For the narrator, this disappointment is even worse than bad grades, because there is no hope of ever changing her status. While she can't see the light at the end of the academic tunnel, we as the readers know that this situation could change. No, things do not come easy for the author, but it's probably doubtful that she has sought real help for her academic woes. Her parents

City and Country in 'The Prince of Tides' William Shakespeare's comedies often differentiate between the staid, political atmosphere of the court and the city, and the raucous carnival atmosphere of the forest and the countryside. Often, characters will escape the court to the forest to explore their inner depths and their passions. The result is a dichotomy that permeates several of his plays: even from close textual analysis of one passage

CL's "Hello Bitches" and the Post-Feminist Representation of the Body In the music video by CL entitled "Hello Bitches," CL has managed to escape the constriction of the typical K-pop girl group (sexy, innocent, seductive, chic) by asserting a more aggressive, masculine-mimicking (gagsta-rap-mimicking to be exact), hyper-sexual attitude of domineering vibes; yet, in doing so, she has fallen into another and separate trope -- not the trope of the cute/sexy K-pop

Force: Examining the Most Relevant Articles The article "The Four Functions of Force" by Robert Art details exactly that: the main purposes for using force in a given situation. Those purposes are as follows: defense, deterrence, compellence and swagger. While these reasons are indeed distinct, as Art demonstrates, it can be difficult from time to determine the exact purpose that a particular state has selected. In this sense, the main

men in the hip-hop world. She has been a spokesmodel for Jenny Craig, a company that explicitly utilizes her 'real woman' image to sell its weight-loss product. "She's a CoverGirl and, off-screen, manicures a wholesome image" (What's worse, 2009, Querty). To emphasize her critique of Black male desire and to create another image for a Black woman to 'be' in the world would challenge prevailing norms and the new

The Real WarFussell notes well that �the real war was tragic and ironic beyond the power of any literary or philosophic analysis to suggest��mainly because it was not the �Good� War that the propagandists made it out to be for America. America identified itself as the leading power�yet its technology lagged behind the Germans. It relied on sweetening of the war, through songs and films like South Pacific, to turn