.... Frankenstein is nothing more than the not uncommon story of the average teenager. This isn’t to say that the novel is not a work of art, rather, it is quite possibly the best prose ever written by an eighteen year-old. But the fact of the matter remains. Mary Shelley was eighteen going on nineteen when she wrote Frankenstein. Taking this into account, it becomes more apparent that Shelley was not commenting on social aspects of her time or the feminist movement that her mother helped create, rather, she was simply expressing her feelings as a teenager, as so many of us need to do. These feelings of isolation, separation, and being misunderstood, all of which are n ....

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.... C’s Trading Company’s fleet cars that Lee is responsible for  The hourly cost of running a car, , is modelled by  is the variable that represents the average speed of a journey in terms of km/h  is a fixed cost related to registration and insurance of a the car  and are fixed costs related to operation costs such as petrol, oil, tyres and maintenance of the car  The cars will be driven on roads where the max speed limit is 60 km/h for roads in the city or towns, and 110 km/h for roads outside the city or town.  On sections of road, recommended speeds may be less than the max limit due to road conditions. ɨ ....

.... of artwork, however none more or less correct than the next interpretation. Similar to teachers depositing information to the students, each student may receive the information in different contexts. Whose to say whether or not the students’ interpretation is wrong? As writer John Berger points out the concept of reproducing art, in his essay “Ways of Seeing,” he addresses the idea how perspectives change completely when an artwork is reproduced to be used in a different context. As this is done, new thoughts and interpretations are created, thus can be seen as a progression of ideas. Writer Paulo Freire used the idea that “knowledge emerges only through inventio ....

.... is greatest? Is it more admirable to conform to societal pressures for fear of rejection, or to stay true to one’s own instinct? In Tim O’Brien’s non-fictional “On the Rainy River”, he concludes his personal account of being drafted with the admission, “I was a coward. I went to the war”, thus reinforcing the superior strength required behind an act of moral courage, as opposed to one of physical courage. Prior to being drafted, O’Brien admits to political naïveté. His perspective of the Vietnam War is not a passionate one; however, he is decidedly in opposition of the war, feeling that blood is being shed for unstable reasons. He saw “no unity ....

.... woman who had strong convictions about not wanting Henry to goto war. She is a very hardworking woman, and loves her son a great deal. She gave him hundreds of reasons why he was needed on the farm and not in the war. Henry knew his mother would not want him to enlist, but it was his decision to make. He dreamed of the battles of war, and of what it would be like to fight in those glorious battles. He didn^t want to stay on the farm with nothing to do, so he made his final decision to enlist. After enlisting he finds himself in a similar situation, with nothing to do. While there he becomes friends with two other soldiers, John Wilson, ^the loud soldier ....

.... main character Okonkwo is driven to suicide by change he can’t handle. The book is written by Cinua Achebe, a twentieth century author. Born in Nigeria, Achebe grew up in a transitional culture much like the one described in the book. He is currently a professor of literature at the University of Nigeria. Many factors can be attributed to the cause of Okonkwo’s demise, But the three most drastic ones are: hisson’s conversion to Christianity, the change in daily life the new religion brings, and his frustration caused by his apathetic clansmen. Nwoye’s conversion to Christianity was a sharp blow to Okonkwo because the Christians are looked down upo ....

.... had talked about weren’t really a true representation of what was being symbolized. “ Significance of these representations as carriers and reproducers of culture” is debatable. Bordo suggests this idea, but I agree with her students that the ads, as well as the images we see in Coles’s essay “are just images, not ‘real life’” (143). The ads and images are depicted as “ real life” but really they are just fabricated images formed to trick the consumer or observer. In “Hunger as Ideology” we see many different ads for food products. One example is on page 151 where we see a young woman sitting on a stool eating Jello. She has a slim figure and in th ....