Free Essays on The Sinking Of The Lusitania

â€Å"The war to end all wars† was what a few people called it. Others called it â€Å"The Great War.† Look at it at any rate you wish, yet World War I was dangerous, yet it could possibly have slowed down mankind in time. To state that there was a privilege and a wrong in the war is incomprehensible. The two sides weren't right with things, yet at long last, Germany endured more, by being compelled to pay billions of dollars in War Debts, and let the French control a rich dig for well more than 15 years. Prior to that, Germany was a nation that was simply running over the Allied Powers with barely any kind of issues. In any case, soon, Germany’s rule on World War I was finding some conclusion. The Germans had a maritime bar of any boats that had gone through around the United Kingdom. In spite of the barricade, numerous boats chose to disregard the alerts that Germany conveyed to the Allied nations. One of these boats was the Lusitania. The Lusitania was a boat that set out on a journey to England, with travelers from all around, including numerous Americans. An announcement was passed around to each individual who boarded the boat, which expressed that a war was going on among Germany and England. It likewise expressed that Germany had set a maritime bar encompassing the waters of England, and that any boat in that zone was in danger of being terminated at by German soldiers. Sufficiently sure, as the Lusitania entered that zone on May 7, 1915, a German submarine terminated a rocket submerged, hitting the Lusitania and thusly, executed in excess of 1,100 travelers and team, 124 of them Americans. After the sinking of the boat, shock resulted, and The United States was brought into the war. In a letter sent to the Germans from President Wilson and Secretary of State, William Jennings Bryan, the United States demonstrated how they became worn out on German submarine assaults. In an extract from the letter, Bryan said this: â€Å"The sinking of the British traveler liner Falaba by a German submarine on March 28, throu... Free Essays on The Sinking Of The Lusitania Free Essays on The Sinking Of The Lusitania â€Å"The war to end all wars† was what a few people called it. Others called it â€Å"The Great War.† Look at it at any rate you wish, however World War I was ruinous, yet it could very well have hindered humankind in time. To state that there was a privilege and a wrong in the war is inconceivable. The two sides weren't right with things, however at long last, Germany endured more, by being compelled to pay billions of dollars in War Debts, and let the French control a rich dig for well more than 15 years. Prior to that, Germany was a nation that was simply running over the Allied Powers with scarcely any kind of issues. However, soon, Germany’s rule on World War I was finding some conclusion. The Germans had a maritime barricade of any boats that had gone through around the United Kingdom. In spite of the barricade, numerous boats chose to overlook the alerts that Germany conveyed to the Allied nations. One of these boats was the Lusitania. The Lusitania was a boat that left on a journey to England, with travelers from all around, including numerous Americans. A release was passed around to each individual who boarded the boat, which expressed that a war was going on among Germany and England. It additionally expressed that Germany had put a maritime barricade encompassing the waters of England, and that any boat in that zone was in danger of being terminated at by German soldiers. Sufficiently sure, as the Lusitania entered that zone on May 7, 1915, a German submarine terminated a rocket submerged, hitting the Lusitania and thus, murdered in excess of 1,100 travelers and group, 124 of them Americans. After the sinking of the boat, shock followed, and The United States was brought into the war. In a letter sent to the Germans from President Wilson and Secretary of State, William Jennings Bryan, the United States demonstrated how they became worn out on German submarine assaults. In a selection from the letter, Bryan said this: â€Å"The sinking of the British traveler liner Falaba by a German submarine on March 28, throu...

Eth-125 Week 9 Final Prject

Singular Final Project: Kristopher Freitag Race and ethnicity and understanding its disparities helped me accomplish a specific measure of levity with the manner in which I communicate with others. America is very different, yet share a plenitude of things for all intents and purpose. This is appeared from the beginning of time and right outside our entryways, America, where our towns and urban areas are filled to the edge with characters and of contrast race and ethnicity share this culture we call American society.I have figured out how to put a take to being short sited and keeping in mind that I found out minimal about my own social history, the most significant thing is to guarantee you don't disregard it. Such a large number of individuals have prejudged thoughts and are set in their own social history and perspectives, however once one investigates it, there are inconceivably more things one has not understood and learned. It's difficult to think going in to the class that you would be so gullible and oblivious to acknowledge that we are so near each other, and how our battles of contrasts have brought us closer together.For myself a Caucasian male, there is little to find out about my ethnicity, anyway as my better half is Hispanic we have developed nearer as I have gained more from her and her â€Å"peeps† as she calls them, than most will ever figure it out. Finding out about your own social can be useful, anyway I see more advantage in knowing another's, this thusly shows a degree of regard for their own history and not a total disregard of any different backgrounds they may have originated from. The patterns in migration in the United States are truly unsurprising and keep on developing exponentially.Immigration development is relied upon to stay high inside the United States, as individuals love this nation of our own, and will keep on moving here as a result of its qualities and generally significant of all, its opportunity. Indeed, America isn't great, however it is viewed as the homeland and I don't believe that notoriety is leaving soon. Individuals must plan for the proceeding with development of movement by incorporating language, culture, and other little contrasts into our general public. This is remembered for our schools, organizations, TV, papers, and other outlets.For model, there ought to be language interpretations on transport stop signs or eatery menus, and so forth. The high note of this trade of culture will be the restricted about of partiality one can guarantee against â€Å"the white man† as basically will turn into the minorities. Amusingly, I consider this to be something worth being thankful for, America was established on settlers, I see an equivalent amounts of offer the most convincing thought. Having the opportunity to picked your own way and religion in the United States is the reason we are the quickest developing country, it is time we grasped our disparities and permit them to mak e another life for us.The challenge the United States faces in light of its assorted variety are ever changing and consistently developing clashes inside its own one of a kind fringes. We as a whole need something to upgrade lives, some better compensation, some more opportunity, legitimization, marriage, the decent variety of the things we battle for are huge all by themselves. As we push ahead we should start to haggle with these contention and make a quiet goals accessible to the individuals and their requests, else we will dive ourselves down into a common war, of which I am not intrigued in.The amusing side of this, is in the event that we as a general public, as a nation, as one can stand up and state this will occur and this is the manner by which it will be, than we may very well bring together our disparities and licenses the original of Americans to be naturally introduced to a nation where we cooperate, not against each other. The diverse social foundations incorporated i nto one network, the various encounters we may gain from one another, the potential outcomes are huge, however in the event that we contrast our general public with those of old, the development of war presented new societies and information, for what reason would we be able to do likewise without the ar.By essentially being affable and lenient and deferential to each other and treating each other as we would need to be dealt with. I think impoliteness is at untouched high. I am perusing a book The Civility Solution ; it has a lot of unrivaled data. I think on the off chance that we instruct ourselves regarding this matter ; share what we are realizing it will spread rapidly. I was in a café tonight ; my server was at the table close to mine ; I heard her utilization the word CRAP. I couldn't conviction she said that, she did. What might make an individual state that when she is conversing with individuals about food. So raising cognizance is the best approach to go.I think experie nce is significant and when individuals gain as a matter of fact it is the best instructor. Numerous who live out of sight from others are moving in to the more populated zones and that will help. At the point when you need assistance and the individual who aides isn't in the body or from the geological region you love you begin adoring them at any rate. Definitely media generalizations are regularly used so as to accommodate a particular impact, particularly in the diversion, publicizing, and news ventures, which need a wide blind to draw in as huge a crowd of people as conceivable to rapidly decipher information.Stereotypes extended in the media can have pessimistic symptom and gotten hazardous. They can diminish the tremendous scope of social contrasts in individuals to excessively oversimplified arrangements and changing suspicions about specific gatherings into â€Å"realities† are locked in to legitimize the situation of those in control and sustain social partiality an d disparity The social gatherings being generalized are not allowed any chance to impact how they are represented.This is regular inside the media, paying little mind to style, show or channel, generalizations and a few reasons for cliché depictions, incorporate an absence of decent variety off camera. Anyway the reason for this formation of thankfulness initiated by the media isn't without saying, the center focused on minorities all things considered, families, and the gratefulness for opportunity, this absence of outrage that can be driven into our TVs, motion pictures, and advertisements is a technique for joining Americans and their differences.Only through an affirmation of our disparities will the biased learning's and instructive administrations be made the falsehood to be transparently talked about and drawn closer with in a manner which is probably going to encourage change. It is clear notwithstanding, that on the off chance that we can't discuss these distinctions and i ssues in their depiction, we definitely can't transform it. Sigmund Freud, the renowned Austrian doctor changed the entire substance of brain science in such an emotional route by advancing a hypothesis of character that worried on the significance of the oblivious mind.The work he finished with patients experiencing mental incapacities like insanity drove him to conjecture that our youth just as our oblivious considerations and activities contribute toward the advancement of our characters and in general grown-up conduct. Changing a whole gatherings preferential perspectives, perspectives and convictions and a foundation's bigot activities isn't just fixed overnight.Reducing our racial bias as a general public and bigotry is a perplexing errand that adjustments in thoughts from network to network, so it doesn't offer a straight-forward methodology, a bit by bit process that can be embraced and coordinated without having a total comprehension of nature and social setting. This activ ity would require realizing your locale well and having the option to pick a technique that will best meet your own locale's requirements, history, setting, energies, and assets, as a one size fits all won't work in this issue.

How Can New Students Can Get the Most Out of Their SIPA Experience COLUMBIA UNIVERSITY - SIPA Admissions Blog

How Can New Students Can Get the Most Out of Their SIPA Experience COLUMBIA UNIVERSITY - SIPA Admissions Blog It’s finally May, and our Class of 2018 is coming to the end of their journey here â€" graduation is less than 2 weeks away. Before they leave us, our Program Assistants  imparted advice to future SIPA students as they look back on their own two years here. Tedros Abraham, MIA ‘18: I have two pieces of advice for newly admitted students: Try to make a personal connection with at least one professor early on, and start applying to internships and jobs in the fall. Professors at SIPA make themselves accessible and are always eager for students to come to their office hours before the rush of midterms and finals. By engaging professors in your field, you can gain access to practitioners who will be able to offer you insight on how best to position yourself in school for success afterwards. Furthermore, building a relationship early on will allow professors to write you strong letters of recommendation. Between moving to a new city, readjusting to the rigors of academic life, and getting to know your cohort, it is easy to put off thinking about summer internships and jobs after school. However, doing so in your first semester is critical since so many competitive jobs and internships in larger organizations and government agencies have deadlines in the fall. The Office of Career Services hosts regular recruiting events on campus and sends weekly lists of opportunities. Take full advantage of these events and actively pursue opportunities on your own. Mark Jamias, Five-Year Joint Bachelor/Master Program, ‘18 Many come to SIPA to grow as professionals, pushing the boundaries past their realms of working experience. Take classes for the learning curve, not the grading curve. In other words, don’t be afraid to get a B or a C in challenging classes. It’s better than an A in something you already knew. One can learn just as much, if not more, from one’s peers. Take the time to prioritize people: learn what they do, understand from where they’re coming from and why they’re doing what they do. Every person at SIPA has their unique, amazing story (Hint: That’s why we chose you). Listen to theirs; share yours. Also, taking one hour out of your studying time to attend your partner’s opera performance, a classmate’s Capstone presentation, or simply to chat (read: vent) with a friend won’t cause you irrevocable academic doom. Besides, the people you meet here are much more interesting than monetary theory. Break out of IAB: Step out of the International Affairs Building and visit Columbia’s other grad schools. There’s literally nothing stopping you from venturing to the Law School or Business School to attend talks and other social events. Take a few classes outside SIPA. Join university-wide clubs to get a true taste of Columbia’s diverse palate. Want your worldview really challenged? Go talk to an engineer; one can find them in Mudd at all hours of the night and day. Make friends with the Five-Years. They’ve been at Columbia for 3-4 years, and they know what’s up. From the best coffee on or near campus, tricks to get discounts and free things using your Columbia ID, and fun library hacks and seat-scouting/staking strategies, the Five-Years have seen things and know their way around (read: work) this place. Rahel Tekola, MPA ‘18: One of the best things I did before coming into SIPA is taking a step back and asking myself what is it that I want to gain out of this program, and what things can I do during my time at SIPA and New York City that will allow me to leverage the school and city to help me explore career, education and professional development opportunities. Before moving to NYC I made a list of professors I wanted to meet with at SIPA, organizations and companies I wanted to connect with in NYC and practitioners in my area of interest that would entertain me for coffee. This exercise allowed me to hone in on my interests and really embrace the best parts of SIPA and NYC these past two years. Suzanne El Sanadi, MPA ’18: Take time every weekend to explore New York. The city is full of incredible opportunities ranging from the Bronx Zoo to the Transit Museum in Brooklyn! Go on as many of the international student-led trips at SIPA as you can youll not only learn about other cultures and governments but also make lifelong friends. Jin Ramen is the best ramen spot up near Columbia I wish that I had discovered it my first year! Sebastian Osorio, MPA ‘18: SIPA claims to be where the world connects, and it is really like that. With more than 100 nationalities among the student body it is truly the most international policy school. This means that you will find here a multiculturalism that will open your mind to new and different ways of thinking. Also you will make friends from all the corners of the world. What you gain from them is as important as what you get from class. SIPA is a big school, which is great. The school needs a large academic offering for students with so many different backgrounds and interests. This means that you can take a lot of different courses in the same school from the ones in Economic and Political Development, to the ones suited for people interested in journalism or energy or security policies. SIPA offers the possibility to cross register courses from other schools at Columbia University. If there is another class or professor that you like but is not at SIPA, you can easily cross register with them and use them as credit for graduation. You can choose courses from the ones at Law,  Engineering or Business Schools to the ones in Statistics, Psychology or Sociology departments, for example. There are courses that you will find extremely interesting and some others that you will think werent suited for you. Make sure to talk to a lot of the second-year students for recommendations about classes aligned to your interests or extremely good professors. A final reminder to our admitted students that today, May 1st, is the enrollment deadline for the upcoming fall semester. And we haven’t forgotten about our waitlisted candidates â€" we’ll start reviewing those applications this month. Youll get an email once theres an update, so thank you for your patience.

Sedentism, Community-Building, Began 12,000 Years Ago

Sedentism refers to the decision made first by humans at least 12,000 years ago to start living in groups for long periods of time. Settling down, picking a place and living in it permanently for at least part of the year, is partially but not entirely related to how a group gets required resources. This includes gathering and growing food, stone for tools, and wood for housing and fires. Hunter-Gatherers and Farmers In the 19th century, anthropologists defined two different lifeways for people beginning in the Upper Paleolithic period. The earliest lifeway, called hunting and gathering, describes people who were highly mobile, following herds of animals like bison and reindeer, or moving with normal seasonal climatic changes to collect plant foods as they ripened. By the Neolithic period, so the theory went, people domesticated plants and animals, necessitating permanent settlement to maintain their fields. However, extensive research since then suggests that sedentism and mobility — and hunter-gatherers and farmers — were not separate lifeways but rather two ends of a continuum that the groups modified as circumstances required. Since the 1970s, anthropologists use the term complex hunter-gatherers to refer to hunter-gatherers who have some elements of complexity, including permanent or semi-permanent residences. But even that doesnt encompass the variability that is now apparent: in the past, people changed how mobile their lifestyles were depending on circumstances, sometimes due to climatic changes, but for a range of reasons, from year to year and decade to decade. What Makes a Settlement Permanent? Identifying communities as permanent ones is somewhat difficult. Houses are older than sedentism. Residences such as brushwood huts at Ohalo II in Israel and mammoth bone dwellings in Eurasia occurred as early as 20,000 years ago. Houses made of animal skin, called tipis or yurts, were the homestyle of choice for mobile hunter-gatherers throughout the world for an unknown period of time before that. The earliest permanent structures, made from stone and fired brick, were apparently public structures rather than residences, ritual places shared by a mobile community. Examples include the monumental structures of Gobekli Tepe, the tower at Jericho, and the communal buildings at other early sites such as Jerf el Ahmar and Mureybet, all in the Levant region of Eurasia. Some of the traditional features of sedentism are residential areas where houses were built close to one another, large-scale food storage and cemeteries, permanent architecture, increased population levels, non-transportable toolkits (such as massive grinding stones), agricultural structures such as terraces and dams, animal pens, pottery, metals, calendars, record-keeping, slavery, and feasting. But all of these features are related to the development of prestige economies, rather than sedentism, and most developed in some form prior to permanent year-round sedentism. Natufians and Sedentism The earliest potentially sedentary society on our planet was the Mesolithic Natufian, located in the Near East between 13,000 and 10,500 years ago (BP). However, much debate exists about their degree of sedentism. Natufians were more or less egalitarian hunter-gatherers whose social governance shifted as they shifted their economic structure. By about 10,500 BP, the Natufians developed into what archaeologists call Early Pre-Pottery Neolithic as they increased in population and reliance on domesticated plants and animals and began living in at least partially year-round villages. These processes were slow, over periods of thousands of years and intermittent fits and starts. Sedentism arose, quite independently, in other areas of our planet at different times. But like the Natufians, societies in places such as Neolithic China, South Americas Caral-Supe, the North American Pueblo societies, and the precursors to the Maya at Ceibal all changed slowly and at different rates over a long period of time. Sources Asouti, Eleni. A Contextual Approach to the Emergence of Agriculture in Southwest Asia: Reconstructing Early Neolithic Plant-Food Production. Current Anthropology, Dorian Q. Fuller, Vol. 54, No. 3, The University of Chicago Press Journals, June 2013. Finlayson, Bill. Architecture, sedentism, and social complexity at Pre-Pottery Neolithic A WF16, Southern Jordan. Steven J. Mithen, Mohammad Najjar, Sam Smith, Darko MariÄ ević, Nick Pankhurst, Lisa Yeomans, Proceedings of the National Academy of Sciences of the United States of America, May 17, 2011.   Inomata, Takeshi. Development of sedentary communities in the Maya lowlands: Coexisting mobile groups and public ceremonies at Ceibal, Guatemala. Jessica MacLellan, Daniela Triadan, Jessica Munson, Melissa Burham, Kazuo Aoyama, Hiroo Nasu, Flory Pinzà ³n, Hitoshi Yonenobu, Proceedings of the National Academy of Sciences of the United States of America, April 7, 2015. Railey, Jim A. Reduced Mobility or the Bow and Arrow? Another Look at Expedient Technologies and Sedentism. Volume 75, Issue 2, American Antiquity, January 20, 2017. Reed, Paul F. Sedentism, Social Change, Warfare, and the Bow in the Ancient Pueblo Southwest. Phil R. Geib, Wiley Online Library, June 17, 2013. Rosen, Arlene M. Climate change, adaptive cycles, and the persistence of foraging economies during the late Pleistocene/Holocene transition in the Levant. Isabel Rivera-Collazo, Proceedings of the National Academy of Sciences of the United States of America, March 6, 2012.

Nike Brand Equity - 1038 Words

Case 6 Nike Celess Valk MKTG 4082 10/29/12 To answer question one it’s important to not that Nike has created a very powerful image in the minds of consumers in America. Nike wanted consumers to see it as an innovative brand that produces top of the line performance gear that was associated with very powerful and important athletes (mostly males). Their profile users are represented as famous athletes such as Michael Jordan or Tiger Woods. The athletes reflected the brand personalities such as competitive, winners, strong, and better than the rest. This also is a way for Nike to obtain credibility and quality. With the Air Jordan line, Nike sold over $100 million shoes in the first year (129). Nike’s sources of brand equity†¦show more content†¦Even though the sweatshops scandal weakened the image of Nike in the minds of Americans, Nike is still are seen as a powerful brand that emphasizes performance, power, and gives its consumers a vision to be the best. The sweatshops weakened their image in the minds of Americans. As I stated before, aggressive advertisements work for Americans because we are a society that is so strongly attached to our sports, individualism, performance, and are competitive in general. However, as we saw in question 2 that approach doesn’t work well globally. In order to appeal to the world, Nike needed to make some local adjustments as well as global changes for its brand. Europe’s brand equity sources stem mainly from its attachments to the soccer community and apparel line. In 1999 the company’s soccer orders from Europe grew over 100% from the previous year (140). Nike has strong performance, salience, and even resonance in this respect. Although competition, Reebok, may have better imagery, Nike has worked hard to improve theirs in European minds and must be doing something right with numbers that impressive. In Asia, Nike has strong brand equity from its image, performance, and judgments. They didn’t create such strong advertising techniques since they learned their lesson in Europe. This gave Asians a chance to see Nike in a positive light from the start, which makes their brand equity source from judgments and feelings better offShow MoreRelatedNike Brand equity2888 Words   |  12 Pageswas incorporated in 1968. In their thirty-four year history, Nike has primarily been in the business of designing, developing, and marketing athletic footwear, attire, equipment and accessories, Ð ° lot of companies go out on a limb when it comes to business decision or management strategies with Nike Corporation. Nike is Ð ° powerful company. Nike Corporation is a well managed company in Ð ° striking industry, the company has a strong brand image, and they are effectively capturing the value shaped fromRead MoreCbbe Pyramid Essay752 Words   |  4 PagesCBBE Pyramid Powerful brands create meaningful images in the minds of customers (Keller, 1993). 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This note provides a short definition of each concept and illustrations of the most widely-used measurement techniquesRead MoreComplete Project on Nike16139 Words   |  65 PagesA SUMMER TRAINING REPORT ON MARKETING STRATEGY OF NIKE AT â€Å"NIKESHOES INDUSTRIES LIMITED† SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENT OF BACHELOR OF BUSINESS ADMINISTRATION (BBA) TRAINING SUPERVISOR SUBMITTED BY SESSION 2005-2008 ACKNOWLEDGEMENT The present work is an effort to throw some light on Marketing Strategy of Nike at â€Å"Nike Industries Limited†. The work would not have been possible to come to the present shape without the able guidance, supervision and help

Mrs. Dalloway Study Questions Free Essays

Discussion questions: 1. In the novel â€Å"Mrs. Dalloway† both Clarissa and Septimus repeat a line from Shakespeare, what is the line and what is its importance to the characters? 2. We will write a custom essay sample on Mrs. Dalloway Study Questions or any similar topic only for you Order Now In â€Å"Mrs. Dalloway† Septimus is created as Clarissa’s double, why do you think Woolf did this? 3. How are Clarissa and Septimus alike and how are they different? 4. Woolf uses Clarissa to convey her idea of social class and women’s wole within it; how does she achieve this? 5. WWI is a major part throughout the story. What ways did Woolf show this? . At the end of the novel Clarissa is informed of Septimus’ death. How does she feel about this and why is it important? 7. Who are Sally Seton and Peter Walsh and how does their appearance in the novel help with the plot? 8. Woolf uses a lot of flash backs to move the plot along. Do these flash backs help or hurt the novel? 9. From Woolf’s use of flash backs can you infer what the characters were like before? 10. What was the point of view in the novel? Why do you think Woolf chose this? Excerpt: (pg. 11-14) She would not say of any one in the world now that they were this or were that. She felt very young; at the same time unspeakably aged. She sliced like a knife through everything; at the same time was outside, looking on. She had a perpetual sense, as she watched the taxi cabs, of being out, out, far out to sea and alone; she always had the feeling that it was very, very dangerous to live even one day. Not that she thought herself clever, or much out of the ordinary. How she had got through life on the few twigs of knowledge Fraulein Daniels gave them she could not think. She knew nothing; no language, no history; she scarcely read a book now, except memoirs in bed; and yet to her it was absolutely absorbing; all this; the cabs passing; and she would not say of Peter, she would not say of herself, I am this, I am that. Her only gift was knowing people almost by instinct, she thought, walking on. If you put her in a room with someone, up went her back like a cat’s; or she purred. Devonshire House, Bath House, the house with the china cockatoo, she had seen them all lit up once; and remembered Sylvia, Fred, Sally Seton — such hosts of people; and dancing all night; and the waggons plodding past o market; and driving home across the Park. She remembered once throwing a shilling into the Serpentine. But every one remembered; what she loved was this, here, now, in front of her; the fat lady in the cab. Did it matter then, she asked herself, walking towards Bond Street, did it matter that she must inevitably cease completely; all this must go on without her; did she resent it; or did it not become consoling to believe that death ended absolutely? ut that somehow in the streets of London, on the ebb and flow of things, here, there, she survived, Peter survived, lived in each other, she being part, she was positive, of the trees at home; of the house there, ugly, rambling all to bits and pieces as it was; part of people she had never met; being laid out like a mist between the people she knew best, who lifted her on their branches as she had seen the trees lift the mist, but it spread ever so far, her life, herself. But what was she dreaming as she looked into Hatchards’ shop window? What was she trying to recover? What image of white dawn in the country, as she read in the book spread open: Fear no more the heat o’ the sun Nor the furious winter’s rages. This late age of the world’s experience had bred in them all, all men and women, a well of tears. Tears and sorrows; courage and endurance; a perfectly upright and stoical bearing. Think, for example, of the woman she admired most, Lady Bexborough, opening the bazaar. There were Jorrocks’ Jaunts and Jollities; there were Soapy Sponge and Mrs. Asquith’s Memoirs and Big Game Shooting in Nigeria, all spread open. Ever so many books there were; but none that seemed exactly right to take to Evelyn Whitbread in her nursing home. Nothing that would serve to amuse her and make that indescribably dried-up little woman look, as Clarissa came in, just for a moment cordial; before they settled down for the usual interminable talk of women’s ailments. How much she wanted it — that people should look pleased as she came in, Clarissa thought and turned and walked back towards Bond Street, annoyed, because it was silly to have other reasons for doing things. Much rather would she have been one of those eople like Richard who did things for themselves, whereas, she thought, waiting to cross, half the time she did things not simply, not for themselves; but to make people think this or that; perfect idiocy she knew (and now the policeman held up his hand) for no one was ever for a second taken in. Oh if she could have had her life over again! She thought, stepping on to the pavement, could have looked even differently! She would have been, in the first place, dark like Lady Bexborough, with a skin of crumpled leather and beautiful eyes. She would have been, like Lady Bexborough, slow and stately; rather large; interested in politics like a man; with a country house; very dignified, very sincere. Instead of which she had a narrow pea-stick figure; a ridiculous little face, beaked like a bird’s. That she held herself well was true; and had nice hands and feet; and dressed well, considering that she spent little. But often now this body she wore (she stopped to look at a Dutch picture), this body, with all its capacities, seemed nothing — nothing at all. She had the oddest sense of being herself invisible, unseen; unknown; there being no more marrying, no more having of children now, but only this astonishing and rather solemn progress with the rest of them, up Bond Street, this being Mrs. Dalloway; not even Clarissa anymore; this being Mrs. Richard Dalloway. Multiple choice questions for excerpt: 1. What is the attitude throughout the passage? a. Negative toward her future. b. Hopeful for her future. c. Positive toward her past. d. Resentful of the choices of her past. 2. Which of the following best describes the purpose of the passage? . To show Clarissa’s hopefulness for the future. b. To show Clarissa’s longing for acceptance and importance in high class society. c. To show how Clarissa wants to help the elderly. d. To show Clarissa’s admiration for Mrs. Bexborough. 3. Clarissa talks about Mrs. Bexborough to show: a. How she wants to be portrayed in society. b. How much she dislikes her. c. How they are alike . d. How they are different. 4. It can be inferred from the passage that which of the following qualities is most important to the speaker: a. Independence. b. Being man- like. . Dressing well. d. Respect. 5. In the passage what does Woolf mean by â€Å"did it matter that she must inevitably cease completely; all this must go on without her; did she resent it; or did it not become consoling to believe that death ended absolutely? † a. That life goes on after death. b. That she finds comfort in the fact that death stops all human problems, but resents the fact use lose the pleasures also. c. That she is scared of death. d. That none of the things she has done matter after death. Essay prompt for novel: Woolf’s writing style in Mrs. Dalloway is described as â€Å"stream of consciousness,† why do you think Woolf chose this writing style for the novel and would it be less effective if it were written in a different style? The Yellow Wallpaper by: Charlotte Perkins Gilman It is very seldom that mere ordinary people like John and myself secure ancestral halls for the summer. A colonial mansion, a hereditary estate, I would say a haunted house, and reach the height of romantic felicity–but that would be asking too much of fate! Still I will proudly declare that there is something queer about it. Else, why should it be let so cheaply? And why have stood so long untenanted? John laughs at me, of course, but one expects that in marriage. John is practical in the extreme. He has no patience with faith, an intense horror of superstition, and he scoffs openly at any talk of things not to be felt and seen and put down in figures. John is a physician, and perhaps–(I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind)–perhaps that is one reason I do not get well faster. You see he does not believe I am sick! And what can one do? If a physician of high standing, and one’s own husband, assures friends and relatives that there is really nothing the matter with one but temporary nervous depression–a slight hysterical tendency– what is one to do? My brother is also a physician, and also of high standing, and he says the same thing. So I take phosphates or phosphites–whichever it is, and tonics, and journeys, and air, and exercise, and am absolutely forbidden to â€Å"work† until I am well again. Personally, I disagree with their ideas. Personally, I believe that congenial work, with excitement and change, would do me good. But what is one to do? I did write for a while in spite of them; but it does exhaust me a good deal–having to be so sly about it, or else meet with heavy opposition. I sometimes fancy that in my condition if I had less opposition and more society and stimulus–but John says the very worst thing I can do is to think about my condition, and I confess it always makes me feel bad. So I will let it alone and talk about the house. The most beautiful place! It is quite alone standing well back from the road, quite three miles from the village. It makes me think of English places that you read about, for there are hedges and walls and gates that lock, and lots of separate little houses for the gardeners and people. There is a delicious garden! I never saw such a garden–large and shady, full of box-bordered paths, and lined with long grape-covered arbors with seats under them. There were greenhouses, too, but they are all broken now. There was some legal trouble, I believe, something about the heirs and coheirs; anyhow, the place has been empty for years. That spoils my ghostliness, I am afraid, but I don’t care–there is something strange about the house–I can feel it. I even said so to John one moonlight evening but he said what I felt was a draught, and shut the window. I get unreasonably angry with John sometimes I’m sure I never used to be so sensitive. I think it is due to this nervous condition. But John says if I feel so, I shall neglect proper self-control; so I take pains to control myself– before him, at least, and that makes me very tired. I don’t like our room a bit. I wanted one downstairs that opened on the piazza and had roses all over the window, and such pretty old-fashioned chintz hangings! but John would not hear of it. He said there was only one window and not room for two beds, and no near room for him if he took another. He is very careful and loving, and hardly lets me stir without special direction. I have a schedule prescription for each hour in the day; he takes all care from me, and so I feel basely ungrateful not to value it more. He said we came here solely on my account, that I was to have perfect rest and all the air I could get. â€Å"Your exercise depends on your strength, my dear,† said he, â€Å"and your food somewhat on your appetite; but air you can absorb all the time. So we took the nursery at the top of the house. It is a big, airy room, the whole floor nearly, with windows that look all ways, and air and sunshine galore. It was nursery first and then playroom and gymnasium, I should judge; for the windows are barred for little children, and there are rings and things in the walls. The paint and paper look as if a boys’ school had used it. It is stripped offâ€⠀œthe paper in great patches all around the head of my bed, about as far as I can reach, and in a great place on the other side of the room low down. I never saw a worse paper in my life. One of those sprawling flamboyant patterns committing every artistic sin. It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide–plunge off at outrageous angles, destroy themselves in unheard of contradictions. The color is repellent, almost revolting; a smouldering unclean yellow, strangely faded by the slow-turning sunlight. It is a dull yet lurid orange in some places, a sickly sulphur tint in others. No wonder the children hated it! I should hate it myself if I had to live in this room long. There comes John, and I must put this away,–he hates to have me write a word. ———- We have been here two weeks, and I haven’t felt like writing before, since that first day. I am sitting by the window now, up in this atrocious nursery, and there is nothing to hinder my writing as much as I please, save lack of strength. John is away all day, and even some nights when his cases are serious. I am glad my case is not serious! But these nervous troubles are dreadfully depressing. John does not know how much I really suffer. He knows there is no reason to suffer, and that satisfies him. Of course it is only nervousness. It does weigh on me so not to do my duty in any way! I meant to be such a help to John, such a real rest and comfort, and here I am a comparative burden already! Nobody would believe what an effort it is to do what little I am able,–to dress and entertain, and order things. It is fortunate Mary is so good with the baby. Such a dear baby! And yet I cannot be with him, it makes me so nervous. I suppose John never was nervous in his life. He laughs at me so about this wall-paper! At first he meant to repaper the room, but afterwards he said that I was letting it get the better of me, and that nothing was worse for a nervous patient than to give way to such fancies. He said that after the wall-paper was changed it would be the heavy bedstead, and then the barred windows, and then that gate at the head of the stairs, and so on. â€Å"You know the place is doing you good,† he said, â€Å"and really, dear, I don’t care to renovate the house just for a three months’ rental. â€Å"Then do let us go downstairs,† I said, â€Å"there are such pretty rooms there. † Then he took me in his arms and called me a blessed little goose, and said he would go down to the cellar, if I wished, and have it whitewashed into the bargain. But he is right enough about the beds and windows and things. It is an airy and comfortable room as any one need wish, and, o f course, I would not be so silly as to make him uncomfortable just for a whim. I’m really getting quite fond of the big room, all but that horrid paper. Out of one window I can see the garden, those mysterious deepshaded arbors, the riotous old-fashioned flowers, and bushes and gnarly trees. Out of another I get a lovely view of the bay and a little private wharf belonging to the estate. There is a beautiful shaded lane that runs down there from the house. I always fancy I see people walking in these numerous paths and arbors, but John has cautioned me not to give way to fancy in the least. He says that with my imaginative power and habit of story-making, a nervous weakness like mine is sure to lead to all manner of excited fancies, nd that I ought to use my will and good sense to check the tendency. So I try. I think sometimes that if I were only well enough to write a little it would relieve the press of ideas and rest me. But I find I get pretty tired when I try. It is so discouraging not to have any advice and companionship about my work. When I get really well, John says we will ask Cousin Henry and Julia down for a long visit; but he says he would as soon put fireworks in my pillow-case as to let me have those stimulating people about now. I wish I could get well faster. But I must not think about that. This paper looks to me as if it knew what a vicious influence it had! There is a recurrent spot where the pattern lolls like a broken neck and two bulbous eyes stare at you upside down. I get positively angry with the impertinence of it and the everlastingness. Up and down and sideways they crawl, and those absurd, unblinking eyes are everywhere There is one place where two breaths didn’t match, and the eyes go all up and down the line, one a little higher than the other. I never saw so much expression in an inanimate thing before, and we all know how much expression they have! I used to lie awake as a child and get more entertainment and terror out of blank walls and plain furniture than most children could find in a toy-store. I remember what a kindly wink the knobs of our big, old bureau used to have, and there was one chair that always seemed like a strong friend. I used to feel that if any of the other things looked too fierce I could always hop into that chair and be safe. The furniture in this room is no worse than inharmonious, however, for we had to bring it all from downstairs. I suppose when this was used as a playroom they had to take the nursery things out, and no wonder! I never saw such ravages as the children have made here. The wall-paper, as I said before, is torn off in spots, and it sticketh closer than a brother–they must have had perseverance as well as hatred. Then the floor is scratched and gouged and splintered, the plaster itself is dug out here and there, and this great heavy bed which is all we found in the room, looks as if it had been through the wars. But I don’t mind it a bit–only the paper. There comes John’s sister. Such a dear girl as she is, and so careful of me! I must not let her find me writing. She is a perfect and enthusiastic housekeeper, and hopes for no better profession. I verily believe she thinks it is the writing which made me sick! But I can write when she is out, and see her a long way off from these windows. There is one that commands the road, a lovely shaded winding road, and one that just looks off over the country. A lovely country, too, full of great elms and velvet meadows. This wall-paper has a kind of sub-pattern in a, different shade, a particularly irritating one, for you can only see it in certain lights, and not clearly then. But in the places where it isn’t faded and where the sun is just so–I can see a strange, provoking, formless sort of figure, that seems to skulk about behind that silly and conspicuous front design. There’s sister on the stairs! ———- Well, the Fourth of July is over! The people are all gone and I am tired out. John thought it might do me good to see a little company, so we just had mother and Nellie and the children down for a week. Of course I didn’t do a thing. Jennie sees to everything now. But it tired me all the same. John says if I don’t pick up faster he shall send me to Weir Mitchell in the fall. But I don’t want to go there at all. I had a friend who was in his hands once, and she says he is just like John and my brother, only more so! Besides, it is such an undertaking to go so far. I don’t feel as if it was worth while to turn my hand over for anything, and I’m getting dreadfully fretful and querulous. I cry at nothing, and cry most of the time. Of course I don’t when John is here, or anybody else, but when I am alone. And I am alone a good deal just now. John is kept in town very often by serious cases, and Jennie is good and lets me alone when I want her to. So I walk a little in the garden or down that lovely lane, sit on the porch under the roses, and lie down up here a good deal. I’m getting really fond of the room in spite of the wall-paper. Perhaps because of the wall-paper. It dwells in my mind so! I lie here on this great immovable bed–it is nailed down, I believe–and follow that pattern about by the hour. It is as good as gymnastics, I assure you. I start, we’ll say, at the bottom, down in the corner over there where it has not been touched, and I determine for the thousandth time that I will follow that pointless pattern to some sort of a conclusion. I know a little of the principle of design, and I know this thing was not arranged on any laws of radiation, or alternation, or repetition, or symmetry, or anything else that I ever heard of. It is repeated, of course, by the breadths, but not otherwise. Looked at in one way each breadth stands alone, the bloated curves and flourishes–a kind of â€Å"debased Romanesque† with delirium tremens–go waddling up and down in isolated columns of fatuity. But, on the other hand, they connect diagonally, and the sprawling outlines run off in great slanting waves of optic horror, like a lot of wallowing seaweeds in full chase. The whole thing goes horizontally, too, at least it seems so, and I exhaust myself in trying to distinguish the order of its going in that direction. They have used a horizontal breadth for a frieze, and that adds wonderfully to the confusion. There is one end of the room where it is almost intact, and there, when the crosslights fade and the low sun shines directly upon it, I can almost fancy radiation after all,–the interminable grotesques seem to form around a common centre and rush off in headlong plunges of equal distraction. It makes me tired to follow it. I will take a nap I guess. ———- I don’t know why I should write this. I don’t want to. I don’t feel able. And I know John would think it absurd. But I must say what I feel and think in some way–it is such a relief! But the effort is getting to be greater than the relief. Half the time now I am awfully lazy, and lie down ever so much. John says I mustn’t lose my strength, and has me take cod liver oil and lots of tonics and things, to say nothing of ale and wine and rare meat. Dear John! He loves me very dearly, and hates to have me sick. I tried to have a real earnest reasonable talk with him the other day, and tell him how I wish he would let me go and make a visit to Cousin Henry and Julia. But he said I wasn’t able to go, nor able to stand it after I got there; and I did not make out a very good case for myself, for I was crying before I had finished . It is getting to be a great effort for me to think straight. Just this nervous weakness I suppose. And dear John gathered me up in his arms, and just carried me upstairs and laid me on the bed, and sat by me and read to me till it tired my head. He said I was his darling and his comfort and all he had, and that I must take care of myself for his sake, and keep well. He says no one but myself can help me out of it, that I must use my will and self-control and not let any silly fancies run away with me. There’s one comfort, the baby is well and happy, and does not have to occupy this nursery with the horrid wall-paper. If we had not used it, that blessed child would have! What a fortunate escape! Why, I wouldn’t have a child of mine, an impressionable little thing, live in such a room for worlds. I never thought of it before, but it is lucky that John kept me here after all, I can stand it so much easier than a baby, you see. Of course I never mention it to them any more–I am too wise,–but I keep watch of it all the same. There are things in that paper that nobody knows but me, or ever will. Behind that outside pattern the dim shapes get clearer every day. It is always the same shape, only very numerous. And it is like a woman stooping down and creeping about behind that pattern. I don’t like it a bit. I wonder–I begin to think–I wish John would take me away from here! ———- It is so hard to talk with John about my case, because he is so wise, and because he loves me so. But I tried it last night. It was moonlight. The moon shines in all around just as the sun does. I hate to see it sometimes, it creeps so slowly, and always comes in by one window or another. John was asleep and I hated to waken him, so I kept still and watched the moonlight on that undulating wall-paper till I felt creepy. The faint figure behind seemed to shake the pattern, just as if she wanted to get out. I got up softly and went to feel and see if the paper did move, and when I came back John was awake. â€Å"What is it, little girl? he said. â€Å"Don’t go walking about like that–you’ll get cold. † I thought it was a good time to talk, so I told him that I really was not gaining here, and that I wished he would take me away. â€Å"Why darling! † said he, â€Å"our lease will be up in three weeks, and I can’t see how to leave before. †Å"The repairs are not done at home, and I cannot possibly leave town just now. Of course if you were in any danger, I could and would, but you really are better, dear, whether you can see it or not. I am a doctor, dear, and I know. You are gaining flesh and color, your appetite is better, I feel really much easier about you. â€Å"I don’t weigh a bit more,† said 1, â€Å"nor as much; and my appetite may be better in the evening when you are here, but it is worse in the morning when you are away! † â€Å"Bless her little heart! † said he with a big hug, â€Å"she shall be as sick as she pleases! But now let’s improve the shining hours by going to sleep, and talk about it in the morning! † â€Å"And you won’t go away? † I asked gloomily. â€Å"Why, how can 1, dear? It is only three weeks more and then we will take a nice little trip of a few days while Jennie is getting the house ready. Really dear you are better! â€Å"Better in body perhaps–† I began, and stopped short, for he sat up straight and looked at me with such a stern, reproachful look that I could not say another word. â€Å"My darling,† said he, â€Å"I beg of you, for my sake and for our child’s sake, as well as for your own, that you will never for one instant let that idea enter your mind! There is nothing so dangerous, so fascinating, to a temperament like yours. It is a false and foolish fancy. Can you not trust me as a physician when I tell you so? † So of course I said no more on that score, and we went to sleep before long. He thought I was asleep first, but I wasn’t, and lay there for hours trying to decide whether that front pattern and the back pattern really did move together or separately. ———- On a pattern like this, by daylight, there is a lack of sequence, a defiance of law, that is a constant irritant to a normal mind. The color is hideous enough, and unreliable enough, and infuriating enough, but the pattern is torturing. You think you have mastered it, but just as you get well underway in following, it turns a back somersault and there you are. It slaps you in the face, knocks you down, and tramples upon you. It is like a bad dream. The outside pattern is a florid arabesque, reminding one of a fungus. If you can imagine a toadstool in joints, an interminable string of toadstools, budding and sprouting in endless convolutions–why, that is something like it. That is, sometimes! There is one marked peculiarity about this paper, a thing nobody seems to notice but myself, and that is that it changes as the light changes. When the sun shoots in through the east window–I always watch for that first long, straight ray–it changes so quickly that I never can quite believe it. That is why I watch it always. By moonlight–the moon shines in all night when there is a moon–I wouldn’t know it was the same paper. At night in any kind of light, in twilight, candlelight, lamplight, and worst of all by moonlight, it becomes bars! The outside pattern I mean, and the woman behind it is as plain as can be. I didn’t realize for a long time what the thing was that showed behind, that dim sub-pattern, but now I am quite sure it is a woman. By daylight she is subdued, quiet. I fancy it is the pattern that keeps her so still. It is so puzzling. It keeps me quiet by the hour. I lie down ever so much now. John says it is good for me, and to sleep all I can. Indeed he started the habit by making me lie down for an hour after each meal. It is a very bad habit I am convinced, for you see I don’t sleep. And that cultivates deceit, for I don’t tell them I’m awake–O no! The fact is I am getting a little afraid of John. He seems very queer sometimes, and even Jennie has an inexplicable look. It strikes me occasionally, just as a scientific hypothesis,–that perhaps it is the paper! I have watched John when he did not know I was looking, and come into the room suddenly on the most innocent excuses, and I’ve caught him several times looking at the paper! And Jennie too. I caught Jennie with her hand on it once. She didn’t know I was in the room, and when I asked her in a quiet, a very quiet voice, with the most restrained manner possible, what she was doing with the paper–she turned around as if she had been caught stealing, and looked quite angry– asked me why I should frighten her so! Then she said that the paper stained everything it touched, that she had found yellow smooches on all my clothes and John’s, and she wished we would be more careful! Did not that sound innocent? But I know she was studying that pattern, and I am determined that nobody shall find it out but myself! ———- Life is very much more exciting now than it used to be. You see I have something more to expect, to look forward to, to watch. I really do eat better, and am more quiet than I was. John is so pleased to see me improve ! He laughed a little the other day, and said I seemed to be flourishing in spite of my wall-paper. I turned it off with a laugh. I had no intention of telling him it was because of the wall-paper–he would make fun of me. He might even want to take me away. I don’t want to leave now until I have found it out. There is a week more, and I think that will be enough. ———- I’m feeling ever so much better! I don’t sleep much at night, for it is so interesting to watch developments; but I sleep a good deal in the daytime. In the daytime it is tiresome and perplexing. There are always new shoots on the fungus, and new shades of yellow all over it. I cannot keep count of them, though I have tried conscientiously. It is the strangest yellow, that wall-paper! It makes me think of all the yellow things I ever saw–not beautiful ones like buttercups, but old foul, bad yellow things. But there is something else about that paper– the smell! I noticed it the moment we came into the room, but with so much air and sun it was not bad. Now we have had a week of fog and rain, and whether the windows are open or not, the smell is here. It creeps all over the house. I find it hovering in the dining-room, skulking in the parlor, hiding in the hall, lying in wait for me on the stairs. It gets into my hair. Even when I go to ride, if I turn my head suddenly and surprise it–there is that smell! Such a peculiar odor, too! I have spent hours in trying to analyze it, to find what it smelled like. It is not bad–at first, and very gentle, but quite the subtlest, most enduring odor I ever met. In this damp weather it is awful, I wake up in the night and find it hanging over me. It used to disturb me at first. I thought seriously of burning the house–to reach the smell. But now I am used to it. The only thing I can think of that it is like is the color of the paper! A yellow smell. There is a very funny mark on this wall, low down, near the mopboard. A streak that runs round the room. It goes behind every piece of furniture, except the bed, a long, straight, even smooch, as if it had been rubbed over and over. I wonder how it was done and who did it, and what they did it for. Round and round and round–round and round and round–it makes me dizzy! ———- I really have discovered something at last. Through watching so much at night, when it changes so, I have finally found out. The front pattern does move–and no wonder! The woman behind shakes it! Sometimes I think there are a great many women behind, and sometimes only one, and she crawls around fast, and her crawling shakes it all over. Then in the very bright spots she keeps still, and in the very shady spots she just takes hold of the bars and shakes them hard. And she is all the time trying to climb through. But nobody could climb through that pattern–it strangles so; I think that is why it has so many heads. They get through, and then the pattern strangles them off and turns them upside down, and makes their eyes white! If those heads were covered or taken off it would not be half so bad. ———- I think that woman gets out in the daytime! And I’ll tell you why–privately–I’ve seen her! I can see her out of every one of my windows! It is the same woman, I know, for she is always creeping, and most women do not creep by daylight. I see her on that long road under the trees, creeping along, and when a carriage comes she hides under the blackberry vines. I don’t blame her a bit. It must be very humiliating to be caught creeping by daylight! I always lock the door when I creep by daylight. I can’t do it at night, for I know John would suspect something at once. And John is so queer now, that I don’t want to irritate him. I wish he would take another room! Besides, I don’t want anybody to get that woman out at night but myself. I often wonder if I could see her out of all the windows at once. But, turn as fast as I can, I can only see out of one at one time. And though I always see her, she may be able to creep faster than I can turn! I have watched her sometimes away off in the open country, creeping as fast as a cloud shadow in a high wind. ———- If only that top pattern could be gotten off from the under one! I mean to try it, little by little. I have found out another funny thing, but I shan’t tell it this time! It does not do to trust people too much. There are only two more days to get this paper off, and I believe John is beginning to notice. I don’t like the look in his eyes. And I heard him ask Jennie a lot of professional questions about me. She had a very good report to give. She said I slept a good deal in the daytime. John knows I don’t sleep very well at night, for all I’m so quiet! He asked me all sorts of questions, too, and pretended to be very loving and kind. As if I couldn’t see through him! Still, I don’t wonder he acts so, sleeping under this paper for three months. It only interests me, but I feel sure John and Jennie are secretly affected by it. ———- Hurrah! This is the last day, but it is enough. John to stay in town over night, and won’t be out until this evening. Jennie wanted to sleep with me–the sly thing! but I told her I should undoubtedly rest better for a night all alone. That was clever, for really I wasn’t alone a bit! As soon as it was moonlight and that poor thing began to crawl and shake the pattern, I got up and ran to help her. I pulled and she shook, I shook and she pulled, and before morning we had peeled off yards of that paper. A strip about as high as my head and half around the room. And then when the sun came and that awful pattern began to laugh at me, I declared I would finish it to-day! We go away to-morrow, and they are moving all my furniture down again to leave things as they were before. Jennie looked at the wall in amazement, but I told her merrily that I did it out of pure spite at the vicious thing. She laughed and said she wouldn’t mind doing it herself, but I must not get tired. How she betrayed herself that time! But I am here, and no person touches this paper but me,–not alive ! She tried to get me out of the room–it was too patent! But I said it was so quiet and empty and clean now that I believed I would lie down again and sleep all I could; and not to wake me even for dinner–I would call when I woke. So now she is gone, and the servants are gone, and the things are gone, and there is nothing left but that great bedstead nailed down, with the canvas mattress we found on it. We shall sleep downstairs to-night, and take the boat home to-morrow. I quite enjoy the room, now it is bare again. How those children did tear about here! This bedstead is fairly gnawed! But I must get to work. I have locked the door and thrown the key down into the front path. I don’t want to go out, and I don’t want to have anybody come in, till John comes. I want to astonish him. I’ve got a rope up here that even Jennie did not find. If that woman does get out, and tries to get away, I can tie her! But I forgot I could not reach far without anything to stand on! This bed will not move! I tried to lift and push it until I was lame, and then I got so angry I bit off a little piece at one corner–but it hurt my teeth. Then I peeled off all the paper I could reach standing on the floor. It sticks horribly and the pattern just enjoys it! All those strangled heads and bulbous eyes and waddling fungus growths just shriek with derision! I am getting angry enough to do something desperate. To jump out of the window would be admirable exercise, but the bars are too strong even to try. Besides I wouldn’t do it. Of course not. I know well enough that a step like that is improper and might be misconstrued. I don’t like to look out of the windows even– there are so many of those creeping women, and they creep so fast. I wonder if they all come out of that wall-paper as I did? But I am securely fastened now by my well-hidden rope–you don’t get me out in the road there ! I suppose I shall have to get back behind the pattern when it comes night, and that is hard! It is so pleasant to be out in this great room and creep around as I please! I don’t want to go outside. I won’t, even if Jennie asks me to. For outside you have to creep on the ground, and everything is green instead of yellow. But here I can creep smoothly on the floor, and my shoulder just fits in that long smooch around the wall, so I cannot lose my way. Why there’s John at the door! It is no use, young man, you can’t open it! How he does call and pound! Now he’s crying for an axe. It would be a shame to break down that beautiful door! â€Å"John dear! † said I in the gentlest voice, â€Å"the key is down by the front steps, under a plantain leaf! † That silenced him for a few moments. Then he said–very quietly indeed, â€Å"Open the door, my darling! â€Å"I can’t,† said I. â€Å"The key is down by the front door under a plantain leaf! † And then I said it again, several times, very gently and slowly, and said it so often that he had to go and see, and he got it of course, and came in. He stopped short by the door. â€Å"What is the matter? † he c ried. â€Å"For God’s sake, what are you doing! † I kept on creeping just the same, but I looked at him over my shoulder. â€Å"I’ve got out at last,† said I, â€Å"in spite of you and Jane. And I’ve pulled off most of the paper, so you can’t put me back! † Now why should that man have fainted? But he did, and right across my path by the wall, so that I had to creep over him every time! The story of an hour by: Kate Chopin Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband’s death. It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband’s friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard’s name leading the list of â€Å"killed. He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message. She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister†™s arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her. There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul. She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves. There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window. She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams. She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought. There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air. Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will–as powerless as her two white slender hands would have been. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under hte breath: â€Å"free, free, free! † The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body. She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome. There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination. And yet she had loved him–sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in the face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being! Free! Body and soul free! † she kept whispering. Josephine was kneeling before the closed door with her lips to the keyhold, imploring for admission. â€Å"Louise, open the door! I beg; open the door–you will make yourself ill. What are you doing, Louise? For heaven’s sake open the door. † â€Å"Go away. I am not making myself ill. † No; she was drinking in a very elixir of life through that open window. Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own. She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long. She arose at length and opened the door to her sister’s importunities. There was a feverish triumph in her eyes, and she carried herself unwittingly like a goddess of Victory. She clasped her sister’s waist, and together they descended the stairs. Richards stood waiting for them at the bottom. Some one was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-stained, composedly carrying his grip-sack and umbrella. He had been far from the scene of the accident, and did not even know there had been one. He stood amazed at Josephine’s piercing cry; at Richards’ quick motion to screen him from the view of his wife. When the doctors came they said she had died of heart disease–of the joy that kills. Essay prompt for short story: In the short story â€Å"the story of an hour† Chopin uses the word ‘open’ repeatedly, why do you think this and what is the significance of it? Lady Lazarus by Sylvia Plath I have done it again. One year in every ten I manage it– A sort of walking miracle, my skin Bright as a Nazi lampshade, My right foot A paperweight, My face a featureless, fine Jew linen. Peel off the napkin O my enemy. Do I terrify? — The nose, the eye pits, the full set of teeth? The sour breath Will vanish in a day. Soon, soon the flesh The grave cave ate will be At home on me And I a smiling woman. I am only thirty. And like the cat I have nine times to die. This is Number Three. What a trash To annihilate each decade. What a million filaments. The peanut-crunching crowd Shoves in to see Them unwrap me hand and foot– The big strip tease. Gentlemen, ladies These are my hands My knees. I may be skin and bone, Nevertheless, I am the same, identical woman. The first time it happened I was ten. It was an accident. The second time I meant To last it out and not come back at all. I rocked shut As a seashell. They had to call and call And pick the worms off me like sticky pearls. Dying Is an art, like everything else. I do it exceptionally well. I do it so it feels like hell. I do it so it feels real. I guess you could say I’ve a call. It’s easy enough to do it in a cell. It’s easy enough to do it and stay put. It’s the theatrical Comeback in broad day To the same place, the same face, the same brute Amused shout: ‘A miracle! ‘ That knocks me out. There is a charge For the eyeing of my scars, there is a charge For the hearing of my heart– It really goes. And there is a charge, a very large charge For a word or a touch Or a bit of blood Or a piece of my hair or my clothes. So, so, Herr Doktor. So, Herr Enemy. I am your opus, I am your valuable, The pure gold baby That melts to a shriek. I turn and burn. Do not think I underestimate your great concern. Ash, ash– You poke and stir. Flesh, bone, there is nothing there– A cake of soap, A wedding ring, A gold filling. Herr God, Herr Lucifer Beware Beware. Out of the ash I rise with my red hair And I eat men like air. Daddy by: Sylvia Plath You do not do, you do not do Any more, black shoe In which I have lived like a foot For thirty years, poor and white, Barely daring to breathe or Achoo. Daddy, I have had to kill you. You died before I had time– Marble-heavy, a bag full of God, Ghastly statue with one gray toe Big as a Frisco seal And a head in the freakish Atlantic Where it pours bean green over blue In the waters off beautiful Nauset. I used to pray to recover you. Ach, du. In the German tongue, in the Polish town Scraped flat by the roller Of wars, wars, wars. But the name of the town is common. My Polack friend Says there are a dozen or two. So I never could tell where you Put your foot, your root, I never could talk to you. The tongue stuck in my jaw. It stuck in a barb wire snare. Ich, ich, ich, ich, I could hardly speak. I thought every German was you. And the language obscene An engine, an engine Chuffing me off like a Jew. A Jew to Dachau, Auschwitz, Belsen. I began to talk like a Jew. I think I may well be a Jew. The snows of the Tyrol, the clear beer of Vienna Are not very pure or true. With my gipsy ancestress and my weird luck And my Taroc pack and my Taroc pack I may be a bit of a Jew. I have always been scared of you, With your Luftwaffe, your gobbledygoo. And your neat mustache And your Aryan eye, bright blue. Panzer-man, panzer-man, O You– Not God but a swastika So black no sky could squeak through. Every woman adores a Fascist, The boot in the face, the brute Brute heart of a brute like you. You stand at the blackboard, daddy, In the picture I have of you, A cleft in your chin instead of your foot But no less a devil for that, no not Any less the black man who Bit my pretty red heart in two. I was ten when they buried you. At twenty I tried to die And get back, back, back to you. I thought even the bones would do. But they pulled me out of the sack, And they stuck me together with glue. And then I knew what to do. I made a model of you, A man in black with a Meinkampf look And a love of the rack and the screw. And I said I do, I do. So daddy, I’m finally through. The black telephone’s off at the root, The voices just can’t worm through. If I’ve killed one man, I’ve killed two– The vampire who said he was you And drank my blood for a year, Seven years, if you want to know. Daddy, you can lie back now. There’s a stake in your fat black heart And the villagers never liked you. They are dancing and stamping on you. They always knew it was you. Daddy, daddy, you bastard, I’m through. Lets hear it for the women The women oppressed by: Francis Duggan Lets hear it for women the women oppressed In patriarchal societies their human rights are transgressed By male religious zealots who hate woman kind For to trample on women’s rights any excuse they will find. Lets hear it for the women who never receive a fair go Of equality in their lives they never may know They are seen as inferior where males reign supreme And this can do little for their self esteem. Lets hear it for the women who must play second fiddle to men Where to be born a female means one cannot win Promotion in work or promotion in life To an arrogant and an unfaithful man expected to be a good wife. Lets hear it for women the women men do rule And many males in positions of power can be cruel The mothers of the children in life the hardest role Equality they need and not male control. P. O. W (Poor Oprressed Women) by: Sama Wareh Hello oppressed, With that scarf around your head, That you surely must dread, Aren’t you hot? Can’t you see it’s sunny, Aren’t your ears cold, They try to be funny, But some seriously suggest, That I am oppressed, Because I can’t flaunt what I got, And they look at the way that I’m dressed, All covered up, From head to toe, How am I to attract the men, Without a little show? So I tell them, I’m oppressed, Because men can’t see past the fabric? They are stuck with a conversation And a brain to pick, I flaunt, Yes I do, My personality is what I flaunt, I swear, it’s true, I aint no object In men’s desire, Nor am I a curve size, Because I have attire, And they tell me, Well, you were forced, Obviously, Your dad had a belt, And so you agreed, No, it was my choice, I did agree, In fact, After I did cover up, Men stopped checking out my behind, And started looking at who I am on the inside, And after I did, Respect came my way, Heads didn’t turn lolling as I passed men’s way, But I guess some like that attention, And women, This isn’t a stab at you, I’m just expressing my point of view, After dealing with stereotypes of what people tell me I am, I can even see it in their eyes, Like my attire should be banned, And especially older women, Look at me with pity, Poor child, I wish I could help her and show her the way, Cause according to Fox tv, they’ve gone astray, Poor abused women, dressed in black, Can’t those mean men cut them a little slack? But to their surprise, I choose to wear it, To me its freedom, Freedom from fashion implications, Telling you how to talk, dress and look, Advertising the new trend, To get you on the hook, Of being what the fashion industry can make money off of, I wear what I want and dress to impress, Myself and God, And nobody else, I wear pants and I wear skirts, I wear socks and long shirts, And if my name callers aren’t happen with that, Then come and liberate me, Which in now a day’s terms, Means kill me. Discussion questions for the poems: 1. In the poems â€Å"Lets Hear It For Women The Women Oppressed† and â€Å"P. O. W (Poor Oppressed Woman),† there are two different views on women’s oppression. What are these views? 2. In the poem â€Å"P. O. W (Poor Oppressed Women)†, what image does Wareh portray throughout? What words make you think this? 3. In the poem â€Å"Lady Lazarus,† Plath refers to herself as a cat with nine times to die, why do you think she chose these words and what is the importance of them? 4. After reading â€Å"lets hear it for the women the women oppressed,† what do you think Duggan’s view on women’s oppression is and how does she convey this in her poem? 5. After reading â€Å"P. O. W (Poor Oppressed Women),† how do you think Wareh views oppression and how does she show this in her poem? 6. In â€Å"Lady Lazarus,† what images does Plath use and how are they effective? . In the poem â€Å"Daddy† by Sylvia Plath, Plath uses the word ‘daddy’ instead of ‘father’, do you think this changes the way the reader views the poem? How? 8. In the poem â€Å"Daddy,† could ‘daddy’ be something besides her father? How? 9. In the poem â€Å"Lady Lazarus,† Plath chooses the word ‘Miracle’, in what tone do you think she used this? 10. In â€Å"Lets hear it for the women the women oppressed,† how do you think Duggan’s word chose sets the mood for the poem? Thomas 1 Kelley Thomas Ms. Flara AP English IV October 22, 2012 The theme of Women’s oppression and how it is viewed by Clarissa I read the novel â€Å"Mrs. Dalloway† by: Virginia Woolf. There are many themes throughout this novel but while reading it one was most apparent and that is the theme of Women’s oppression and how it is viewed by the Clarissa. Woolf uses the novel to show how she feels about society and oppression, especially toward women. The social setting and time period set the mood for this theme. London is returning to its social normalcies and women are moving back toward being housewives instead of working in munitions factories. She often shows her dislike of this through Clarissa. It has become a sort of way of life for her and she doesn’t truly notice she is even a part of it. How to cite Mrs. Dalloway Study Questions, Essay examples

Shakespeares Play A Midsummer Nights Dream

A Midsummer Night’s Dream was written at the end of the sixteenth century, the period marking the rise of Elizabethan era. Represented as a city comedy, the play also refers to the golden epoch of English history. Shakespeare’s literary work can be considered satirical in tone because it focuses on the audience of youth originating from gentry and nobility.Advertising We will write a custom essay sample on Shakespeare’s Play A Midsummer Night’s Dream specifically for you for only $16.05 $11/page Learn More At the beginning of the seventeenth century, the play, however, underwent slight changes due to the tangible impact of old tradition of writing plots premised on folklore, legends, and myths. As a result, the mixture of reality and fictional characters highlights the main features of Elizabethan comedy. At the same time, there were some attributes that pointed to the writer’s willingness to experiment. For instance, t he plays contains ‘nocturnal’ elements through the playwright depicts characters involved in a variety of events happened during one night. With regard to the above-presented overview, it should be stressed that genre, content, and fictional characters are the main aspects that were influenced by cultural, political, and social background of the time. Socio-political background has an immense influence on the literary works because Shakespeare’s political, cultural, and social views were brightly illustrated in his play. Specifically, the playwright attains much importance to the social hierarchy, as well as to class barriers that this organization has to literary work. Despite the class barriers, each individual has the right to receive good wages for hard labor, which led to greater self-reliance and self-respect (Ray 42). Industrial revolution was another feature contributing to social background of Shakespeare’s time, as well as glorious defeat of Spai n, and active social movement. Such a situation develops sense of pride penetrating to the entire England and reflected in the literature (Ray 12). Because the play was written during the prosperity of the England, Shakespeare’s Dream illustrates positive orientation and welfare of social classes that strived to better future. Shakespeare associated the title of the play Midsummer Night’s Dream with celebrations of dances, festivals, and pageants and merrymaking. Therefore, the play includes fairies, witches, devils, and goblins who can change people into animals and birds and influence by means of magic potions.Advertising Looking for essay on british literature? Let's see if we can help you! Get your first paper with 15% OFF Learn More Therefore, it is logical that Shakespeare chooses to set the play in a fictional context. To prove the issues, Mulherin et al. introduce historic evidence according to which â€Å"it was common for people to suffer from midsummer ‘madness’ when, for example they imagined strange things or behaved in adds ways† (10). Despite the fact that an enchanted wood forms the main setting the place, the author never went to Athens, but his education allowed him to rely on Roman and Greek history. Therefore, the characters, the content, and the setting are based on ancient Greek motifs. At the same, most of the folks and legend refer more to the old English traditions rather than to Greek mythology (Mulherin et al 12). In the play, the author depicts some Greek divine creatures, â€Å"Love looks not with the eyes, but with the mind;/ And therefore is wing’d Cupid painted blind† (Shakespeare n. p.). The synthesis of old and new traditions in play writing contributes to the development of new genres that Shakespeare makes use of to reflect the historic and cultural context of his epoch. Hence, the playwright focuses on the plot rather on characters, which underlines the audienceà ¢â‚¬â„¢s greater interest in the background of the place, as well as sequences of the events in which the main heroes are involved. Although A Midsummer Night’s Dream belongs to a city comedy, it incorporates a great number of mythic elements. However, myths and legends are used for decorative purposes rather than for integrating mythic motives. For instance, such mythic characters as Theseus who is closely connected with the Greek world whereas his wife Hyppolyta interferes with this fictional world and mixes the Amazons myths with the Greek legends. There are also some similarities related to the name of Egeus, Hermia’s farther, that reminds of the Minotaur. Old mythical narrations are accepted as ancient fables that were popular in the Middle Ages. Therefore, Shakespeare combines symbolic meaning of ancient stories with the old English tradition of Elizabethan era. Aside from ancient motifs, A Midsummer Night’s Dream encompasses various topics from Renaissanc e psychology, including Elizabethan viewpoint on fairies, as well as the transformation of reactions to witchcraft. Due to the fact that the play relates to performance with play-within-the-play and drama belongs to a living art form that alters over times, it has been interpreted and adapted over centuries to diverse social and historic backgrounds and values. More importantly, it can be seen that Shakespeare’s play borrows much from other historic sources to develop the plot. In particular, the playwright combines various approaches to create complex storylines based on his cultural and social experience. As a result, the play involves many patterns that interwoven together with images and words of the historic period.Advertising We will write a custom essay sample on Shakespeare’s Play A Midsummer Night’s Dream specifically for you for only $16.05 $11/page Learn More A Midsummer Night’s Dream refers to a lyric drama, poeti c and songlike in which the art of language dominates over the importance of the heroes’ circumstances, as well as the consequences of the conflict and pressure between them. Imagery and allusion prevail in the play to create atmosphere that links reality and supernatural world. Understanding social constructs represented in the play shifts the reader’s attention from the content and allows to explore the attributes of individual unconsciousness. It also inquires into the patterns of translation, production, and representation of imaginative experiences. Therefore, the complexity of plotlines is not significant because the major focus is made on the stage directions. Dynamics and verbal irony are other approaches that are typical of Shakespeare’s plays. Elizabethan culture is closely associated with peculiar representation of genders in literary works. Although the play illustrates the complicated and unpredicted mixture of relations between the characters, it s hows that women are rejected in their choices related to marriage. Therefore, the Shakespearean and Elizabethan cultural representations constitute ideological concepts of human physiology, as well as socio-historical constructs of sexual identities. Additionally, play skillfully synthesizes both gender and sexuality to adjust to the main social realms of Elizabethan epoch. These discourses are closely associated with diverse modes of political, cultural, and social organization and experience. Such a perspective relies on criticism of love and marriage, which is among the core themes in the play. In A Midsummer Night’s Dream, Shakespeare employs genre, Greek motifs, and old English tradition to describe the social, cultural, and political modes of social organization during the times of Elizabeth I’s reign. Specific emphasis should be placed on humorous approach to representing relations between men and women. Because the play addresses to young gentry and higher soci al classes, it also refers to the high prosperity period in England. Works Cited Mulherin Jennifer, Frost Abigail, and Norman Bancroft Hunt. Midsummer Night’s Dream. US: Cherrytree Books. 2002. Print.Advertising Looking for essay on british literature? Let's see if we can help you! Get your first paper with 15% OFF Learn More Ray, Ratri. William Shakespeare’s a Midsummer Night Dream. US: Atlantic Publishers Dist, 2008. Print. Shakespeare, William. A Midsummer Night Dream. n. d. Web. http://shakespeare.mit.edu/midsummer/full.html This essay on Shakespeare’s Play A Midsummer Night’s Dream was written and submitted by user Kailynn Salas to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Free Essays on Teenage Obsessive Compulsive Disorder

TEENAGE OCD Many teens suffer from a variety of disorders. These disorders include eating disorders, social disorders, behavioral disorders, and Obsessive Compulsive Disorder, or OCD. In OCD, it is as though the brain gets stuck on a particular thought or urge and won’t let go. This can persist throughout a person’s life; gradually worsening.OCD has a few different forms, including the fear of dirt and germs, compulsive hoarding, disturbing mental images of aggressiveness, and most commonly, rituals of counting or arranging objects. For teenagers this is a major problem because the compulsions can cause interference with daily life. For example, one obsessive disorder, which affects some teens, called Body Dysmorphic Disorder, can have a person staring into a mirror for hours at a time, trying to fix something which they feel is unattractive. This can create excessive concerns about someone’s personal appearance, which can consume major amounts of time. Doing so could possibly cause a teen to be late for school or work. Another compulsion teenagers face is the constant washing of the hands. They may feel that their hands are covered in germs and contamination, which causes them to wash their hands uncontrollably. This can cause their hands to become raw, and they may avoid touching door handles or commonly used things, for fear that they may catch diseases or infections. Teenagers commonly keep these disorders secret, because they are afraid that they will be seen as weird by their peers. There are a few different types of treatments for OCD. One is called Cognitive-Behavioral Therapy, or CBT. In CBT, you are exposed to things which you fear, so that eventually your fear subsides. For example, if a patient is afraid of germs on their hands, the doctor may have the patient try and touch things that would normally raise high amounts of anxiety. Medication can also be used to help a teen deal with OCD. While rese... Free Essays on Teenage Obsessive Compulsive Disorder Free Essays on Teenage Obsessive Compulsive Disorder TEENAGE OCD Many teens suffer from a variety of disorders. These disorders include eating disorders, social disorders, behavioral disorders, and Obsessive Compulsive Disorder, or OCD. In OCD, it is as though the brain gets stuck on a particular thought or urge and won’t let go. This can persist throughout a person’s life; gradually worsening.OCD has a few different forms, including the fear of dirt and germs, compulsive hoarding, disturbing mental images of aggressiveness, and most commonly, rituals of counting or arranging objects. For teenagers this is a major problem because the compulsions can cause interference with daily life. For example, one obsessive disorder, which affects some teens, called Body Dysmorphic Disorder, can have a person staring into a mirror for hours at a time, trying to fix something which they feel is unattractive. This can create excessive concerns about someone’s personal appearance, which can consume major amounts of time. Doing so could possibly cause a teen to be late for school or work. Another compulsion teenagers face is the constant washing of the hands. They may feel that their hands are covered in germs and contamination, which causes them to wash their hands uncontrollably. This can cause their hands to become raw, and they may avoid touching door handles or commonly used things, for fear that they may catch diseases or infections. Teenagers commonly keep these disorders secret, because they are afraid that they will be seen as weird by their peers. There are a few different types of treatments for OCD. One is called Cognitive-Behavioral Therapy, or CBT. In CBT, you are exposed to things which you fear, so that eventually your fear subsides. For example, if a patient is afraid of germs on their hands, the doctor may have the patient try and touch things that would normally raise high amounts of anxiety. Medication can also be used to help a teen deal with OCD. While rese...