Category: Literature

By now you should have read Louis Menand’s “Live and Learn: Why We Have College”; reviewed the refreshed Core IMPACTS framework; and reflected on the purpose of college and the role of core curriculum. For this assignment you will be asked to consider your perspective on the core curriculum and answer the following questions. Write a minimum of one paragraph per question.
What do you think about the Core IMPACTS framework?
Does the new framework help you better understand the relevance and value of core curriculum courses as part of your degree requirements? Explain.
What other courses or types of courses do you believe should be included in the core curriculum that are not currently part of core curriculum requirements? Explain why you think these courses should be included.

Select one of the following attached sample texts to revise and edit, and then submit the text with clearly designated markups of three revisions and five edits

Discussion 1-In Week 4 readings, two characters that exemplify strong moral principles are the protagonist in Zitkala-Sa’s “The Soft-Hearted Sioux” and the narrator in Harriet Jacobs’s “Incidents in the Life of a Slave Girl.” Both characters demonstrate profound commitment to their values, even under difficult circumstances.
In Zitkala-Sa’s “The Soft-Hearted Sioux,” the protagonist shows remarkable integrity through his dedication to his family despite personal and cultural conflicts. His resolve to care for his ailing father and his determination to provide for his family, even when it means defying societal expectations and his own cultural norms, highlight his moral fortitude. For instance, when he undertakes the perilous task of searching for food, he shows his commitment to his family’s well-being: “I took my empty rifle and went in search of food. I wandered far from the beaten path, into the forest where deer and elk were still plentiful” (Zitkala-Sa, 1901). This act of perseverance and sacrifice underscores his integrity, as he prioritizes his family’s needs above personal safety and cultural conformity.
In Harriet Jacobs’s “Incidents in the Life of a Slave Girl,” the narrator’s integrity is evident through her relentless pursuit of freedom and protection for her children, despite severe oppression. Jacobs’s narrative reveals her moral strength as she endures unimaginable hardship to ensure a better future for her children. She reflects on her sacrifices and the harsh conditions she faces, stating, “The continued darkness was oppressive… I could not see the face of my dear children” (Jacobs, 1861). Her willingness to endure such suffering to secure her family’s freedom demonstrates a powerful commitment to her values and integrity.
Both characters embody the American ideals of perseverance and moral strength, showing that integrity involves adhering to one’s principles even when faced with significant challenges.
Criteria:
150 words minimum for each post (excluding quotations and citations)
Include at least one properly integrated and cited quote for each response to support your claims. You may use either direct or paraphrased quotes.
Discussion 2- In Week 4 readings, two characters that exemplify strong moral principles are the protagonist in Zitkala-Sa’s “The Soft-Hearted Sioux” and the narrator in Harriet Jacobs’s “Incidents in the Life of a Slave Girl.” Both characters demonstrate profound commitment to their values, even under difficult circumstances.
In Zitkala-Sa’s “The Soft-Hearted Sioux,” the protagonist shows remarkable integrity through his dedication to his family despite personal and cultural conflicts. His resolve to care for his ailing father and his determination to provide for his family, even when it means defying societal expectations and his own cultural norms, highlight his moral fortitude. For instance, when he undertakes the perilous task of searching for food, he shows his commitment to his family’s well-being: “I took my empty rifle and went in search of food. I wandered far from the beaten path, into the forest where deer and elk were still plentiful” (Zitkala-Sa, 1901). This act of perseverance and sacrifice underscores his integrity, as he prioritizes his family’s needs above personal safety and cultural conformity.
In Harriet Jacobs’s “Incidents in the Life of a Slave Girl,” the narrator’s integrity is evident through her relentless pursuit of freedom and protection for her children, despite severe oppression. Jacobs’s narrative reveals her moral strength as she endures unimaginable hardship to ensure a better future for her children. She reflects on her sacrifices and the harsh conditions she faces, stating, “The continued darkness was oppressive… I could not see the face of my dear children” (Jacobs, 1861). Her willingness to endure such suffering to secure her family’s freedom demonstrates a powerful commitment to her values and integrity.
Both characters embody the American ideals of perseverance and moral strength, showing that integrity involves adhering to one’s principles even when faced with significant challenges.
Criteria:
150 words minimum for each post (excluding quotations and citations)
Include at least one properly integrated and cited quote for each response to support your claims. You may use either direct or paraphrased quotes.
Discussion 3 –
Creative writing in response to literature is a way for students to respond to literature in a personal way. Creative writing provides a way for students to practice critical thinking and develop a stronger understanding of literary criticism while showing creativity and a bit of their own personalities. For this creative writing assignment, you will do a character analysis to allow you to get inside the mind of one of the characters.”Woman Hollering Creek” is told as a third-person narrative, not as a first-person narrative. The difference is that a third-person narrative presents the characters to us in the words of a narrator rather than from the words of the characters themselves. The story contains descriptions such as “Cleofilas did this” or “Cleofilas said that,” but it’s not as if Cleofilas herself is telling everything from their perspective. Of course, sometimes she speaks in the story, but she does not get to tell the story or what she thinking or feeling. It is up to the reader to determine what she might be thinking or feeling. For this assignment, imagine you are Cleofilas writing a journal entry the events described in the story. Try to get into the mind of Cleofilas. Be imaginative and creative. Pretend you are Cleofilas and have successfully left your marriage with Felice’s help. You will not be retelling the plot of the story; you will be Cleofilas reflecting on what has happened. In this journal entry you can put down whatever thoughts she might have using absolute frankness and honesty. 
Criteria:
Write a minimum 400 words in paragraph form
Discussion 4-
In a post of at least 100 words, address the items below:
Explain how has your understanding of the American Dream changed as a result of this course.
Reflect on John Lennon’s “Imagine,” which for many signifies hope. Do you believe there is hope for the American Dream? Choose at least one image from the song lyrics or video that signifies your new understanding of the American Dream.
VN 000355 L65 CB283 16×9 3m30s 230620M (youtube.com)

Watch the narrated PowerPoint video by Dr. Aaron Glassman and read the article, Revisiting NASA as a High Reliability Organization (ProQuest/Hunt Library)Links to an external site.. Then, respond to the questions in a short two-to-three-page paper. Use double spacing, Times New Roman 12-point font, and one-inch margins throughout. Thoroughly and concisely address the topic in the prompt. For additional details, see the rubric. Only APA-formatted references are required for this assignment.
Provide an answer to the following prompts:
Explain how you think High-Reliability Organization (HRO) relates to ERM as a way to manage risk.
Explain why the aviation industry would use the HRO approach to address at least some of its risks with or without an ERM strategy.
Provide your thoughts on whether the HRO is a replacement for ERM. Why or why not?
Address the why or why not, and be sure to consider which risks may or may not be addressed by each approach.

Watch the narrated PowerPoint video by Dr. Aaron Glassman and read the article, Revisiting NASA as a High Reliability Organization (ProQuest/Hunt Library)Links to an external site.. Then, respond to the questions in a short two-to-three-page paper. Use double spacing, Times New Roman 12-point font, and one-inch margins throughout. Thoroughly and concisely address the topic in the prompt. For additional details, see the rubric. Only APA-formatted references are required for this assignment.
Provide an answer to the following prompts:
Explain how you think High-Reliability Organization (HRO) relates to ERM as a way to manage risk.
Explain why the aviation industry would use the HRO approach to address at least some of its risks with or without an ERM strategy.
Provide your thoughts on whether the HRO is a replacement for ERM. Why or why not?
Address the why or why not, and be sure to consider which risks may or may not be addressed by each approach.

1- what happen to humans body during flight and take off and landing. 2- impact of long flight? especially on flight crew member. i need this at open link articles not more than 10years of published. pubmed website preferred with Vancouver citation and refrences style.

In this section, provide the context for the exhibit by briefly describing the historical event and explaining why an exhibit about the historical event would be important today.
Describe the event as well as its historical importance. Consider the following:What happened during this historical event?
Why is this event historically important?
Describe the impact of the event during its time period.
Explain the relationship between the organization your proposal is written for and your historical topic. Consider the following:Why should the historical society or cultural association be interested in hosting the exhibit?
Describe a current issue that provides a contemporary context for this exhibit. Consider the following:What is the connection between this historical event and an event or events happening today?
Analyze how the secondary sources you collected provide evidence for the topic of the exhibit. Consider the following:What is relevant about the sources in relation to how you plan to present the exhibit
Part 2: Plan for Exhibit: Artifact Selection
In this section, describe the historical artifacts you have selected to be part of the exhibit.
Identify five historical artifacts that you will present in the exhibit. You should address each of the following:What are the documents, objects, images, or other items you will display as artifacts at the event?
Describe each artifact based on the information you researched in secondary sources. You should address each of the following:Give a brief summary of the subject matter of the artifact.
Who was its author or creator?
Who was its audience or user?
Explain the historical context for each artifact. You should address all of the following:When and where was the artifact created? 
Why was it created at this time and place? 
What was happening in this time and place that relates to the artifact? 
What specific information does the artifact provide about the event? 
Explain the relationship of the historical artifacts to each other as part of the exhibit. You should address all of the following:What similarities do the historical artifacts have with each other?
What differences do the historical artifacts have from each other?
What reasons explain these similarities and differences?
Part 3: Telling Their Story: Artifact Analysis
In this section, you will tell the story of the historical event using your selected artifacts. You will provide an analysis of the historical and contemporary relevance of the artifacts you chose using research from the secondary sources in your Collection of Sources. You will also be describing the perspective or point of view represented by the artifacts, based on the Profile of a historical figure that you completed in Module Three.
Explain the historical narrative for the artifacts you selected. You should address the following:What would visitors to this exhibit learn about the historical event?
What characteristics of the artifacts influenced you to include them in the exhibit?
Describe how the artifacts relate to the perspectives or points of view of an individual or group directly involved in the historical event.
Describe how the artifacts relate to the perspectives or points of view of an individual or group who experienced the event but were not previously included in historical accounts of it.
Describe the impact of bias in presenting this perspective about the artifacts.How does bias in the secondary sources influence your interpretation of the artifacts?
How does your bias influence your historical narrative about the event?
Part 4: Visitor Experience at the Exhibit: Contemporary Relevance for a Diverse Audience
In this section, you will connect your exhibit to an event or situation that is happening today.
Describe a historical narrative that connects the subject of the exhibit with contemporary life. Consider the following:Which artifacts do you feel have the most relevance from a contemporary point of view?
How do the characteristics of the artifacts connect the subject of the exhibit with contemporary life?
Describe the relationship between this historical event and a current event.What current events are occurring that relate to this historical event?
How are the events related to each other?
Why would a contemporary audience be interested in exploring this relationship?

This goes with the other paper you did I will attach it also.
This is the discussion for the piece of literature that you got approved in the previous assignment. If your assignment has not been graded/approved (check grade and check for submission comments from me), then do NOT do this yet.
To complete this assignment, you will need to identify and read one piece of American literature since 1945. The piece of American literature may or may not come from our textbook.
Instructions
1. Identify one piece of American literature written from 1945 to the present. This piece of literature can be fiction or nonfiction. This piece of American literature may or may not come from our textbook.
2. Identify and give a brief biography of the author.
3. Explain how the literary work you have chosen fits the characteristics of literature written since 1945. Use the overview to review characteristics of literature written during the specified era. AMERICAN LITERATURE SINCE 1945 PERIOD INTRODUCTION OVERVIEW
4. Give a summary of the literary work(s). If it is poetry, summarize at least two of the poet’s poems.

craft a response 9-15 sentences in length
What do Miss Brill′s observations reveal about her?
Describe Miss Brill′s sense of self at the end of the story
″Miss Brill.″ by Katherine Mansfield (1888-1923)
From: The Garden Party, and Other Stories by Katherine Mansfield. New York: Alfred A. Knopf, 1922. pp. 182-189.
Editor: Mary Mark Ockerbloom
[Page 182]
MISS BRILL
ALTHOUGH it was so brilliantly fine–the blue sky powdered with gold and great spots of light like white wine splashed over the Jardins Publiques–Miss Brill was glad that she had decided on her fur. The air was motionless, but when you opened your mouth there was just a faint chill, like a chill from a glass of iced water before you sip, and now and again a leaf came drifting–from nowhere, from the sky. Miss Brill put up her hand and touched her fur. Dear little thing! It was nice to feel it again. She had taken it out of its box that afternoon, shaken out the moth powder, given it a good brush, and rubbed the life back into the dim little eyes. ″What has been happening to me?″ said the sad little eyes. Oh, how sweet it was to see them snap at her again from the red eiderdown! . . . But the nose, which was of some black composition, wasn′t at all firm. It must have had a knock, somehow. Never mind–a little dab of black sealing-wax when the time came–when it was absolutely necessary . . . Little rogue! Yes, she really felt like that about it. Little rogue biting its tail just by her left ear. She could have taken it off and laid it on her lap and stroked it. She felt a tingling in her hands and arms, but that [Page 183] came from walking, she supposed. And when she breathed, something light and sad–no, not sad, exactly–something gentle seemed to move in her bosom.
There were a number of people out this afternoon, far more than last Sunday. And the band sounded louder and gayer. That was because the Season had begun. For although the band played all the year round on Sundays, out of season it was never the same. It was like some one playing with only the family to listen; it didn′t care how it played if there weren′t any strangers present. Wasn′t the conductor wearing a new coat, too? She was sure it was new. He scraped with his foot and flapped his arms like a rooster about to crow, and the bandsmen sitting in the green rotunda blew out their cheeks and glared at the music. Now there came a little ″flutey″ bit–very pretty!–a little chain of bright drops. She was sure it would be repeated. It was; she lifted her head and smiled.
Only two people shared her ″special″ seat: a fine old man in a velvet coat, his hands clasped over a huge carved walking-stick, and a big old woman, sitting upright, with a roll of knitting on her embroidered apron. They did not speak. This was disappointing, for Miss Brill always looked forward to the conversation. She had become really quite expert, she thought, at listening as though she didn′t listen, at sitting in other people′s lives just for a minute while they talked round her. [Page 184]
She glanced, sideways, at the old couple. Perhaps they would go soon. Last Sunday, too, hadn′t been as interesting as usual. An Englishman and his wife, he wearing a dreadful Panama hat and she button boots. And she′d gone on the whole time about how she ought to wear spectacles; she knew she needed them; but that it was no good getting any; they′d be sure to break and they′d never keep on. And he′d been so patient. He′d suggested everything–gold rims, the kind that curve round your ears, little pads inside the bridge. No, nothing would please her. ″They′ll always be sliding down my nose!″ Miss Brill had wanted to shake her.
The old people sat on a bench, still as statues. Never mind, there was always the crowd to watch. To and fro, in front of the flower beds and the band rotunda, the couples and groups paraded, stopped to talk, to greet, to buy a handful of flowers from the old beggar who had his tray fixed to the railings. Little children ran among them, swooping and laughing; little boys with big white silk bows under their chins, little girls, little French dolls, dressed up in velvet and lace. And sometimes a tiny staggerer came suddenly rocking into the open from under the trees, stopped, stared, as suddenly sat down ″flop,″ until its small high-stepping mother, like a young hen, rushed scolding to its rescue. Other people sat on the benches and green chairs, but they were nearly always the same, Sunday after Sunday, [Page 185] and–Miss Brill had often noticed–there was something funny about nearly all of them. They were odd, silent, nearly all old, and from the way they stared they looked as though they′d just come from dark little rooms or even–even cupboards!
Behind the rotunda the slender trees with yellow leaves down drooping, and through them just a line of sea, and beyond the blue sky with gold-veined clouds.
Tum-tum-tum tiddle-um! tiddle-um! tum tiddley-um tum ta! blew the band.
Two young girls in red came by and two young soldiers in blue met them, and they laughed and paired and went off arm-in-arm. Two peasant women with funny straw hats passed, gravely, leading beautiful smoke-coloured donkeys. A cold, pale nun hurried by. A beautiful woman came along and dropped her bunch of violets, and a little boy ran after to hand them to her, and she took them and threw them away as if they′d been poisoned. Dear me! Miss Brill didn′t know whether to admire that or not! And now an ermine toque and a gentleman in gray met just in front of her. He was tall, stiff, dignified, and she was wearing the ermine toque she′d bought when her hair was yellow. Now everything, her hair, her face, even her eyes, was the same colour as the shabby ermine, and her hand, in its cleaned glove, lifted to dab her lips, was a tiny yellowish paw. Oh, she was so pleased to see him–delighted! She rather thought they were going [Page 186] to meet that afternoon. She described where she′d been–everywhere, here, there, along by the sea. The day was so charming–didn′t he agree? And wouldn′t he, perhaps? . . . But he shook his head, lighted a cigarette, slowly breathed a great deep puff into her face, and even while she was still talking and laughing, flicked the match away and walked on. The ermine toque was alone; she smiled more brightly than ever. But even the band seemed to know what she was feeling and played more softly, played tenderly, and the drum beat, ″The Brute! The Brute!″ over and over. What would she do? What was going to happen now? But as Miss Brill wondered, the ermine toque turned, raised her hand as though she′d seen someone else, much nicer, just over there, and pattered away. And the band changed again and played more quickly, more gayly than ever, and the old couple on Miss Brill′s seat got up and marched away, and such a funny old man with long whiskers hobbled along in time to the music and was nearly knocked over by four girls walking abreast.
Oh, how fascinating it was! How she enjoyed it! How she loved sitting here, watching it all! It was like a play. It was exactly like a play. Who could believe the sky at the back wasn′t painted? But it wasn′t till a little brown dog trotted on solemn and then slowly trotted off, like a little ″theatre″ dog, a little dog that had been drugged, that Miss Brill discovered what it was [Page 187] that made it so exciting. They were all on stage. They weren′t only the audience, not only looking on; they were acting. Even she had a part and came every Sunday. No doubt somebody would have noticed if she hadn′t been there; she was part of the performance after all. How strange she′d never thought of it like that before! And yet it explained why she made such point of starting from home at just the same time each week–so as not to be late for the performance–and it also explained why she had a queer, shy feeling at telling her English pupils how she spent her Sunday afternoons. No wonder! Miss Brill nearly laughed out loud. She was on the stage. She thought of the old invalid gentleman to whom she read the newspaper four afternoons a week while he slept in the garden. She had got quite used to the frail head on the cotton pillow, the hollowed eyes, the open mouth and the high pinched nose. If he′d been dead she mightn′t have noticed for weeks; she wouldn′t have minded. But suddenly he knew he was having the paper read to him by an actress! ″An actress!″ The old head lifted; two points of light quivered in the old eyes. ″An actress–are ye?″ And Miss Brill smoothed the newspaper as though it were the manusсrіpt of her part and said gently; ″Yes, I have been an actress for a long time.″
The band had been having a rest. Now they started again. And what they played was warm, [Page 188] sunny, yet there was just a faint chill–a something, what was it?–not sadness–no, not sadness–a something that made you want to sing. The tune lifted, lifted, the light shone; and it seemed to Miss Brill that in another moment all of them, all the whole company, would begin singing. The young ones, the laughing ones who were moving together, they would begin and the men′s voices, very resolute and brave, would join them. And then she too, she too, and the others on the benches–they would come in with a kind of accompaniment–something low, that scarcely rose or fell, something so beautiful–moving. . . . And Miss Brill′s eyes filled with tears and she looked smiling at all the other members of the company. Yes, we understand, we understand, she thought–though what they understood she didn′t know.
Just at that moment a boy and girl came and sat down where the old couple had been. They were beautifully dressed; they were in love. The hero and heroine, of course, just arrived from his father′s yacht. And still soundlessly singing, still with that trembling smile, Miss Brill prepared to listen.
″No, not now,″ said the girl. ″Not here, I can′t.″
″But why? Because of that stupid old thing at the end there?″ asked the boy. ″Why does she come here at all–who wants her? Why doesn′t she keep her silly old mug at home?″ [Page 189]
″It′s her fu-ur which is so funny,″ giggled the girl. ″It′s exactly like a fried whiting.″
″Ah, be off with you!″ said the boy in an angry whisper. Then: ″Tell me, ma petite chère–″
″No, not here,″ said the girl. ″Not yet.″
. . . . . . .
On her way home she usually bought a slice of honeycake at the baker′s. It was her Sunday treat. Sometimes there was an almond in her slice, sometimes not. It made a great difference. If there was an almond it was like carrying home a tiny present–a surprise–something that might very well not have been there. She hurried on the almond Sundays and struck the match for the kettle in quite a dashing way.
But to-day she passed the baker′s by, climbed the stairs, went into the little dark room–her room like a cupboard–and sat down on the red eiderdown. She sat there for a long time. The box that the fur came out of was on the bed. She unclasped the necklet quickly; quickly, without looking, laid it inside. But when she put the lid on she thought she heard something crying.
[Page 190]
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Answer questions reflecting on your opininons and reactions to the literary works that you have read. Please always write in the first person. I leave the personal opinion to your creativity. I am a woman if you need to include something more. If you have any doubts, let me know