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    Lovers' Quarrels in Love, 20 cents the First Quarter Mile Kenneth Fearing's poem "Love, 20 cents the First Quarter Mile," expresses the wide range of emotions experienced in an argument.  The poem depicts the all too familiar situation of a lover's quarrel in which the persona, whom we can assume is male, struggles to resolve an argument during a taxi ride.  During his attempts to resolve the quarrel, the persona experiences a variety of emotions ranging from apologetic to accusatory to sarcastic

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    the play are to be found in Rodney Bennett's 1980 film and Kenneth Branagh's 1996 blockbuster. The two films share many parallels between them in both interpretation and method, however they also have marked differences in their respective approaches to the text. Perhaps the most obvious difference between these two versions is that Branagh uses the full unabridged text whereas Bennett cuts the play down by an hour or so; Kenneth Branagh justifies his use of the full text on the BBC's

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    Analysis of The One Minute Manager by Kenneth Blanchard and Spencher Johnson The One Minute Manager by Kenneth Blanchard, Ph.D. and Spencer Johnson, M.D., seems like a practical simple plan on managing people and there for other areas of one’s life, however I must admit I am a little skeptical. The three philosophies do make sense especially once analogies are used to put them into more simple terms. Being in the work force for more than fourteen years I have witnessed many types of mangers

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    Comparing Mary Shelley’s Frankenstein and Kenneth Branagh's Frankenstein Most Americans have some idea of who Frankenstein is, as a result of the many Frankenstein movies. Contrary to popular belief Mary Shelley’s Frankenstein is a scientist, not a monster. The "monster" is not the inarticulate, rage-driven criminal depicted in the 1994 film version of the novel. Shelley’s original Frankenstein was misrepresented by this Kenneth branagh film, most likely to send a different message to the

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    Kenneth O'Reilly's Racial Matters In his book Racial Matters, Kenneth O’Reilly presented the facts as he sees them, with little interpretation. He delivered a sharp historical account of the unconstitutional methods the Federal Bureau of Investigation used to weaken and destroy what it labeled to be subversive groups in defense of its ideal of America. O’Reilly saw the role J. Edgar Hoover played to be essential to the manner in which the FBI illegally refused to protect Black lives and persecute

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    affirmative action

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    Affirmative Action Kenneth Huttner ECO 325 Professor Krall April 24, 2002 Discrimination is a problem that has plagued our country for many years. In the past few decades the government has been attempting to correct the problem through anti discrimination legislation. Some of the biggest programs have been through affirmative action. There is a general consensus that there are problems in our society with discrimination in many areas. But the questions we must ask are: Is affirmative

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    Australian Poet Kenneth Slessor's Use of Imagery Slessor's complex poems use many types of imagery, his imagery is one of his artistic techniques which defines him from other poets in Australia. One could say that his powerful words paint a picture for the reader but as they say, seeing is believing. Slessor uses many types of imagery however death, time and water are the main ones. He uses these in his poems Night Ride, Out of Time, Five Bells and Beach Burial. Slessor in Night Ride talks

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    The Wind in the Willows: Kenneth Grahame and Neopaganism The beauty of the English countryside--cultivated or wild, pastoral or primeval, it was an endless source of inspiration for eighteenth-century Romantic poets. Such notables as Wordsworth, Keats, and Shelley envisioned ancient and exotic Hellenic gods in familiar, typically British settings. Douglas Bush says of Keats, "For him the common sights of Hampstead Heath could suggest how poets had first conceived of fauns and dryads, of Psyche

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    The Use of Flashback in Kenneth Branagh's Henry V In Kenneth Branagh's film adaptation of William Shakespeare's Henry V flashback is used at key moments to comment on the action and to explain points in Henry's past, and how that past effects his present judgment. Certain scenes and lines are borrowed from parts one and two of Shakespeare's Henry IV to do this. The result is an amalgam of scenes, lines, and characters which brings about a telling expose of Henry V, and the man he was before

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    Halloween KO Frankenstein

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    Halloween KO Frankenstein Fade in: Amidst the crowd and noise of a swarm of children and their parents in a whirlwind, last-minute attempt to find Halloween costumes and makeup, Kenneth Branagh and Helena Bonham Carter-Branagh stand hand and hand—pinned against an “Austin Powers suit” and the ever-popular “Hershey Kiss” garb. Kenneth’s brows are furrowed and a small wrinkle on his forehead is tense with concern as to how he is going to find anything among the crowds. The door to the store opens

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    Kenneth Branagh's Love's Labour's Lost

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    Kenneth Branagh's Love's Labour's Lost In our teaching of Shakespearean film adaptation to undergraduates, one of the issues that frequently arises in class discussions is the question of how the visuality of the cinematic medium is constructed in tension against the verbal nature of Shakespeare's dialogue. The tension between the visual and verbal dimensions of filming Shakespeare is created on two levels: firstly, where the poetry of Shakespeare, functioning as word pictures that stimulate

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    for Christian Unity Introduction The prayer for Christian unity began with Christ, himself (John 1:21), and continues today. This essay proposes to examine two pleas for Christian unity using the rhetorical theory of Kenneth Burke. According to Em Griffin, "Kenneth Burke was the foremost rhetorician of the twentieth century. Burke wrote about rhetoric; other rhetoricians write about Burke" (319). Burke's theory seems especially relevant to the study of pleas for unity because of his

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    The Ghost in Kenneth Brannagh's Hamlet

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    The Ghost in Kenneth Brannagh's Hamlet William Shakespeare's Hamlet is a drama which has been renound for its content and depiction of characters. Over the years, it has gone through many variations of interpretations and criticisms. One such criticism is the nature of the ghost who takes the form of Hamlet's dead father. At first glance, it may be sufficient to accept the ghost as the spirit of Hamlet's dead father who returns to the land of the living in order to have his son avenge his murder

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    In Kenneth Branaghs film Mary Shelley’s Frankenstein, the director, Kenneth Branagh sticks to the major themes of the original book with minute changes. There are many similarities and differences between the book and Kenneth Branagh’s adaptation of the book. I believe Mary Shelley wanted readers to catch the themes of child abandonment, presented in Victor abandoning his creature. She also wanted readers to have compassion and sympathy for the abandoned creature that Victor created out

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    Comparison of Ethan Hawke and Kenneth Branagh's Versions of Hamlet Modern day directors use a variety of methods to hold ones interest. Ethan Hawke and Kenneth Branagh’s created versions of Hamlet that shared some similarities, but ultimately had many differences in respects to an audience’s appeal. An appealing movie is one that has an alluring ambiance and an intellectual stimulus. With these two movie versions, a setting and a mood forced an audience to acquire specific emotions, but Ethan

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    depicted as evil because he is 'malformed' but this is not always the case. The simple one-to-one relationship of ugly equals evil was not prominent in the Mary Shelley's original book or in more true-to-text films such as The Bride or more recently Kenneth Brannagh's attempt to make the authoritative film interpretation, Mary Shelley's Frankenstein. In these versions, the monster was portrayed as more human in his endeavors to question his origins, find a father and be happy. However, his physical characteristics

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    John Kenneth Galbraith

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    John Kenneth Galbraith The Canadian-born, Berkeley-trained John Kenneth Galbraith has been considered by many as the "Last American Institutionalist". As a result, Galbraith has remained something of a renegade in modern economics - and his work has been nothing if not provocative. In the 1950s, he presented economics with two tracts that needled the mainstream: one developing a theory of price control (which arose out of his wartime experience in the Office of Price Administration) which

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    A Brief History of Lawrence Ferlinghetti A prominent voice of the wide-open poetry movement that began in the 1950s, Lawrence Ferlinghetti has written poetry, translation, fiction, theater, art criticism, film narration, and essays. Often concerned with politics and social issues, Ferlinghetti’s poetry countered the literary elite's definition of art and the artist's role in the world. Though imbued with the commonplace, his poetry cannot be simply described as polemic or personal protest

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    Hamlet Film Response

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    the world. Also who is casted and how they will be dressed is crucial to the success of the movie although sometimes overlooked during the production process. Some movies represent these elements of mise-en-scene in an excellent matter such as the Kenneth Branagh version of Hamlet, while others would seem to disappoint my expectations for a great re-visualization of our suicidal hero like Micheal Almereyda’s Hamlet staring Ethan Hawke. Admirably though every Hamlet film to date has its own unique style

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    When one is constantly being put down, one tends to put themselves down and feel weaker than what is true. When that person attempts something, one does not perform to their full potential, only the low standards set for them. In Silverwing, by Kenneth Oppel, Shade is a Silverwing bat, the runt of his colony. He is constantly being put down, so he tries to do something crazy which gets his colony in trouble and results in resentment by his peers. Later, when he gets blown to shore without his colony

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