Monday, July 6, 2020
What Is SAT Things You Should Know.
The SAT is a globally recognized exam which is used by colleges in the US for their admissions process. It tests your math, reading and writing skills ââ¬â common subjects which are taught in high schools worldwide. The test showcases your skills in these areas and used by colleges to recognize the best applicants. The exam is created by The College Board, a non-profit organization. SAT tests the three subject areas ââ¬â Critical Reading, Math and Writing ââ¬â across 10 sections which requires test takers to move back and forth between these sections. The writing section also comprises of an essay. There is one unscored section in the exam (not known to the test takers) which is used The College Board to experiment and test a few new questions. The section does not have an impact on your final score. Conducted seven times in a year in the US (six times internationally), the exam converts the raw scores into scaled scores on a 200-800 point scale. This means that you can score a maximum of 2400 and a minimum of 600 in the exam. The exam takes 3 hours and 45 minutes for completion. While SAT is extremely important in the admissions process, keep in mind that schools also consider your GPA, extraââ¬âcurricular activities, recommendation letters and essays, among other factors. Keep a tab on the general SAT score trends of the schools you are interested in. Also, contact their admissions offices to stay updated. Try scoring as high as possible to improve your chances at the college of your interest. You can even take the exam more than once if you are not satisfied with your scores the first time round. Updated:à All You Need To Know About The New SAT Access free SAT practice tests.
Wednesday, July 1, 2020
Unorthodox Gender Roles in ââ¬ÅBoys and Girlsââ¬Â and ââ¬ÅThe Yellow Wall-paperââ¬Â - Literature Essay Samples
Judith Fetterly coined the term ââ¬Å"immasculationâ⬠in her 1978 book ââ¬Å"The Resisting Reader,â⬠using it to define the process by which ââ¬Å"women are taught [â⬠¦] to identify with a male point of view and to accept as normal and legitimate a male system of valuesâ⬠(3). In the short stories ââ¬Å"Boys and Girls,â⬠by Alice Munro, and ââ¬Å"The Yellow Wall-paper,â⬠by Charlotte Perkins Gilman, the narrators can be thought of as immasculated readers of themselves. Munroââ¬â¢s unnamed speakerââ¬âa young girl who initially finds more joy outdoors assisting with manââ¬â¢s archetypal work than in a ââ¬Å"hot dark kitchenâ⬠with her motherââ¬âââ¬Å"[would] not evolve naturally into [a] gendered adultâ⬠if she did not accept her femaleness and embrace femininity (Goldman 62). Gilmanââ¬â¢s ââ¬Å"The Yellow Wall-paperâ⬠is an unreliable narration that conveys gender oppression in the form of ââ¬Å"[the female protagon istââ¬â¢s] well-meaning but insensitive husbandâ⬠(Martin 736). At times, both Munroââ¬â¢s and Gilmanââ¬â¢s narrators defy gender conventions; the young girlââ¬â¢s is a story of growth that features a symbolic rite of passage, while the oppressed woman seeks meaning and independence despite deterioration of the mind.Munro introduces the protagonist as impressionable and deferential to her patriarch father. The young girl views her mother in stark contrast to her father insofar as gender roles and ââ¬Å"ritualistically importantâ⬠work is concerned: ââ¬Å"I felt my mother had no business down here and I wanted [my father] to feel the same wayâ⬠(Munro 4). The main reason for the speakerââ¬â¢s differing from feminine ideologies concerns her great respect and admiration for her father and his gruelling, meaningful job. She ââ¬Å"rake[s] furiously, red in the face with pleasureâ⬠when her father introduces her as his ââ¬Å"new hired handâ⬠to a feed salesman, to which the salesman jokingly responds, ââ¬Å"ââ¬ËCould of fooled meââ¬â¢ [â⬠¦] ââ¬ËI thought it was only a girlââ¬â¢Ã¢â¬ (Munro 3). For most of the story, the narrator disregards the conventional gender role for a girl of her age, instead remaining steadfast and content as a fox farmerââ¬â¢s assistant. Her mother, wishing to ââ¬Å"use [the girl] more in the house,â⬠resents the position, although Munro makes clear the girlââ¬â¢s aversion for her mother as well: ââ¬Å"It seemed to me she would [try to keep me working with her in the house] simply out of perversity, and to try her power.â⬠As her story progresses, Munro symbolizes boys and girls with two horses named Mack and Flora. Mack is described as ââ¬Å"slow and easy to handle,â⬠while Flora, a mare, is more unruly and spontaneous, though the family ââ¬Å"love[s] her speed and high-steppingâ⬠(Munro). During the winter of the horsesââ¬â¢ arrival, and in the s peakerââ¬â¢s eleventh year, she comes to a newfound self-realization regarding her atypically-gendered state: ââ¬Å"A girl was not, as I had supposed, simply what I was; it was what I had to becomeâ⬠(Munro). When she learns of the impending death of Mack, she, along with her younger brother, Laird, locates a spot from which to witness the shooting. Afterwards, the girlââ¬â¢s legs are shaky and she is grateful to be down from their vantage point. This disquieting state is in clear contrast to Laird, who she finds to be ââ¬Å"not frightened or upset;â⬠her father, who shot the horse in such an ââ¬Å"easy, practiced way;â⬠and Henry, her fatherââ¬â¢s hired help, who laughed at Mackââ¬â¢s post-shot convulsions (Munro 6). This further perpetuates her reduction of masculine ideologies, as she reflects on the shooting with feelings of shame and begins to view her father and his work with ââ¬Å"a new warinessâ⬠(Munro 6). Later on, during the botched sho oting of Flora, the girl unconsciously throws the gate to the farm open for the horse to run free. Following this act, the girl finds herself ââ¬Å"trying to make [her] part of [her bedroom] fancyâ⬠and ââ¬Å"concern[ing herself] at great length with what [she looks] likeâ⬠(Munro 7). Here, Munro is instilling feminine ideologies into the speaker, making it seem as though Floraââ¬â¢s freedom, however temporary, serves to represent the young girlââ¬â¢s transition into a more archetypal role.In ââ¬Å"The Yellow Wall-paper,â⬠Gilman creates a character isolated from ââ¬Å"society and stimulusâ⬠by way of her controlling husband, John (2). The narrator displays a sense of naivety or ignorance to Johnââ¬â¢s dominant, oppressive ways: ââ¬Å"John laughs at me, of course, but one expects that in marriageâ⬠(Gilman 1). Because he is ââ¬Å"a physician of high standing, and [her] own husband,â⬠the narrator is coerced into following his orders, whic h, in this case, keep her confined to one small room in their new mansion (Gilman 1). Initially, she ââ¬Å"disagree[s] with [his] ideas,â⬠desiring ââ¬Å"less opposition and more society and stimulus,â⬠but John forbids it, and ââ¬Å"hardly lets [her] stir without special directionâ⬠(Gilman 2; 3). This blind faith in what is essentially manââ¬â¢s oppression over his wife is an example of her being immasculated.Gradually, the womanââ¬â¢s mind slips into psychosis. The solitary, forcedly bland confinement worsens her state of mind, until, eventually, she sees herself as an apparition inside the ââ¬Å"repellentâ⬠yellow pattern which adorns the walls. She continues to dream of escaping, but describes ââ¬Å"bars [â⬠¦] too strong to even tryâ⬠to jump from the window, making for a prison-like atmosphere and further illustrating her total entrapment (Gilman 15). Despite the womanââ¬â¢s state of insanity, she is able to achieve an individualistic freedom. Her mind deteriorates further while she remains transfixed on this woman in the wallpaper until the climax. John, the man chiefly responsible for his wifeââ¬â¢s state of mind, arrives to check on her and faints when he sees the torn wallpaper and his wife ââ¬Å"creep[ing] smoothly on the floorâ⬠(Gilman 15). Exemplifying womenââ¬â¢s liberty from oppression, the narrator exclaims, ââ¬Å"ââ¬ËIââ¬â¢ve got out at lastââ¬â¢ [â⬠¦] ââ¬Ëyou canââ¬â¢t put me back!ââ¬â¢Ã¢â¬ (Gilman 16). Similarly, within the last line of the story, Gilman conveys a sense of achievement and a sort of progress in the narrator, as she ââ¬Å"ââ¬Ëhad to creep over [her collapsed husband] every time!ââ¬â¢Ã¢â¬ (16).The immasculation of the protagonists is evident in both Alice Munroââ¬â¢s ââ¬Å"Boys and Girlsâ⬠and Charlotte Perkins Gilmanââ¬â¢s ââ¬Å"The Yellow Wall-paper.â⬠Munro crafts a storyline that witnesses the growth of a child and the opposing gender roles that come with it, while Gilman creates a womanââ¬â¢s journal which implies that a tyrannical, abusive husband is chiefly responsible for her mental collapse. Gender ideologies are referenced throughout either short story: ââ¬Å"Boys and Girlsâ⬠details a young girlââ¬â¢s change from masculine to feminine; ââ¬Å"The Yellow Wall-paperâ⬠deals in gender oppression and, thus, womenââ¬â¢s rights.
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