Answer:
Frederick Douglass
Douglass's Narrative is like a highway map, showing us the road from slavery to freedom. At the beginning of the book, Douglass is a slave in both body and mind. When the book ends, he gets both his legal freedom and frees his mind.
American Slave
Frederick Douglass is one of the most celebrated writers in the African American literary tradition, and his first autobiography is the one of the most widely read North American slave narratives. Narrative of the Life of Frederick Douglass, An American Slave was published in 1845, less than seven years after Douglass escaped from slavery. The book was an instant success, selling 4,500 copies in the first four months. Throughout his life, Douglass continued to revise and expand his autobiography, publishing a second version in 1855 as My Bondage and My Freedom. The third version of Douglass' autobiography was published in 1881 as Life and Times of Frederick Douglass, and an expanded version of Life and Times was published in 1892. These various retellings of Douglass' story all begin with his birth and childhood, but each new version emphasizes the mutual influence and close correlation of Douglass' life with key events in American history.
What I usually do to start a thesis or intro is go off with a hook. so start it with why you like to draw. for example: drawing has always played an important role in my life. i want to teach others how to draw so they can understand and enjoy this art...etc, etc
<h3>How does paragraph 5 refine the ideas about brain research in paragraph 3?</h3>
<em>Answer : To achieve all the benefits from musical training, the students have to be active participants and they have to learn to play musical instruments, especially at an early age.</em>
Answer:
Explanation:
What could be a worse fate for a modern American female poet than to be lumped into a nebulous, chauvinistic and ever slightly misogynistic pool of cess stereotyped as a “domestic poet.” Anyone unfamiliar with the term coming across it from the first time in reference to a female poet might well believe that domestic poetry is sweetly rhyming verse taking as its subject situations like getting the kids into the van for soccer practice, making cookies for the PTA meeting and, of course, a litany of hatred expressed toward husbands who are never there to help with domestic issues.
Never mind that Robert Frost and Walt Whitman and Wallace Stevens have all at one time or another found a niche within the broadly defined movement or genre of domestic poetry. Which, for the same of brevity, shall be termed poetry dealing with the commonplace of everyday as opposed to epic tales, transcendental unity of man with nature, mysticism, avant-garde experimentation with form over content and various other assorted and sundry types of poems with which the average person cannot relate. Linda Pastan, in other words, writes poems in which she consistently returns to touch upon universal themes dealing with family and relationships and the difficulties of normal existence and the emotional distress of just getting up and living live as it comes.
The tension that always exists between members of a family regardless of the definition or connotation applied to the term “family” has been a great source of inspiration to Pastan from her earliest verse and throughout her development and maturation. By contrast, an equally concentrated examination of the tensions introduced by religious and spiritual expectations has tended to dissipate throughout that process of growing older and becoming more domesticated. In its place Pastan has created a body of work that is far more elegiac and meditative and, it must finally be admitted, less domestic. With the introduction of a more melancholic and reflective poetry that moves into a greater sense of isolation and a solitary contemplation of tactile nature rather than abstract spiritualism, Pastan succeeds in tossing off whatever chains may have been tied around her verse as a result of the unfortunate constriction of trying to pigeonhole her as merely a domestic poet.
