets.com. In Ashes, by Susan Beth Pfeffer, Ashleigh’s parents have been divorced for the last two years. She loves both of them but has a special soft spot for her dad. Ashleigh’s mom is a practical person and her dad is described as a dreamer. After a dinner with her father, Ashleigh receives a request. He wants her to to take her mom’s emergency money to pay off a deal he made. Ashleigh makes the decision to not give her dad the money because she questions the process and outcome, her father has a history of making irresponsible decisions, and the clouds symbolize her feelings towards her dad’s plan.

Lastly, Mary Lawson corrects the misconception that isolation is always involuntary through Kate's isolation of her thoughts and feelings from others who surrounds her. Kate's tendency to restrict her feelings characterizes her preference to isolate her emotions from her external surroundings: "No, you swallow your feelings…" (36). Furthermore, although Kate's isolation is reflected upon Daniel as he feels, "That there was a barrier somewhere…" (36-37), Kate's detest for Daniel asking her about her life shows the fact that her isolation is by choice and not involuntary: "…sometimes he made me feel…like some poor hapless microbe, under his microscope, where he could study my very soul"

Kate Bornstein is a Queer and Pleasant Danger was an incredible documentary. As someone who has never heard of Kate Bornstein before in their life, I was truly in for a treat. I never expected such a wide array of topics to be covered-I certainly didn't expect to hear about Scientology, but Kate Bornstein and Sam Feder didn't seem to shy away from any aspect of the former's life. One of the most interesting parts of the film for me involved Bornstein's interactions with presentist queer activists through Twitter and her blog posts. She doesn't shy away from discussing how her use of the term "tranny" upsets a great majority of her younger audience.

The Solitude of Self is a speech that was given by Elizabeth Cady Stanton, who was a leader of the women’s suffrage movement. This speech mainly discussed gender equality in every situation, including education and suffrage. Stanton clearly was opposed to the idea of inequality and believed that every person, man or woman, deserved to have the same rights.

Although, she knows her family is not exactly financially stable, she still helps a stranger out. In this sense, a small gesture like to offer a hungry boy a sandwich can change their life and can help them learn from their mistakes in a less harsh but positive experience. Secondly, the knife the boy threats Kate with is a symbol of violence, but also represents the difference between right and wrong. Earlier in the story, the boy wants to use the knife as a way of obtaining some money. Kate figures that his actions were not right and wants to help him genuinely and not just for her safety because she did not believe he had a knife.

Her previous actions were unladylike and involved the injury of others. Only until after she had wedded with Petruchio, her attitude has changed. For instance, when Petruchio’s servant had brought a meal that was displeasing to him, Petruchio had yelled at his servants, Kate replies, “I pray you, husband, be not so disquiet: The meat was well if you were so contented” (Shakespeare 149). Kate’s attitude has changed.

Taylor and Kate’s relationship grew intensely making her feel beautiful, after losing her virginity to Taylor Kate felt what all girls fear giving up the precious jewels, but she soon realize he passed away a few days later and understood his

Generally speaking, using Atwood’s three selected novels, the present study has investigated an inner human evolution, a movement which involves an episode of variations from trauma, through suffering and pain, to the knowledge and understanding. Therefore, it can be suggested that the female psychoanalytical development makes the said novels receptive to the feminist-psychological reading. In other words, Atwood’s selected novels have been here analyzed in light of the feminist and psychoanalytic, especially the Freudian, insights. The feminist-psychological insight indeed identifies a recurrent theme in Atwood’s works, which also subsumes different political, moral, and psychoanalytical attitudes.There is a circle to show the close relationship between childhood,