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Difficulty—Beginner—Outlined Copy

★Prenatal Yoga Online Videos and Classes

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Difficulty & Intensity Guide

This comprehensive guide will help you find which series is right for you

Difficulty Levels

Difficulty refers to the level of skill and technique called for in a class.

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Beginner

Beginner series are most approachable for those who have little or no exposure to yoga. These series typically offer more modifications and detailed instructions on fundamental poses.

These series are perfect for someone who is looking to start a yoga practice and explore the benefits of yoga. These classes can help you to learn the basics of starting a practice, foundational poses, understanding breathwork, and learning to focus on the moment every time you come to the mat.

Read more Close

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Moderate

Moderate classes may include moderate pose modifications and less instruction than found in Beginner classes.

These series are perfect for someone who has previous exposure to yoga, whether at home or in a studio setting, and has a basic understanding of foundational poses and class structure. They are the perfect opportunity to grow your practice, maintain consistency, and enjoy classes designed to grow your pose library and increase your strength.

Read more Close

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Intermediate

Intermediate series tend to be more detailed tutorials on how to achieve more challenging asanas and end-goal poses. These classes help build strength and body awareness by exploring transitions, trying inversions, and mastering breath and movement.

These series are perfect for someone who has a consistent yoga practice and has established confidence in poses, progressions, and general yoga knowledge. They help students express creativity and find freedom in exploring flows and movement. There is less cueing than in Beginner or Moderate content.

Read more Close

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Advanced

Advanced classes are the perfect opportunity to explore your potential beyond what is found in typical in-studio classes. You’ll find your edge while exploring a greater level of strength, control, and skill work.

These series are ideal for students who have high body awareness, are comfortable with most poses, and have confidence in their strength and breath work. These classes allow opportunities to practice inversions, floating, or advanced transitions.

Read more Close

Created with Sketch.








Beginner

Beginner series are most approachable for those who have little or no exposure to yoga. These series typically offer more modifications and detailed instructions on fundamental poses.

These series are perfect for someone who is looking to start a yoga practice and explore the benefits of yoga. These classes can help you to learn the basics of starting a practice, foundational poses, understanding breathwork, and learning to focus on the moment every time you come to the mat.

Read more Close

Created with Sketch.








Moderate

Moderate classes may include moderate pose modifications and less instruction than found in Beginner classes.

These series are perfect for someone who has previous exposure to yoga, whether at home or in a studio setting, and has a basic understanding of foundational poses and class structure. They are the perfect opportunity to grow your practice, maintain consistency, and enjoy classes designed to grow your pose library and increase your strength.

Read more Close

Created with Sketch.








Intermediate

Intermediate series tend to be more detailed tutorials on how to achieve more challenging asanas and end-goal poses. These classes help build strength and body awareness by exploring transitions, trying inversions, and mastering breath and movement.

These series are perfect for someone who has a consistent yoga practice and has established confidence in poses, progressions, and general yoga knowledge. They help students express creativity and find freedom in exploring flows and movement. There is less cueing than in Beginner or Moderate content.

Read more Close

Created with Sketch.








Advanced

Advanced classes are the perfect opportunity to explore your potential beyond what is found in typical in-studio classes. You’ll find your edge while exploring a greater level of strength, control, and skill work.

These series are ideal for students who have high body awareness, are comfortable with most poses, and have confidence in their strength and breath work. These classes allow opportunities to practice inversions, floating, or advanced transitions.

Read more Close

Intensity Levels

Intensity is not the same as difficulty; it refers to the amount of exertion that a workout requires.

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Level 1

This intensity level is ideal for students seeking slow-paced, restorative, or breath-focused content.
Students often leave their mat feeling relaxed and at-ease.

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Level 2

Series within this level vary from energizing flows to entry-level strength content.
They typically move at a slow-to-moderate pace. Students can expect to feel comfortably challenged and explore a wider
range of movement.

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Level 3

Get sweaty with flow and strength content designed to increase your breathing and challenge your limits.
Level 3 intensity classes will increase the pace of your movement and test your endurance.

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Level 4

Push your edge in classes designed to make you sweat. This intensity level moves at a fast pace to increase your heart rate and
accelerate your breathing. Work hard to discover untapped levels of strength and endurance.

Created with Sketch.








Level 1

This intensity level is ideal for students seeking slow-paced, restorative, or breath-focused content.
Students often leave their mat feeling relaxed and at-ease.

Created with Sketch.








Level 2

Series within this level vary from energizing flows to entry-level strength content.
They typically move at a slow-to-moderate pace. Students can expect to feel comfortably challenged and explore a wider
range of movement.

Created with Sketch.








Level 3

Get sweaty with flow and strength content designed to increase your breathing and challenge your limits.
Level 3 intensity classes will increase the pace of your movement and test your endurance.

Created with Sketch.








Level 4

Push your edge in classes designed to make you sweat. This intensity level moves at a fast pace to increase your heart rate and
accelerate your breathing. Work hard to discover untapped levels of strength and endurance.
Intensity Levels

Intensity is not the same as difficulty; it refers to the amount of exertion that a workout requires.

Created with Sketch.








Level 1

This intensity level is ideal for students seeking slow-paced, restorative, or breath-focused content.
Students often leave their mat feeling relaxed and at-ease.

Created with Sketch.








Level 2

Series within this level vary from energizing flows to entry-level strength content.
They typically move at a slow-to-moderate pace. Students can expect to feel comfortably challenged and explore a wider
range of movement.

Created with Sketch.








Level 3

Get sweaty with flow and strength content designed to increase your breathing and challenge your limits.
Level 3 intensity classes will increase the pace of your movement and test your endurance.

Created with Sketch.








Level 4

Push your edge in classes designed to make you sweat. This intensity level moves at a fast pace to increase your heart rate and
accelerate your breathing. Work hard to discover untapped levels of strength and endurance.

Created with Sketch.








Level 1

This intensity level is ideal for students seeking slow-paced, restorative, or breath-focused content.
Students often leave their mat feeling relaxed and at-ease.

Created with Sketch.








Level 2

Series within this level vary from energizing flows to entry-level strength content.
They typically move at a slow-to-moderate pace. Students can expect to feel comfortably challenged and explore a wider
range of movement.

Created with Sketch.








Level 3

Get sweaty with flow and strength content designed to increase your breathing and challenge your limits.
Level 3 intensity classes will increase the pace of your movement and test your endurance.

Created with Sketch.








Level 4

Push your edge in classes designed to make you sweat. This intensity level moves at a fast pace to increase your heart rate and
accelerate your breathing. Work hard to discover untapped levels of strength and endurance.

How This Fits Together

Each series lives at an intersection of Difficulty and Intensity. While one maybe Beginner and Intensity 4, another may be Advanced and Intensity 1. We have something for everyone in every mood.

Tap a square to explore all series at that intersection of Diffuculty & Intensity

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4

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Beginner

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Intensity 4
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Moderate

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Intensity 4
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Intermediate

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Intensity 4
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Advanced

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Intensity 4
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3

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Beginner

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Intensity 3
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Moderate

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Intensity 3
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Intermediate

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Intensity 3
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Advanced

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Intensity 3
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2

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Beginner

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Intensity 2
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Moderate

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Intensity 2
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Intermediate

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Intensity 2
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Advanced

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Intensity 2
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1

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Beginner

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Intensity 1
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Moderate

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Intensity 1
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Intermediate

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Intensity 1
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Advanced

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Intensity 1
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Beginner

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Advanced
Difficulty Levels
Intensity Levels

MacKenzie Miller's "Prenatal Yoga" Online Video Workouts on Alo Moves

Prenatal Yoga

MacKenzie Miller

Start Practicing
  • Overview
  • Classes
  • Community

What you get

  • Free 14 Day Trial
  • iPhone & Android
  • Download For Offline Use

About the Series

Care for your mental, emotional, and physical health during your pregnancy and beyond. This series is designed to empower and support your changing body with prenatal-specific yoga flows, meditations, lectures, and pranayama.

While many prenatal programs bypass the importance and power of the mind, this series embodies the whole journey of pregnancy. It speaks to the physical and physiological changes that occur and empowers you to feel confident while taking care of yourself during pregnancy. Modifications are provided for your practice as you evolve throughout your pregnancy journey.

It is so important to also tend to your mental wellbeing during your pregnancy. The included meditations will help you stay calm and grounded while on the rollercoaster of your pregnancy while providing you with time to connect to the being that is developing inside your belly.

This series includes:

• Two yoga flows filled with prenatal-specific modifications for each trimester.

• One strength training practice designed to maintain strength, stability, and power.

• Two lectures to inform and empower with information about the psychological, physiological, and cardiovascular changes that are taking place in your body.

• Four meditation practices that encourage centeredness during times of emotional, physical, and hormonal changes. It also allows for special quiet time with your growing baby.

• One pranayama practice to help harness the power of breath during labor and delivery.

• One myofascial release class to relieve physical discomfort and tension.

Both mind and body will reap the amazing benefits of exercise, movement, meditation, and self-care, helping to prepare you for the arrival of your bundle of joy.

Read More
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Instructor


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Normal fa332be3 3fe0 4788 9ac3 fd71432eef44MacKenzie Miller

Work hard, find softness. MacKenzie Miller will leave you feeling as if you have flirted with gravity and laughed with the divine. Students are instantaneously transported away from the hustle of their daily lives, allowing their mat to be an arena reserved for cultivating inner peace.

MacKenzie is a certified personal trainer and yoga instructor. Her teaching combines thorough understanding of alignment and anatomy with the joy of balance and movement. She engages deeply with her students and her classes are thoughtfully sequenced, creating a safe space to have fun and explore, work hard yet find softness.

No aspect of the modern practice experience is left untouched. All will leave energized, grinning and humming at the end.

Total Run Time

5 hr 6 min


(12 Videos)

Difficulty

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Moderate

Intensity

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Intensity 2
Difficulty & Intensity Guide
Difficulty & Intensity Guide

What you get

  • Lifetime Access
  • Satisfaction Guarantee
  • iPhone Access

Classes

  • Movegrid

    1

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    Preview: Go With The Flow

    (15:03)

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    2

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    Preview: Embracing The New You

    (10:24)

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    3

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    How To Approach This Plan

    (3:06)

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    4

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    Lecture: Changes During Pregnancy

    (19:05)

    This lecture discusses the many physical and hormonal changes that occur during pregnancy. You will gain insight into how these changes impact your body and therefore, your…
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    5

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    Lecture: How To Modify During Pregnancy

    (22:15)

    This lecture provides suggestions and recommendations applicable to your yoga practice or fitness routine by trimester, always remembering your body is your best guide.
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    6

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    Meditation: I Trust My Body

    (18:20)

    Women’s bodies are miracle makers. This meditation helps strengthen the bond between you and your body. Building trust in its ability to communicate with you will help you …
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    7

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    Meditation: Moving Through Fear

    (17:52)

    Fear is present at some point during pregnancy, whether it be about the process, the baby, or your ability as a mother. Instead of letting your fears run rampant, this medi…
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    8

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    Meditation: Embracing The New You

    (18:33)

    In this meditation, we reflect on the emotional and physical changes that occur during pregnancy.
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    9

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    Meditation: The Waves

    (18:40)

    This wave meditation will guide you through fluctuations of the mind and body. It comes in handy during labor when you are having contractions.
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    10

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    Pranayama: The Power Of Breath

    (16:57)

    Pranayama practices are powerful coping tools, especially when life is stressful or chaotic. This pranayama practice will guide you through Nadi Shodhana, which is a breath…
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    11

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    Restorative: Soft & Supported

    (30:32)

    Feel completely supported with gentle poses that create space and is doable throughout your whole pregnancy.
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    12

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    Myofascial Release: Revive & Refresh

    (31:16)

    Nourish your fascia and release physical tension through this myofascial practice. This class can provide the physical release you desire without the negative side effects …
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    13

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    Strength Training: I Am Powerful

    (36:27)

    Strength work helped me step into my physical power during pregnancy, and helped me realize how much strength comes from the mind. In the circuit training, we strengthen yo…
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    14

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    Flow: Supple & Strong

    (38:45)

    This 30-minute flow is all about creating healthy mobility and strength around your hips. I provide variations throughout so you can adjust and modify to what feels best to…
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    15

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    Flow: Go With The Flow

    (34:31)

    This simple flow allows you time to move and breathe in your body. We place emphasis on opening the upper body, specifically the chest and shoulders. Enjoy!

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14-day trial

Get unlimited access to thousands of videos on Alo Moves

Learn More

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Prenatal Yoga Master Class

ASW20 Applications

Health & fitness

Keeping in shape whilst pregnant is so important and will make getting back in shape after the birth so much easier. Yoga is being used by more and more women to do just that.

This collection of 177 prenatal yoga and pilates exercise tuitional videos will hopefully give you plenty on inspiration to stay in shape. Many if not all of the workouts can be carried out in the comfort of your own home.

App features:
** Edit the video title, subtitle and keep your own set of user notes.
** Move the video around it's group and even change it's group.
** Make videos your favourites and give them your own rating
** Search by title or notes
** View by favourites or rating
** View by history the last ten played or visited videos

Videos include:
Prenatal Yoga Routine Lara Dutta
Prenatal Yoga 1 – 25 min version
Heidi Kristoffers Prenatal Yoga Flow Part 1
Prenatal Yoga Flow 2 Shoulders and Arms With Heidi
Prenatal Yoga With Heidi Legs and Butt
The Absolute Best Yoga Move To Do During Pregnancy
Beginner Prenatal Yoga Baby Mama Yoga 1 – BEXLIFE
Prenatal Yoga Love Your Unborn Baby In The Womb 15 Minute Pregnant Yoga Routine Part 1
Prenatal Yoga Exercise with Debra Geymayr
PreNatal Yoga for Beginners 29 minute Yoga Class
Pregnancy Yoga – Main Routine
Shiva Rea Mama and Baby Yoga Yoga Gaiam
Prenatal Yoga with Lara Dutta Routine
Denise Austin 3rd Trimester Toning Pregnancy Workout
Third Trimester Pregnancy Exercises Beautiful Belly Healthy Pregnancy Workout
40 Weeks of Fitness Prenatal Workout Series with Lauren Huber Griffith Full Video
Prenatal Yoga with Summer Huntington
Free Yoga Class Prenatal yoga class online with Lesley Fightmaster Pregnancy Yoga
prenatal yoga – pregnancy yoga for birth
30 Minute Intermediate Advanced Prenatal Yoga
Pregnancy Yoga – Strength Stability
Pregnancy Yoga – Energising Flow
Pregnancy Yoga – Vinyasa Flow
Pregnancy Yoga Birth Preparation
Pregnancy Yoga – Embrace Change
Pregnancy Yoga is back
Pregnancy Yoga – 5 Key Modifications
Labour Oriented Endurance Exercises – Keep-ups
Lara Dutta Meditation Yoga
Har Har Meditation
Pregnancy Exercises – Yoga
Pregnancy Yoga – Warm up routine
Method PreNatal Yoga 2-5
Method PreNatal Yoga 4-5
Method PreNatal Yoga 5-5
Method PreNatal Yoga 3-5
Method PreNatal Yoga 1-5
Pregnancy Exercise – Warm Up
Pregnancy Exercises – shoulders and obliques
Prenatal Yoga Routine Gift Of Life 1st Trimester
Prenatal Vinyasa Yoga for Flow and Hip Opening
Happy Pregnancy Workout Exercises for 1st 2nd Trimester
20-Minute Gentle Prenatal Yoga Class Yoga w OneUrbanYogini
Pregnancy Yoga How to Workout Stretches For Pregnant Women by Jen Hilman
Leg and Butt Workout Prenatal Fitness Class FitSugar
Pregnancy Workout 1st 2nd Trimester Toning- Denise Austin
Denise Austin Prenatal Cardio Workout- Fit Firm Pregnancy
Prenatal Stretching and Strengthening Workout Wellness Today
Prenatal Safe Stretch Routine Relief for insomnia restless leg syndrome sciatica more
Prenatal Cardio Dance Workout for a Fit Pregnancy KeairaLaShae
Yoga for the second trimester
Heidi Klum Prenatal Workout Andrea Orbeck Fitness Class FitSugar
All Levels Prenatal Yoga for Strength and Balance
Second Trimester Pre Natal Exercise Video
Prenatal Yoga with Lara Dutta – Routine
Pregnancy Yoga with Esther Ekhart and Jess
Pregnancy Yoga with Esther Ekhart and Jess Part 2
Prenatal Pregnancy Yoga Exercise
Prenatal Yoga for Digestion
Prenatal yoga labor inducing yoga
Warrior Pregnancy Yoga
Pregnancy Yoga Ease Hip Pain and Discomfort in Lower Back
Prenatal Yoga with Lara Dutta – Relevance and Benefits
Soham Meditation with Lara Dutta – Ajapa Japa
Prenatal Yoga with Lara Dutta – Labour Oriented endurance exercisesKeep–ups
Prenatal Yoga with Lara Dutta – Har Har Meditation
Third Trimester Prenatal Yoga 3rd Trimester Prenatal Yoga Garland Pose
Hatha Yoga for Joints ALL LEVELS Posture
Yoga for the Third Trimester
Antenatal Breathing and Relaxation for Labour

and many more

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Prenatal Yoga Master Class

Overview
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Mobile device


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Description

Keeping in shape whilst pregnant is so important and will make getting back in shape after the birth so much easier. Yoga is being used by more and more women to do just that.

This collection of 177 prenatal yoga and pilates exercise tuitional videos will hopefully give you plenty on inspiration to stay in shape. Many if not all of the workouts can be carried out in the comfort of your own home.

App features:
** Edit the video title, subtitle and keep your own set of user notes.
** Move the video around it’s group and even change it’s group.
** Make videos your favourites and give them your own rating
** Search by title or notes
** View by favourites or rating
** View by history the last ten played or visited videos

Videos include:
Prenatal Yoga Routine Lara Dutta
Prenatal Yoga 1 – 25 min version
Heidi Kristoffers Prenatal Yoga Flow Part 1
Prenatal Yoga Flow 2 Shoulders and Arms With Heidi
Prenatal Yoga With Heidi Legs and Butt
The Absolute Best Yoga Move To Do During Pregnancy
Beginner Prenatal Yoga Baby Mama Yoga 1 – BEXLIFE
Prenatal Yoga Love Your Unborn Baby In The Womb 15 Minute Pregnant Yoga Routine Part 1
Prenatal Yoga Exercise with Debra Geymayr
PreNatal Yoga for Beginners 29 minute Yoga Class
Pregnancy Yoga – Main Routine
Shiva Rea Mama and Baby Yoga Yoga Gaiam
Prenatal Yoga with Lara Dutta Routine
Denise Austin 3rd Trimester Toning Pregnancy Workout
Third Trimester Pregnancy Exercises Beautiful Belly Healthy Pregnancy Workout
40 Weeks of Fitness Prenatal Workout Series with Lauren Huber Griffith Full Video
Prenatal Yoga with Summer Huntington
Free Yoga Class Prenatal yoga class online with Lesley Fightmaster Pregnancy Yoga
prenatal yoga – pregnancy yoga for birth
30 Minute Intermediate Advanced Prenatal Yoga
Pregnancy Yoga – Strength Stability
Pregnancy Yoga – Energising Flow
Pregnancy Yoga – Vinyasa Flow
Pregnancy Yoga Birth Preparation
Pregnancy Yoga – Embrace Change
Pregnancy Yoga is back
Pregnancy Yoga – 5 Key Modifications
Labour Oriented Endurance Exercises – Keep-ups
Lara Dutta Meditation Yoga
Har Har Meditation
Pregnancy Exercises – Yoga
Pregnancy Yoga – Warm up routine
Method PreNatal Yoga 2-5
Method PreNatal Yoga 4-5
Method PreNatal Yoga 5-5
Method PreNatal Yoga 3-5
Method PreNatal Yoga 1-5
Pregnancy Exercise – Warm Up
Pregnancy Exercises – shoulders and obliques
Prenatal Yoga Routine Gift Of Life 1st Trimester
Prenatal Vinyasa Yoga for Flow and Hip Opening
Happy Pregnancy Workout Exercises for 1st 2nd Trimester
20-Minute Gentle Prenatal Yoga Class Yoga w OneUrbanYogini
Pregnancy Yoga How to Workout Stretches For Pregnant Women by Jen Hilman
Leg and Butt Workout Prenatal Fitness Class FitSugar
Pregnancy Workout 1st 2nd Trimester Toning- Denise Austin
Denise Austin Prenatal Cardio Workout- Fit Firm Pregnancy
Prenatal Stretching and Strengthening Workout Wellness Today
Prenatal Safe Stretch Routine Relief for insomnia restless leg syndrome sciatica more
Prenatal Cardio Dance Workout for a Fit Pregnancy KeairaLaShae
Yoga for the second trimester
Heidi Klum Prenatal Workout Andrea Orbeck Fitness Class FitSugar
All Levels Prenatal Yoga for Strength and Balance
Second Trimester Pre Natal Exercise Video
Prenatal Yoga with Lara Dutta – Routine
Pregnancy Yoga with Esther Ekhart and Jess
Pregnancy Yoga with Esther Ekhart and Jess Part 2
Prenatal Pregnancy Yoga Exercise
Prenatal Yoga for Digestion
Prenatal yoga labor inducing yoga
Warrior Pregnancy Yoga
Pregnancy Yoga Ease Hip Pain and Discomfort in Lower Back
Prenatal Yoga with Lara Dutta – Relevance and Benefits
Soham Meditation with Lara Dutta – Ajapa Japa
Prenatal Yoga with Lara Dutta – Labour Oriented endurance exercisesKeep–ups
Prenatal Yoga with Lara Dutta – Har Har Meditation
Third Trimester Prenatal Yoga 3rd Trimester Prenatal Yoga Garland Pose
Hatha Yoga for Joints ALL LEVELS Posture
Yoga for the Third Trimester
Antenatal Breathing and Relaxation for Labour

and many more

Screenshots


  • Screenshot 1
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  • Screenshot 3
  • Screenshot 4
  • Screenshot 5
  • Screenshot 6

Features

  • Use this app as a “Video Referencing Library” where you can come back for a refresher lesson or search for how to do something new.
  • Edit the video title, subtitle and keep your own set of user notes.
  • Move the video around it’s group and even change it’s group.
  • Make videos your favourites and give them your own rating
  • Search by title or notes
  • View by favourites or rating
  • View by history the last ten played or visited videos

Additional information

Published by


ASW20 Applications


Copyright


ASW20apps


Developed by


ASW20 Applications

Release date


10/10/2016

Approximate size


7.59 MB

Category


Health & fitness

This app can


Access your Internet connection


Permissions info

Installation


Get this app while signed in to your Microsoft account and install on up to ten Windows 10 devices.

Language supported


English (United States)


Publisher Info


Prenatal Yoga Master Class support


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Terms of transaction


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Photosensitive seizure warning


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★Revising the Persuasive Essay: Thesis Supported by Evidence

Writing Thesis Statements for Argumentative Essays

Read the article below (on the left) about thesis statements and then do the interactive quiz on the right. Write only one word in each space.

Writing Thesis Statements for Argumentative Essays

Introduction

University writing often requires students to use persuasion: they need to convince readers of a logical viewpoint on a debatable subject. The thesis statement is usually one sentence in the essay’s introduction that clearly states the writer’s opinion and it often appears after some general background information about the issue. The thesis statement acts as a short summary of the writer’s stance in the debate, helping readers understand what will appear in the rest of the paper. Assignments may not state clearly whether a thesis statement is necessary, but if it asks you to take a position on an issue, analyze, interpret, compare and contrast or show cause and effect, you are probably expected to develop a persuasive thesis. (If you are not sure, it is wise to ask your instructor if the assignment requires a thesis statement.)

Developing a Thesis

Before you write a thesis statement, it is important to spend time reading academic articles to gather general background information about the issue. You need to evaluate the findings and arguments of different writers and decide which ones you think are the strongest and most convincing, which ones have the most credibility and which ones will help you write persuasively. Reading recent research will help you to decide your position and write a stronger, well-informed argument. Understanding and critically weighing others’ ideas will guide you towards developing a clear, logical and convincing thesis statement.

Thesis Statements: 4 points to remember

1. MAKE IT DEBATABLE

The first important point is that thesis statements must be debatable. (There is no point writing a persuasive argument if everyone already agrees!)

Example of an un-debatable thesis statement:

‘Drinking too much alcohol may cause health problems.’

This is weak because it would be very difficult to build a persuasive argument that drinking too much alcohol would not cause health problems: most people (and doctors) already agree that it would.

Example of a debatable thesis statement:

‘Alcohol should contain warning labels about the possible dangers of over-drinking.’

This is debatable because people can agree or disagree with the proposal. Some might agree that alcohol labels should contain warnings about the dangers of drinking while others may feel that warning labels would be ineffective as they would not stop people from drinking. Therefore, it is a good thesis statement.
The first point to remember then is that thesis statements must provide room for disagreement and debate.

2. MAKE IT SPECIFIC

Thesis statements should be specific, not general. The following thesis statement is too general:

‘Drinking alcohol is harmful.’

This statement is too broad and unfocused because it does not specify:

*Who drinking alcohol harms
*What drinking alcohol harms
*What the main reasons are that make drinking alcohol harmful

Asking specific ‘Wh’ questions can help narrow your focus and make your paper more manageable.

The following thesis statement is more persuasive because it is focused:

‘Alcohol consumption may negatively impact university students’ GPA.’

As this statement provides specific answers to the questions above, it significantly narrows the possibilities that the writer can write about and provides a clear focus for the entire argument.

Here are two more examples of focused thesis statements:

‘A four-year university programme is better than a three-year one because students have more time for deeper learning.’
‘Hong Kong will not become a world class city until it tackles its air pollution problem.’

The second point to remember then is that a thesis statement should be specific.’

3. HAVE ONLY ONE CONTROLLING ARGUMENT

As you can see from the examples above, a good thesis statement has only one controlling (main) argument:

‘Alcohol should contain warning labels about the possible dangers of over-drinking.’
‘Alcohol consumption may negatively impact amongst university students’ GPA.’
‘A four-year university programme is better than a three-year one because students have more time for deeper learning.’
‘Hong Kong will not become a world class city until it tackles its air pollution problem.

It is important that your thesis statements also contain only one controlling argument. Supporting details can be discussed in depth later in the essay’s body paragraphs that follow the introduction.

4. MAKE IT CLEAR AND CONCISE

As you can see, good thesis statements use clear language and not too many words. It is important that your thesis be clear so that your readers know exactly what your position is. There should be no confusion, such as in the following poor example:

‘Many people from around the world have different opinions about whether teenagers under eighteen years of age should be able to get a driving license and drive a vehicle or not and I tend to agree with some of them but not with others.’

This example is poor for a number of reasons. First, it is too long and ‘wordy’ (it uses too many unnecessary words which can be omitted). Second, the opinion of the writer is not clear to the reader. A better example of a thesis would be:

‘Teenagers under eighteen years of age should not have driving licenses as most are not mature enough to handle the responsibility of driving.’

This thesis statement is much better as the writer’s position is very clear, and uses a minimal number of words. Clear and concise should be your goal in all writing, but it is especially important when writing a thesis statement.

Summary

Remember! When you include a thesis statement in your introduction that is…

1. debatable
2. specific
3. has only one main argument
4. is clear and concise

…your essay will be focused and your reader will know exactly what to expect in the body paragraphs that follow your introduction. With a little practice, you can write high quality thesis statements that bring focus to all of your argumentative essays.

More information and practice with thesis statements:

http://create.arizona.edu/content/weak-thesis-statements-recognizing-and-fixing-them
http://www.uark.edu/campus-resources/qwrtcntr/resources/handouts/thesis.html
https://owl.english.purdue.edu/owl/resource/588/01/
http://depts.washington.edu/owrc/Handouts/How%20to%20Structure%20and%20Organize%20Your%20Paper.pdf

Now do the interactive activities on the right.

 


  1. In which paragraph is the thesis statement normally found?
  2. What is another word for ‘argumentative’?
  3. The first step before writing a thesis statement is to _________ expert, academic articles to gather background information.
  4. When you __________ the arguments and findings of academic articles on the issue that you will write about, you will begin to choose those that are most credible and persuasive.
  5. Reading academic articles on the issue that you will write about will help you decide your __________.
  6. The first main point to remember about writing a thesis statement is to make it ___________.
  7. A good thesis statement should always leave room for _________.
  8. Another main point is that thesis statements need to be ___________. They should not be too broad or general.
  9. Writing specific thesis statements helps to narrow the possibilities that the writer will write about and provide _________ to the essay.
  10. A good thesis statement should not have more than ___________ controlling argument.
  11. ____________ details should be discussed in the body paragraphs that follow the introduction.
  12. Another key idea is that a thesis statement should always be very ___________ so that readers can identify the writer’s position on the issue.
  13. A thesis statement should also always be as ____________ as possible. Using too many words may confuse or annoy readers.
  14. If an introduction has a clear, concise and debatable thesis statement with only one controlling idea, readers will be able to identify the writer’s point of view and know exactly what to __________ from the essay before they read its body paragraphs.

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Revising the Persuasive Essay: Thesis Supported by Evidence

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    Ιούλιος Βερν: O Πραγματικός Πατέρας της Επιστημονικής Φαντασίας

    Μπορεί η εξερεύνηση του βυθού ή ο γύρος του κόσμου με ένα αερόστατο να μην είναι τα πρώτα πράγματα που μας έρχονται στο μυαλό όταν ακούμε τις λέξεις “Επιστημονική Φαντασία”, όμως το αγαπημένο αυτό είδος μυθοπλασίας οφείλει πάρα πολλά στον Jules Verne και τα παράξενα λογοτεχνικά του ταξίδια.

    Γεννημένος το 1828 στη Ναντ της Γαλλίας, ο Verne υπήρξε δικηγόρος, στιχουργός για την όπερα, ακόμα και χρηματιστής πριν ασχοληθεί με τη λογοτεχνία. Μετά από πολλές αποτυχημένες απόπειρες να βρει εκδότη για το έργο του, το 1862 γνωρίζει τον Pierre-Jules Hetzel με τον οποίο σύντομα γίνονται καλοί φίλοι. Στο διάστημα 1863 με 1905, θα εκδοθούν από τον οίκο του Hetzel 54 ολόκληρα μυθιστορήματα του Verne, υπό τον γενικό τίτλο “Voyages Extraordinaires”, ένα έργο – ορόσημο για τη λογοτεχνία του φανταστικού (και όχι μόνο). Ανάμεσα στα μυθιστορήματα αυτά βρίσκονται τίτλοι όπως  το “Ταξίδι στο Κέντρο της Γης” (1864), το “Από τη Γη στη Σελήνη” (1865) το “Είκοσι Χιλιάδες Λεύγες Κάτω από τη Θάλασσα” (1870) και ο “Γύρος του Κόσμου σε Ογδόντα Ημέρες” (1873).

    Τα έργα του διέπονται από ένα πνεύμα εξερεύνησης για άγνωστους κόσμους, και περιέχουν πλήθος έγκυρων επιστημονικών και γεωγραφικών στοιχείων – προϊόντα επίπονης προσωπικής έρευνας του συγγραφέα. Συχνά μάλιστα, προέβλεπαν τεχνολογικές ανακαλύψεις που δεν είχαν ακόμα πραγματοποιηθεί όπως τα αεροπορικά ταξίδια και η εξερεύνηση του διαστήματος. Αν όλα αυτά σας φαίνονται τυπικά γνωρίσματα ενός sci-fi φιλμ/βιβλίου/οτιδήποτε, πέσατε διάνα: Mαζί με τους H.G. Wells και Hugo Gernsback, ο Verne θεωρείται πατέρας της Επιστημονικής Φαντασίας.

    Αν θέλετε να μάθετε περισσότερα για τα μοναδικά, ευφάνταστα ταξίδια στην Επιστημονική Φαντασία, ή αν θέλετε να δείτε από κοντά κάποια από τα ήδη σημαντικά έργα του Ιουλίου Βερν, από τις 9 Οκτωβρίου ξεκινά το «Ταξίδι στο Άγνωστο». Πληροφορίες, εδώ .

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  • ★How to Write a Critical Essay at a Glance

    S.Flores/Advice on Critical Essays

    For a usefully concise version of this advice, see this highlighted weblink. Note: the advice below uses examples from writing about Shakespeare but the general principles apply to any literary text and its contexts.

    The primary aims of a thesis-seeking/problem-posing exploratory essay assignment is to engage with
    the text (literary text, typically, or film) and its critical interpretation/reception by identifying problems,
    developing claims and arguments, and enriching your literary understanding,
    interests, and commitments. Use/learn Modern Language Association format for
    any notes or works cited (see, for instance, link to MLA format guidelines further below, and see the other resources and examples that I provide in the Bblearn folder on Advice for Writing, those include samples of strong student essays and an full example of developing a research essay (on Austen’s novel Mansfield Park).

    A first step, basic approach is to ask to what extent the text presents a question or problem that seems challenging to represent and to resolve (solve/answer) without being caught up in some kind of conflict or contradiction–typically these include conflicts/contradictions between a culturally/historically predominant way of valuing or understanding particular identities and relationships versus alternative (perhaps dissenting/oppositional/other) perspectives and arrangements. The text then explores and discloses a debate over how to understand its world via such conflicting desires (including desires for power, for stability or for transgressive change)–a debate over ‘systems’ of belief, over ideology. And (therefore) an ideological debate over what characters and the reader/audience should do and be (including, typically, a debate over what literature should do and be).

     

    In Shakespeare’s The Merchant of Venice, for instance, the predominant patriarchal ideology supports/directs that the daughter (Portia) submit to the will of her father, yet the play seems to support the disobedient actions of a daughter (Jessica) who rebels against her father (Shylock), and one might argue that even Portia is supported in her cross-dressing actions as the young lawyer Balthazar. Why? How so? A cultural analysis of this problem could begin with the critical-theoretical premise (see Stephen Greenblatt’s essay on "Culture") that meanings and identities and relationships can be understood within a particular cultural-historical context as engaging with specific ratios between mobility and constraint–that is, terms/identities have a range of mobility to move across a range of meanings and yet face culturally coded/enforced limits or constraints upon, for instance, what a daughter is permitted to say or to do. The relation or ratio between degrees of mobility and constraint are determined by a principle of exchange–in the case/example above, the dominant Christian culture in Venice supports Jessica’s transgressive rebellion against her Jewish father, because she offers the culture something in exchange (she is paying for her mobility): she robs and flees Shylock in order to marry the Christian Lorenzo. Shylock can save his life and some of his property by converting to Christianity.

     

    Another way to identify a problem is when interpretations differ and the difference constitutes an implied/explicit argument and debate. The quotes from the following critics illustrate opposing assessments of the degree to which the character Rosalind in Shakepeare’s As You Like It, ultimately manages on the one hand, to enlarge or to redefine what she (women) can do and be (see first quote by Howard), or on the other hand, shows the disciplinary limits and ideological forces that return her character to dominant ways of being (see second quote by Erickson):

    As You Like It is poised carefully on the razor’s edge separating fantasy from harsh reality. . . . [the play] is to a remarkable degree open to the infinite malleability of human beings and their social practices. . . . It is with the heroine, however, that As You Like It offers its richest dramatization of a figure who plays endlessly with the limits and possibilities of her circumstances. . . . this he/she, continues to the end to defy the fixed identities and the exclusionary choices of the everyday world, offering instead a world of multiple possibilities and transformable identities.”  (Jean E. Howard, The Norton Shakespeare, 378-384)

    “Male friendship, exemplified by the reconciliation of Duke Senior and Orlando, provides a framework that diminishes and contains Rosalind’s apparent power. . . . Concentration on Rosalind to the neglect of other issues distorts the overall design of As You Like It, one that is governed by male ends. . . . as the play returns to the normal world, [Rosalind] will be reduced to the traditional woman who is subservient to men” (Peter Erickson, Patriarchal Structures in Shakespeare’s Drama 16, 21).

    Another example: consider how critics’ comments on Twelfth Night invoke/refer to debates over (im)proper boundaries of gender-identity and desire as represented in that play.Valerie Traub states "The homoerotic energies of Viola, Olivia, and Orsino are displaced onto Antonio, whose relation to Sebastian is finally sacrificed for the maintenance of institutionalized heterosexuality and generational continuity. In other words, Twelfth Night closes down the possibility of homoerotic play initiated by the material presence of the transvestized boy actors. The fear expressed, however, is not of homoeroticism per se; homoerotic pleasure is explored and sustained until it collapses into fear of erotic exclusivity and its corollary: non-reproductive sexuality. The result is a more rigid dedication to the ideology of binarism, wherein gender and status inequalities are all the more forcefully reinscribed" (Desire and Anxiety: Circulations of Sexuality in Shakespearean Drama p.123). Catherine Belsey observes that "If the speech acts in 1.5 are gendered, the gender in question fluctuates from moment to moment in a tantalizing display of discontinuity and deferral. This is not consistently either a straight or a drag act" (Why Shakespeare? 139). Bruce Smith sums up the play’s erotic confusions in this way: “Desire of male for female (Orsino for Olivia, Sebastian for Olivia), of female for male (Olivia for ‘Cesario,’ Viola for Orsino), of male for male (Antonio for Sebastian, Orsino for ‘Cesario’), of female for female (Olivia for Viola), of male for either, of female for either, of either for either: the love plots in Twelfth Night truly offer ‘what you will’” (Twelfth Night: Texts and Contexts 15). In his introduction to the play, Greenblatt states that the "transforming power of costume unsettles fixed categories of gender and social class and allows characters to explore emotional territory that a culture officially hostile to same-sex desire and cross-class marriage would ordinarily have ruled out of bounds" (446 or 1762), which may lead to something "irreducibly strange about the marriages with which Twelfth Night ends" (449 or 1764). Jean Howard argues that the "play enacts . . . the containment of gender and class insurgency . . . . the play seems to me to applaud a crossdressed

    To continue with examples/advice, you might explain the social dimensions or importance of a particular
    character’s desires and relations to and for another (or to others, including
    a group or "category" of people or to/for some concept or principle or desired identity/achievement); your analysis
    may also speculate on the degrees of authority or power exercised or available
    to particular "figures" or "subjects" (characters) in the work/text; moreover,
    how are such identities or relationships represented and enacted (presented
    rhetorically in language and through narrative and dramatic structure and style), and to what extent are these desires and power relations and identities in flux, dramatized as being put into question or debate between different social/political/class/gender/ethnic/religious arrangements or configurations. And how do such meanings become presented in literature/text and in performance? For drama, how would a director and actors embody and perform (and address the choices for performance) and communicate a particular interpretation. . . .

    Review some aspect of one of the specified, selected texts in view of such or similar problem-posing questions and critical/theoretical framework for identifying/understanding. Take care not to assume that we readily know what particular texts mean, or what meanings are possible, given our assumptions about the time periods in which the texts were composed and how we make sense of these texts today. It is productive to inquire into the possibilities for meaning and for debate, rather than to foreclose such debate by assuming in advance that a text means something or that it could not possibly mean something that seems out of bounds, out of context. As always, you need to find ways to read closely and well, and to work from the evidence and posited aims/arguments of the texts, of critics/scholars’ research and arguments, and of your sense of the text’s functions/meanings/effects.

    I encourage you to develop and
    to support your ideas as clearly and as cogently as space allows, including
    brief citations of specific lines that illustrate your interpretation, and
    concise use of summary and paraphrase in support of your analysis. It may be helpful for your response
    to include a statement that makes a claim or presents a thesis with brief
    explanation and support (such as in the form of “One of Portia’s main
    concerns is that she . . . because . . . . But her desire for . . . conflicts
    with . . ., and she must . . . in order to . . . . The play thus represents
    . . . in its depiction of . . . . Moreover, it is only through X’s relationship
    to Y that Z can be realized or established or resolved, even though . . .
    .” This is just a partial and overstated (!) example of a structure
    that might inform your reasoning and writing–the main
    advice is that you may find it effective to compose a thesis for
    your analysis/essay.

    Tory Young, for instance, offers this general schemata/structure for an essay that is concerned with argument and interpretation and analysis (from Studying English Literature): (1) The issue; (2) the claim; (3) The supporting evidence; (4) The explanation that connects the evidence to the claim about the subject; (5) Rebuttals and qualifiers; ( 6) The explanation that connects them to the claim about the subject. Some of these stages or building blocks for the essay may be repeated (steps 2-6 or 3-6), and each stage should contribute to developing the argument and potential expressed in your thesis statement. As Young states, "Your thesis statement is a sentence-long summary of your argument . . . .Your thesis statement is an argument that you are going to examine with recourse to evidence from primary and secondary research" (106). Moreover, does each paragraph in the essay provide support for the argument or clearly analyze opposing views to the argument.

    Katherine Acheson (in Writing Essays About Literature) states that "the task of a student assigned to write an essay about literature is to present a clearly written argument, based on evidence, about the meaning, power, or structure of the work or works" (7). She describes the task of writing such an essay as one in which you "produce a narrative that offers an explanation for the effects the work of literature has" (8)–these effects, for instance, are the ideas and feelings produced by the work of literature (produced through the things that are used to make it, the words). Acheson describes the thesis statement in this way: "The thesis statement describes the evidence you are using, states your interpretations of this evidence, and brings those insights together into a conclusion that is about the way the literature works, what it means, or how and why it has the emotional impact it does" (97). She also emphasizes that arguments in literary criticism analyze "examples in order to come to broader conclusions"–these arguments therefore demonstrate inductive reasoning that moves logically and persuasively from particular pieces of compelling evidence to broader generalizations that advance/deepen/enrich understanding.

    Acheson notes, like Tory Young, that the paragraphs in the body of your essay "will each make a point contributing to your argument, and each will highlight the evidence that supports that point. The subject for each body paragraph is provided by your subtopic sentences" (111) and typically the concluding sentence in each paragraph "stipulates the relationship " of the paragraph "to the argument as a whole" and also "leads to the next paragraph." One’s writing need not be so formulaic–you can depart from these guidelines–but this is sound general advice. Acheson offers an additional caution and encouragement: "The analytical reasons that a piece of evidence supports the argumentative contention of the paragraph are implicit in the choice you made to include that evidence in that category. But remember this important advice: your sentences must make those reasons explicit. Whenever you feel uncertain, return to two home bases: 1) your research and the evidence it has provided and 2) the thesis statement and the argument it articulates" (118).

    William Whitla (The English Handbook: A Guide to Literary Studies) echoes such sentiments: "For an argument to be convincing, the relationship between generalizations or assertions and supporting evidence must be considered carefully. Many students have the most trouble at exactly this point: they either cannot qualify a generalization in the face of contradictory evidence and so ignore the exception, or they suppress that evidence and continue to assert a generalization. . . . An academic argument, then, is not a contest of absolute rights and wrongs, but rather is a structured statement of position that moves logically to persuade an audience of your views" (92).

    Assume
    your audience is familiar with the text, but take care to articulate clearly
    your understanding and interpretation of the material, especially problems
    or contradictions that seem difficult to resolve.

    Keep
    in mind that your analysis should aim to supplement or to build upon class discussion;
    in short, don’t simply repeat an argument discussed
    substantially unless you were engaged substantially in that discussion.

    Wow, this is a lot of (largely general) advice so how to sum up: Some
    writers use the first paragraph to describe an interpretative
    problem that arises in a specific passage or for/in a character (and the relations
    of that character to others or to the text’s cultural context), or to present
    a conflict of critical approaches to a topic or issue that is pertinent to or evident in the literary work. This opening often includes reference to how the text or an aspect of it has been regarded by other scholars–what are some prior or ‘traditional’ ways of framing and understanding what’s at stake in this text? In contrast or in some kind of supplementary extension, what do you understand differently–what difference does your reading make/add and why is it significant/important to consider your line of analysis and argument? What is lost by sticking with prior views and what is gained by considering your counter-view or extension of the prior view to push its analysis further? Can you state this difference that you bring to the conversation in the form of a thesis/hypothesis that addresses (answers or resolves) the problem you have identified?And as Young and Acheson note/advise above, what will be your series of claims supported by evidence and reasoning and taking into account arguments/evidence that may qualify or limit your claim along with any counter argument you make in turn to rebut or take into account the arguments and evidence against your position? As you conclude, you may find a way to restate or reframe your main claim/argument, including its value/significance (the import/importance), and whether your line of analysis suggests further avenues of inquiry and research to be done.

     

    Here’s a reminder of a guiding principle/observation from our main course website.

    The quote that follows serves as a general guiding premise/claim for the course and its outcomes (also see expected learning outcomes noted further below, following the semester schedule): Literature provides us with a way of understanding how our social life works. Human social life consists of narratives for living, with ‘narratives’ being understood here as an actual life experience spread over time and guided by cultural stories that justify it to participants. Both the cultural and real-world narrative can change; both use frames to exclude norm-dissonant perspectives and values and to ensure that the meanings that support the continuity and homogeneity of the lived process are stable, predictable, and enforced. Who tells the stories in the culture thus largely shapes how that cultural world will be organized. Stories are what people believe and how they believe, and how people believe determines how they act and how they live. Stories can change how people think, perceive, believe, and act. The analysis of the work they perform is thus an important endeavor. And that is what criticism is all about. (An Introduction to Criticism: Literature/Film/Culture–Wiley-Blackwell, 2012)

     

    Advanced Advice on Writing Effective Introductions for Journal Articles/Essays

    Evaluation/Assessment Rubric for Critical Essay and Term Essay, with check mark along a scale, including specific comments to supplement my notations on the texts of the essays themselves:

    Rubric for Initial Criteria for Evaluating Critical Writing/Essays:   Excellent    Very Good-Good    Competent-Fair    Weak
    Note: Ultimately the evaluation of your work is holistic,
    and therefore also intends to register the different, nuanced,
    unexpected and evocative effects of your analysis,
    exploration, creative expression/affect, and engagement
    with learning and discovery.

    1. Strength and clarity of (hypo)thesis/focus,
    this may include your introduction to the problem to be
    addressed, the critical/scholarly question and
    conversation that your essay will contribute to,
    intervene in, with scholarship appropriately introduced


    and integrated into your text…

    2. Intellectual/conceptual strength and persuasiveness of
    main claim as well as ensuing argument (including
    counter-argument to respond to differing or opposing views
    /logic/premises/critical analysis/theory/ideas        

    3. Cohesive and coherent development, logical
     organization, including well-structured paragraphs with
    clear points and compelling, specific support/evidence

    4. Analysis of text’s/topic’s relevant cultural/historical
     contexts and if deployed, of related scholarship/criticism that
    supports and strengthens the argument;
    analysis of text’s rhetorical/persuasive strategies, structure
    (narrative/dramatic/poetic structure, aspects of performance)

    5. Topic’s depth/complexity, including explanation of
    problem to be addressed, recognition of text’s
    conflicts/contradictions (ideological/rhetorical),
    creativity and sense of discovery/affective engagement
    conveyed—the articulated sense of “what’s at stake, why
    it matters” —what difference your essay makes

    6. Significance/ conclusion

    7. Effective sentences, syntax, active verbs/consistency in verb tense,
    diction, punctuation, complexity, and suitable style: academic,
    critical, appropriate to your understanding of the
    materials/subjects; avoids clichés and trite expressions, avoids overusing

    prepositional phrases, appropriately concise

    8. MLA style —parenthetical citation of sources,
    Works Cited; formatting; spelling ungraded but noted

     

    Academic Misconduct: Any act of academic misconduct, including but not limited to cheating, fabrication, plagiarism or facilitating academic dishonesty, will result in failure of the assignment and given the points available, likely failure of the course. Your case will be reported to the Dean of Students according to campus guidelines, and such matters are subject to policies in the UI Student Code of Conduct. Unfortunately, I have had to refer students’ plagiarized work to the Dean of Students in past sections of classes, nearly every year. See this helpful highlighed weblink to learn more about academic integrity on the Dean of Students’ website , including plagiarism: Plagiarism includes the using of ideas, data, or language of another as one’s own without specific or proper acknowledgement or citation, lack of knowledge of proper citation is not valid excuse for plagiarism as it is the responsibility of the author writing the material to know the proper methods for appropriate citation and/or seek guidance/help when using another’s work.

    Plagiarism can be committed in any type of assignment and includes, but is not limited to, the following behavior that also does not include the full, clear and proper acknowledgement of the original source: 

    • The copying of another person’s work, published or unpublished;
    • The paraphrase of another person’s work, published or unpublished;
    • Using another person’s ideas, arguments, and/or thesis from a published or unpublished work;
    • Using another person’s research from a published or unpublished work;
    • Using materials prepared by a person or agency in the selling of term papers or other academic materials. 

    See UI Library Guidance on Avoiding Plagiarism

    Purdue OWL workshop/guidelines on using MLA for citation

    MLA Quick Guide to Works Cited/citation

    Basic Refresher Guidelines on Conducting Academic Research (via UI Library’s site for English 102) including support for process of finding and citing articles from peer-reviewed journals, books, and the option for direct research assistance/session with a UI librarian.

    Lessons on Style (general advice/quited dated handout but perhaps worth looking over) [pdf]

    Quick Advice on Punctuation (also dated) [pdf]

    Summary/Overview of Perspectives on Critical Theory

    Online Writing Center Resources (from writing essays to grammar and usage advice):

    http://wiki.english.ucsb.edu/index.php/The_Craft_of_a_Literature_Paper

    Questions to Guide Review of Draft of Critical Essay:

    1. Does the essay clarify and advance understanding of problem/topic/method/perspective related to the “literary” text’s purposes and rhetorical strategies and to the ‘student’ writer’s interpretation and understanding of the text?
    2. Can one understand the writer’s approach and strategies for introducing and developing the critical essay?
    3. Sum up the essay’s central idea, hypothesis or purpose in one sentence.
    4. What might a reader like best about the essay? Where might the reader want to know more or to pose a critical question?

    Desired learning outcomes in the context of the Department of English and its major:

    1) Students exhibit knowledge of diverse literatures in English and the cultural and historical contexts in which these works were produced.

    2) Students can discern and evaluate the aesthetic and formal qualities of various texts.

    3) Students can write an analytic essay that exhibits both critical thinking and effective argumentation.

    4) Students can write a research essay that exhibits effective deployment of research as evidence.

    5) Students’ writing exhibits correct usage of grammar and of MLA format and citation conventions.

     

     

     

     

    Schedule | Syllabus | Projects | Moodle | Resources | Email Craig

    Critical Essay

    Write a 6-8 page essay that critically analyzes a screenshot from a work of New Media using quotations and ideas from our course readings.  

    CONTENTS  

    1. Choose a Work of New Media

    The subject of your essay will be a work of New Media: a particular web site, for example, or a specific video game (and specific version), or a Facebook news feed on a particular day, etc.  Do not scatter your efforts talking about video games or a service like Twitter generally and in the abstract.  

    2. Explore a Critical Question or Issue

    Your analysis should ask and answer one critical question about that New Media work, or explain how this New Media work exemplifies and illuminates a critical issue.  The question or issue will provide the unifying center of gravity for your essay.  

    A critical question or issue concerns how a work of New Media means or achieves an effect, what that meaning or effect is, to whom it means or is effective (or not), what the consequences that meaning or effect has (aesthetic, social, political, historical, psychological, cultural, economic, etc.).

    3. Use Quotations From the Class’s Critical Sources

    Develop your analysis around at least three quotations from at least two of our critical readings from the semester: Manovich, Bissell, Murray, Birkerts, Liu.  One of these quotations will probably be the primary inspiration for the critical question or issue that unifies your essay.  

    4. Focus on a Screenshot (Part Represents the Whole)

    In your analysis, use one screenshot to visually represent the larger work of New Media and to help visualize what you have to say about it.  Rather than trying to generalize about a whole video game or online app, you should use the screen shot to condense that whole experience into one specific, visual eye-full. 

    The screen shot should be printed out (black and white is okay) and included with your essay.

    5. Do a Close Reading

    As much as possible, try to choose and use the screen shot to visualize and sum up whatever you have to say about the New Media work as a whole.  The screenshot can serve a hook on which to hang your whole argument.  You will be performing what is called a “ close reading ” of the screenshot: making a lot out of a little, choosing small visual and verbal details to represent larger meaning, effects, functions, issues, ideas, experiences, impressions, patterns, consequences, etc.  

    Analyses that do close readings tend to use words like “represent,” “suggest,” "illustrate,” “offer,” “imply,” “epitomize,” “signify,” “symbolize,” “show,” “connote,” “denote,” “indicate,” “visualize,” “demonstrate,” “convey,” “express,” “reveal,” “expose,” etc.  

    6. Include Quotations from an Outside Criticial Source

    In addition to the quotations from our course readings, I will ask you to find, read, quote (at least twice), and cite at least one other critical source about or related to that New Media work: a review of the video game, for instance, or an in-depth article about Facebook’s waning popularity.  

     

    PROCESS

    Write It Twice: From Exploration to Statement to Argument

    You will write this essay twice:  

    1. First, Write It Starting from the Beginning:

    In an exploratory rough draft, you will go top to bottom, trying to put the various elements together to see where they lead you: the New Media work you’ve selected, the screen shot you’ve chosen, the quotations.  

    This exploratory rough draft should try to close read the screenshot to link these ingredients together—get them talking to one another—and move you toward a sense of momentum and coherence.  

    At the end of the exploratory draft, try to distill the BEST of what you’ve realized and said (or maybe just realized) into a synthesizing statement—a unifying realization, insight, or fusion of the most interesting things you’ve thought or realized in the draft.  

    2. Next, Write It Starting from the End

    In a final draft, turn the whole project upside down.  Write an introduction that sets up and presents the synthesizing statement (or “thesis statement”) right away as an argument you’ll make, and then reassemble and rewrite all the elements (cutting out what’s extraneous) to make good on that claim.  Reorganize, refocus, and sharpen every paragraph to realize (that is, to make real) your argument and purpose.  

    Make sure the first sentence of each paragraph suggests how that paragraph will both push your argument forward while also supporting and reinforcing your thesis statement announced in the introductory paragraph.

    The final version of the essay should give the impression that you started the whole process with the final thesis statement and argument already in mind.  The world will never know how you got there! 

     

    IF YOU GET STUCK: FREEWRITE

    Try opening a new Word file and writing for five minutes solid, talking to yourself about what you’re doing and what you want to do

     

    Resources

    • Dracula for the iPad
    • Dracula Developer Diary 2
    • Nancy Drew TV Show: Secret of the Whispering Walls (Part 2)
    • Nancy Drew Game: Ransom of the Seven Ships
    • " Solving the Crime of Modernity: Nancy Drew in 1930 "
    • Close Reading (Wikipedia)
    • Close Reading of A Literary Passage
    • How to Do a Close Reading (Harvard)

     

    Schedule | Syllabus | Projects | Moodle | Resources | Email Craig

     

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    • Writing a Critical Analysis of a Short Story

    Writing a Critical Analysis of a Short Story

    To write an effective critical analysis, you must first be sure
    that you understand the question that has been posed, and all
    literary terms that you have been asked to address. Once you feel
    you understand the question, reread the piece of literature, making
    notes. Then look at the notes you’ve made, consider what
    connections you can make between observations, and reconsider the
    question. Try to formulate a rough thesis statement (your “claim”).
    Now try to select those pieces of evidence that you feel you can
    most convincingly use to support the claim you made. Next, try to
    formulate a good introduction, that

    • names the work discussed and the author.
    • provides a very brief plot summary.
    • relates some aspect of that plot to the topic you have chosen
      to address.
    • provides a thesis statement.
    • indicates the way you plan to develop your argument (support
      your claim).

    Now proceed to introduce and discuss the evidence you mentioned
    in your introduction, in the order in which you mentioned it.
    Ensure that you deal with each kind of evidence in a paragraph of
    its own, and that you introduce the topic of each paragraph with a
    carefully-focused topic sentence. Also ensure that you end each
    paragraph with a concluding sentence that sums up the thrust of
    that paragraph’s argument and possibly paves the way for the next
    piece of evidence to be discussed. (Alternatively, you can begin
    the next paragraph with a transitional phrase that links the new
    piece of evidence with the one you have just summarized.)

    Finally, write a conclusion that restates your thesis (but using
    different words), incorporates a brief restatement of your key
    evidence, and provides a sense of closure. A good closing technique
    is to somehow link the claim you have made about this particular
    piece of literature with the author’s general style or
    preoccupations, or to suggest some way in which the topic you have
    just discussed relates more generally to some aspect of human
    existence.

    Model Essay

    What follows is the sample essay analysing the use of setting in
    the short story “The Cask of Amontillado.” Both “good” and “poor”
    examples of the essay’s first and second body paragraphs are
    included. As you read each paragraph of the essay, beginning with
    its introduction, clicking on the “continue” arrow at the bottom of
    the paragraph will permit you to see commentary on particular
    features of the essay-writing process. To see all the commentary,
    you may need to click the arrow multiple times.

    • Introduction
    • Body Paragraph #1 (good)
    • Body Paragraph #1 (poor)
    • Body Paragraph #2 (good)
    • Body Paragraph #2 (poor)
    • Body Paragraph #3
    • Conclusion

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    • BI INTELLIGENCE

    16 Free Online Business Courses That Are Actually Worth Your Time

    Max Nisen

    Oct. 15, 2013, 2:29 PM





    SHiller

    First Wharton decided to offer the core of its first year MBA program online. Now Harvard Business School is exploring online options as well.

    Increasingly, it’s possible to get an extremely well-rounded business education from the best professors in the world without enrolling in a university or even leaving your house.

    While online courses won’t necessarily give you the pay boost of a traditional two-year MBA and probably won’t land you a job on Wall Street, they can give you many of the core skills taught at top universities and business schools.

    We’ve found some of the best and most useful free online business courses out there. We’ve noted which courses are self-paced and which are being released more formally and sequentially. The Coursera, Udacity, and EdX platforms all offer the opportunity to complete coursework and earn a certificate for completing the course, but any of these can be taken more casually.



    1/

    Yale: Financial Markets with Bob Shiller


    YouTube

    Platform: Coursera

    Length/Start date: The formal, graded course starts in February 2014, though an earlier, self paced version is available from Yale. That version has 23 lectures that are 75 minutes each.

    Time commitment: Six to 12 hours a week.

    Why you should take it: For one thing, it’s an opportunity to learn from Bob Shiller, the most recent Nobel Laureate in Economics and one of the most important thinkers in finance. Shiller has been essential in helping us understand how bubbles can form in financial markets.

    The course is an effort to give an understanding of the theory behind financial markets and “its relation to the history, strengths, and imperfections of such institutions as banking, insurance, securities, futures, and other derivatives markets, and the future of these institutions over the next century.”

    The course is a good foundation for people in business to understand the environment they work in and is interesting for econ and finance buffs.



    2/

    Stanford: Entrepreneurship Through The Lens Of Venture Capital


    YouTube

    Platform: Stanford/ITunesU

    Length/Start date: A total of 11 self-paced lectures.

    Time commitment: Each lecture varies, but the average length is about an hour.

    Why you should take it: The idea of getting venture capital backing and scaling a business from nothing to an IPO sounds incredibly intimidating. This course is an effort to explain that process, from the perspective of the people that invest in tiny startups with the expectation of making a massive return.

    The course comes from Stanford, which has produced its share of successful entrepreneurs, including Sergey Brin and Larry Page. A variety of guest lecturers, both successful venture capitalists and investors, give advice as part of the course.



    3/

    Stanford: Game Theory


    YouTube

    Platform: Coursera

    Length/Start date: Started October 14th, runs for 9 weeks.

    Time commitment/prerequisites: Takes five to seven hours a week. Requires basic probability theory, and lightweight calculus (the ability to take a derivative).

    Why you should take it: Made famous by mathematician John Nash, the subject of the book and film “A Beautiful Mind,” game theory is the mathematical study of how rational and irrational actors interact in strategic, competitive situations.

    It looks at the incentives and behavior driving everything from what we traditionally think of as games to competition among firms, trading behavior on stock markets, and Google keyword auctions.



    4/

    The University of Pennsylvania/Wharton: Gamification


    YouTube

    Platform: Coursera

    Length/Start date: Starts January 27, and lasts 10 weeks.

    Time commitment: Four to eight hours a week.

    Why you should take it: This course was Wharton’s first MOOC offering. Gamification is one of the hottest buzzwords in business. It’s the application of techniques from video games and their design to non-game problems, like managing people or solving business problems.

    The best games leverage psychology and technology, just like good managers do, and organizations are increasingly using tools and techniques learned from video games to boost productivity, in human resources, and to engage customers. This course looks at how gamification works and can be used most effectively.



    5/

    Columbia: Financial Engineering And Risk Management (Part 1)


    YouTube

    Platform: Coursera

    Length/Start date: Starts October 28, and lasts seven weeks.

    Time commitment/prerequisites: Requires seven to 10 hours a week. Students need undergraduate calculus, linear algebra, and statistics. Good Excel skills are helpful.

    Why you should take it: This is a more involved and technical finance class, but it’s well worth it for people that want a deeper understanding of how markets work and how to invest.

    The class focuses on how to build the sorts of models involved in “financial engineering,” the creation of derivative securities (investments with prices based on other assets). It will also look at the role that some of these assets, particularly mortgage backed securities, played in the financial crisis.

    There’s a follow-up course that goes into even more detail.



    6/

    Duke: How To Reason And Argue


    Coursera/YouTube

    Platform: Coursera

    Length/Start date: Started August 26, and lasts 12 weeks.

    Time commitment: Five to six hours a week, no prerequisites.

    Why you should take it: While it might be couched in more business-friendly terms like “negotiation,” “sales,” or “motivation,” a lot of business is about convincing people to do things that they don’t really want to — accept a lesser deal or push through exhaustion to get a project done, for example.

    This course gives a detailed tutorial on how to break down someone else’s argument, recognize flawed or vague reasoning, and construct a brilliant argument of your own.



    7/

    Duke: A Beginner’s Guide To Irrational Behavior


    YouTube

    Platform: Coursera

    Length/Start date: The course ran last spring and all materials are available. It’s designed to last eight weeks.

    Time commitment: Seven to 10 hours a week, and no background is required other than a “curiosity about human nature.”

    Why you should take it: People aren’t always rational. They do unpredictable things that are often baffling to those who try to think rationally.

    The course is taught by Duke’s Dan Ariely, author of the best-selling book “Predictably Irrational” and one of the most prominent scholars studying this through the lens of behavioral economics. A student who’s taken 36 MOOCs said it was the one he’d most recommend to a first-time MOOC student.

    The idea is to introduce students to a range of cases where people make decisions inconsistent with standard economic theory, which assumes rational decision making, and think about how insights about that sort of behavior can be applied.



    8/

    The University of Pennsylvania/Wharton: An Introduction To Marketing


    YouTube

    Platform: Coursera

    Length/Start date: Nine weeks long, and started October 14

    Time commitment/prerequisites: Requires five to six hours a week. Though no formal prerequisites are required, this is an MBA course, so a business background helps.

    Why you should take it: Wharton has one of the highest-ranked marketing programs in the world, and this course is team-taught by three of its stars: Peter Fader, David Bell, and Barbara E. Khan.

    Anyone interested in starting a business needs to learn how to relate to customers and sell their products, so this is an absolutely essential course.



    9/

    The University of Pennsylvania/Wharton: An Introduction To Financial Accounting


    YouTube/Coursera

    Platform: Coursera

    Length/start date: Runs ten weeks, and started September 15

    Time commitment/prerequisites: Six to eight hours a week, and no background in the area required.

    Why you should take it: Learning the basics of accounting and how to read a balance sheet, income statement, and cash flow is incredibly useful for just about anybody. The course is also designed for students with no background in the subject, and the only math requirement is knowing how to add and subtract.

    As the professor puts it, accounting is “the language of business.”

    The course is also offered by one of the most prestigious business schools in the country, and taught by one of Wharton’s senior and most highly regarded faculty members, Brian Bushee, a 13-year veteran of Wharton and former Harvard Business School professor. Though it’s a bit more restrictive than the entirely self-directed courses, and new material will be released periodically, you get more of a community feel and more resources.

    “You will not only better understand what people in the business media are talking about,” the course description says, “you will also be able to notice when they don’t know what they are talking about!”



    10/

    The University of Pennsylvania/Wharton: An Introduction To Operations Management


    YouTube

    Platform: Coursera

    Length/Start date: Eight weeks long, and started September 30

    Time commitment/prerequisites: Five to seven hours a week. The course is “designed for business students and executives,” but there are no academic or math requirements.

    Why you should take it: This is the second course in Wharton’s “MBA Foundation Series,” which teaches a lot of what a first-year student enrolled at the school would learn. Anyone who has hopes to rise from being an employee to managing or running a company needs to learn some of the key principles behind analyzing and improving business processes, boosting productivity, and meeting higher standards.

    The professor, Christian Terwiesch, is a multiple award-winner for his teaching at Wharton, and wrote one of the most popular textbooks on operations management.



    11/

    The University of Pennsylvania/Wharton: An Introduction To Corporate Finance


    YouTube

    Platform: Coursera

    Length/start date: Runs for six weeks, and starts October 28

    Time commitment: Takes six to eight hours a week, no formal requirements, but it’s a course taught to MBA students who have managed to get into Wharton, so it starts at a high level.

    Why you should take it: This is an entirely different set of tools than the ones you learn in accounting, helping provide the basics of valuing companies, valuing stocks and bonds, and using other tools to analyze financial decisions.

    You can’t do much better for a pure MBA experience, as these are based on lectures given to Wharton students, and you’re learning from one of the acknowledged masters of the subject in Franklin Allen, a 30-year veteran of the school who wrote one of the most popular textbooks available on the subject.



    12/

    Udacity: How To Build A Startup


    YouTube

    Platform: Udacity

    Length/Start date: Self paced

    Time commitment/prerequisites: Students are free to pace themselves, and Blank suggests that they have at least some idea of the business they want to create.

    Why you should take it: This course is a bit unusual, in that it’s not produced in partnership with a university or traditional professor, and it’s not about a traditional academic subject.

    It’s a practical and thorough guide to how to create your own company by successful serial entrepreneur Steve Blank, based on an approach he’s been using and teaching for years. It takes would-be entrepreneurs through everything from developing a viable product to figuring out how they’re actually going to make money.



    13/

    MIT/UC Berkeley: Introductory Macro And Microeconomics


    YouTube

    Platform: MIT OpenCourseWare / UC Berkeley on ITunesU

    Length/Start date: Self paced

    Time commitment/prerequisites: The course is taken entirely independently. Some basic, single variable calculus is required, but no more than you’d learn in a high school calculus class.

    Why you should take it: Economics has a bad reputation, but it’s absolutely vital.

    This introductory microeconomics class is one of the most popular that MIT has made available, and is taught by Jonathan Gruber. He’s been teaching there for 20 years and is an extremely prominent economist who helped design Massachusetts’ groundbreaking health-care reform.

    Economics, and microeconomics in particular, are about how we make the best decision given scarce resources like money or time. That’s useful in itself, as is this course as background for more advanced work.

    Berkeley also offers its introductory micro class online, along with introductory macroeconomics, and intermediate courses in both. Also worth checking out is international economics for those who take a more global angle.



    14/

    MIT: Innovation And Commercialization


    YouTube

    Platform: EdX

    Length/start date: Runs for 13 weeks, and started September 16

    Time commitment/prerequisites: 12 hours a week, and no prerequisites required other than an interest in the subject.

    Why you should take it: It’s one thing to talk about coming up with an innovative product, but it’s another thing entirely to do it. The same goes for making an existing company more agile and quicker to come up with new ideas.

    This course takes an intelligent look at how innovation happens in the real world, rather than how people talk about it in meetings. It’s taught by Eugene Fitzgerald, who came up with important innovations in his own right during his time at AT&T’s Bell Labs and later; and Andreas Wankerl, who runs the Innovation Interface at MIT and Cornell.



    15/

    Columbia: Economics Of Money And Banking


    YouTube

    Platform: Coursera

    Length/Start date: Lasts seven weeks, and started September 1, though material will remain available. Part two starts October 13.

    Time commitment/prerequisites: Five to seven hours a week. Students who take the course at Barnard and Columbia have completed intermediate macro and microeconomics, but students have also done fine without having taken those courses.

    Why you should take it: For the last five years, the economy has been front and center in the news as our banking and economic systems all but collapsed, were rescued, and are slowly coming back.

    Behind the crisis and behind the recovery is an enormously complex system that relatively few people understand. This course is an effort to explain how money markets work, which is essential for anybody who truly wants to understand how everything moves in the economy.



    16/

    MIT: Introduction To Lean Six Sigma Methods


    YouTube

    Platform: MIT OpenCourseWare

    Length/Start date: Self paced

    Time commitment: Taught in three eight-hour sessions to students.

    Why you should take it: Lean Six Sigma principles are used throughout the business world to control quality and constantly improve manufacturing.

    The strategies originated at Toyota and Motorola respectively and have been widely adopted throughout the business world. This course aims to teach people how to apply the core principles to boost quality, customer satisfaction, productivity, and financial performance.

    The course focuses on the aerospace industry, but the principles can be applied anywhere.



    17/

    BONUS: Ben Bernanke on the Federal Reserve and MIT’s Andrew Lo on Financial Theory


    YouTube

    The Bernanke Lectures

    Before joining the Federal Reserve, Ben Bernanke was an academic economist and professor at Princeton University. Last year, he returned to his roots with a series of four very thorough and valuable lectures on the history of the Federal Reserve, the conduct of monetary policy, and the financial crisis.

    Financial Theory with Andrew Lo

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    Life and Letters

    Becoming Mary Poppins

    P. L. Travers, Walt Disney, and the making of a myth.

    By Caitlin Flanagan

    The 1964 world première of “Mary Poppins” was held at Grauman’s Chinese Theatre in Hollywood, and it was the kind of spectacle for which the Disney organization had become famous. Throngs of screaming fans were greeted by Mickey Mouse, Goofy, Snow White and the dwarfs, as well as by entertainers who gestured toward the movie’s Edwardian setting: a twelve-piece pearly band, chimney-sweep dancers, valets dressed as bobbies, and a bevy of pretty Disneyland hostesses, whose traditional uniforms (kilts and black velvet riding helmets) suggested a general Englishness. Hollywood luminaries arrived in chauffeured automobiles, the women in ball gowns and mink stoles (Angie Dickinson, Maureen O’Hara, Suzanne Pleshette), the men wearing dinner jackets (Edward G. Robinson, Cesar Romero, Buddy Ebsen). The arrival of the movie’s principals aroused muted excitement: Julie Andrews, who played Mary Poppins, had never appeared in a movie before, and Dick Van Dyke—the chimney sweep Bert—became much better known after the film’s release. Then Walt Disney himself arrived, stepping out of a stretch limousine and gallantly reaching a hand into the car to help his wife, Lillian, onto the pavement. Disney was by then immensely famous, appearing on his own television show every Sunday night. He had carefully engineered his entrance: when his car pulled up, the Disney characters mobbed it, and soon afterward clouds of balloons were released into the air.

    Inside the packed twelve-hundred-seat theatre, the members of the audience responded to the movie with enthusiasm: they gave it a five-minute standing ovation. In the midst of the celebrating crowd, it would have been easy to overlook the sixty-five-year-old woman sitting there, weeping. Anyone who recognized her as P. L. Travers, the author of the Mary Poppins books, could have been forgiven for assuming that her tears were the product either of artistic delight or of financial ecstasy (she owned five per cent of the gross; the movie made her rich). Neither was the case. The picture, she thought, had done a strange kind of violence to her work. She would turn the personally disastrous première into a hilarious dining-out story, with Disney as the butt of her jokes. But she had a premonition that the movie she hated was about to change everything for her. Writing to a friend, she remarked that her life would never be the same.

    Travers’s dreams of becoming a famous writer were realized because of Disney’s movie, but its scope eclipsed everything else that she had or would achieve. She spent the rest of her long life (she died in 1996, at the age of ninety-six) linked artistically and personally to Mary Poppins. It was a persona—spinsterish children’s author, creator of a spinsterish character—that overshadowed the more complicated identity she had devoted her life to creating. The movie also left a deep impression on the generations of children who saw it during its three theatrical releases, in 1964, 1973, and 1980. These were children who grew up in an America in which nannies were as unfamiliar to middle-class neighborhoods as Jaguars and Martians. But they would become adults in an America that had invented a new nanny culture. To an astonishing extent, the way they came to think and talk about their employees was shaped by the movie they had seen so many years earlier.

    Nannies have become a force in American life because of the three-decade-long influx of middle-class mothers to the workforce, and the more recent wave of cheap female immigrant labor. “She’s the Guatemalan Mary Poppins!” a working mother will happily announce of her new employee—or the Colombian or the Caribbean one. It’s hard to find a book or an article about hiring a nanny that doesn’t make mention of the old girl. And even though the culture and experience of a Third World child-care provider are as removed from those of an Edwardian nanny as it is possible to be, we understand what the reference means: the nanny is good, she’s kind, and her ability to transform a chaotic household into a place of order and contentment verges on the supernatural. What people remember about the movie is that the family finds happiness and the nanny is magical. What they misremember is that it’s a film with a surprising moral: fire the nanny. In a sense, “Mary Poppins” is an anti-nanny propaganda film, the “Reefer Madness” of the working-mother set.

    The script for “Mary Poppins” was written by a group of men in Burbank in the early sixties, and it is set in London in 1910, in the household of a martinet banker (Mr. Banks), a suffragette (Mrs. Banks), and their two young children, Jane and Michael. But the Bankses’ story opens with an entirely contemporary predicament: a mother with tons of work being blindsided by a crisis more terrifying to the maternal soul than infidelity or financial reversal—nanny trouble. When first we meet Mrs. Banks, she is dancing along the pavement outside her house, triumphant in her day’s accomplishments. “We had the most glorious meeting,” she tells her servants, after she bursts through the front door, singing. “Mrs. Whitbourne-Allen chained herself to the wheel of the Prime Minister’s carriage. You should have been there! And Mrs. Ainslie—she was carried off to prison, singing and scattering pamphlets all the way!” The servants, however, have news of their own: the reason that Katie Nanna, the children’s nursemaid, is wearing her gabardine travelling outfit is that she is about to quit. They finally manage to tell Mrs. Banks, and it is as though they’d stuck a pin in her; we watch her crumple before our eyes. She snatches off her “Votes for Women” sash—“You know how the cause infuriates Mr. Banks”—and then does what any clear-thinking, intelligent woman in her situation would do: she begs. “Katie Nanna—I beseech you. Please reconsider. Think of the children. Think of Mr. Banks.” Speak of the devil—he marches through the door, and becomes apoplectic when he learns of the upheaval. In six minutes of film time, Mrs. Banks is changed from a balls-out feminist—“No more the meek and mild subservients, we!”—to a surrendered wife. “I’m sorry, dear,” she says. “I’ll try to do better next time.”

    What follows is the entirety of what most people remember of the film: Mary Poppins alights calmly from the sky, using her umbrella as a parachute, and begins to set things straight. Her main objective is to transform Mr. Banks from a prig to a loving mid-century American-style dad, with a hankering for kiddie fun and family time. But she’s got half an eye on the missus. By the movie’s end, Mrs. Banks has abandoned the whole crazy suffrage scheme, and proves it by using her “Votes for Women” sash as a tail for the children’s kite. As Mary Poppins slips away, Mrs. Banks goes to the park with her family, embracing her proper role in the household. The story’s happy ending depends on a signal fact: the Banks children will no longer be brought up by servants. Henceforth, their own mother—corralled homeward through the beneficent intercessions of Mary Poppins—will do the job herself.

    “Mary Poppins” advocates the kind of family life that Walt Disney had spent his career both chronicling and helping to foster on a national level: father at work, mother at home, children flourishing. It is tempting to imagine that in Travers he found a like-minded person, someone who embodied the virtues of conformity and traditionalism. Nothing could be further from the truth. Travers was a woman who never married, wore trousers when she felt like it, had a transformative and emotionally charged relationship with an older married man, and entered into a long-term live-in relationship with another woman. As she approached forty, she decided that she wanted a child. After a bizarre incident in which she attempted to adopt the seventeen-year-old girl who cleaned her house, she travelled to Ireland and adopted an infant, one of a pair of twins, and raised him as a single mother. Her reverence for the delights of family life was perhaps as intense as Disney’s, but her opinion about the shape such a life might assume was far more nuanced.

    Children’s authors are not known for their happy childhoods, and Helen Goff—the little girl who at twenty-one changed her name to Pamela Travers and never looked back—endured one that was almost archetypal in its sadness and its privations. She was born in Australia in 1899, the eldest daughter in a household of girls. Her father, Travers Goff, was a bank manager and a drinker, and he died when she was seven. Valerie Lawson, the author of the only comprehensive biography of Pamela Travers, notes that “epileptic seizure delirium” was given as the cause of death, but says Pamela Travers “always believed the underlying cause was sustained, heavy drinking.” Her mother, Margaret, who was pretty and feckless, soldiered on for a few years, and then, when Helen was ten, she did what a mother is never supposed to do. She gave up.

    One night, in the middle of a thunderstorm, Margaret left Helen in charge of the two younger children, telling her that she was going to drown herself in a nearby creek. As an old woman, Travers wrote about the terrifying experience: “Large-eyed, the little ones looked at me—she and I called them the little ones, both of us aware that an eldest child, no matter how young, can never experience the heart’s ease that little ones enjoy.” Helen stirred the fire and then they all lay down on the hearth rug and she told them a story about a magical flying horse, with the small ones asking excited questions (“Could he carry us to the shiny land, all three on his back?”). As she tried to distract her siblings, she worried about the future. She later wrote, “What happens to children who have lost both parents? Do they go into Children’s Homes and wear embroidered dressing-gowns, embroidery that is really darning?” That predicament—the fate of children whose parents can’t take care of them—haunted her for the rest of her life.

    Margaret came back that night, having been unsuccessful in her suicide attempt, but Helen’s mind was made up. She no longer cleaved to her unreliable, dithering mother but, rather, to a formidable maiden great-aunt, Helen Morehead. Aunt Ellie, as she was called, bossed everyone around, but her fierceness disguised a kindness she would have been embarrassed to admit.

    If it was possible to be a rebellious teen-ager in the girls’ schools of Sydney in the nineteen-tens, then Travers was one. She studied elocution and eventually joined a travelling Shakespeare company, playing the role of Lorenzo in “The Merchant of Venice.” She wrote for the Christchurch Sun, and for the literary magazine The Triad, where she was the author of a saucy column called “A Woman Hits Back” and often published her erotic ruminations. (Travers, inviting her readers to imagine her taking off her underwear: “The silky hush of intimate things, fragrant with my fragrance, steal softly down, so loth to rob me of my last dear concealment.”) She was loose-limbed and boyish—no beauty—but her phenomenal self-regard and quick, vicious wit drew attention. By 1924, she had decided that she had outgrown the antipodes, and bought a ticket on a passenger ship of the White Star Line bound for Southampton, hoping to make her fame and fortune as a writer in London.

    Once there, Travers found work as a journalist, filing stories for the Sun and eventually writing theatre reviews. Fleet Street was a man’s world, and she was a man’s girl. Flirtatious, charming, smart, unmarried, and a welcome addition to the convivial pub scene, she had the bounder’s willingness to press her work on anyone who might help her, and when her submission of poems to the Irish Statesman was met with a promising letter from its editor, the poet George Russell—known as A.E.—she went to Dublin to see him. A.E., a married man of fifty-six, was a reckless encourager of young people. His literary connections extended from the house next door—the Dublin home of Yeats—to New York and the Continent, and he offered them all to Travers. A theosophist, he urged her to take up the study of mysticism, which became a lifelong preoccupation. They began a relationship that was filial, intellectual, and marked by romantic gestures. It lasted until his death, ten years later.

    The most important of A.E.’s introductions, however, was not professional. He had a hunch that Travers would take a liking to another single girl living in London, Madge Burnand, the daughter of one of his friends, the former editor of Punch. The two women hit it off immediately. In 1931, they set up housekeeping in a cottage in Sussex. Madge did the cooking, while Pamela wrote poems for the Irish Statesman, and essays for the New English Weekly, where she later served on the board with T. S. Eliot. It was there, in the winter of 1933, that she succumbed to a bout of pleurisy, took to her bed, and began to write.

    Travers chose as her subject one of the great English preoccupations: nursery life. More to the point, within that subject she located a rich and relatively untapped vein of experience—the relationship between a nanny and her charges. Travers was writing at the end of a groundbreaking epoch of children’s literature that included the works of Lewis Carroll, Kenneth Grahame, J. M. Barrie, and A. A. Milne, each of them annexing vast territories of children’s experience. Several years earlier, Travers had published a newspaper short about a comical nanny named Mary Poppins. More recently, A.E.—whose advice usually succeeded only in making her bad poetry worse—had given her an inspired suggestion: he thought that she should write a story about a witch. Now the idea struck her: why not make Mary Poppins into a shape-shifter?

    We tend to think of the British nanny—formally trained, bred to the job, imperious, unflappable, and immaculately turned out—as one of England’s oldest traditions. She was actually a relatively short-lived institution. Born in the early days of Victoria’s reign, when industrialization and a population explosion among both the poor and the middle class brought the two groups together in a highly regimented and hierarchical servant culture, she had all but disappeared by the end of the Second World War. The middle-class house that was populated with specialized servants became a thing of the past, and nannies evolved into an accoutrement strictly of upper-class life, associated with the aristocracy.

    Travers’s story, which unfolded over the course of an eventual eight books, is set in Depression-era London, and describes a world in decline. The Banks family, though solidly middle class, is racked with financial anxieties, and possessed of “the smallest house in the Lane,” which is “rather dilapidated and needs a coat of paint.” Nonetheless, they have a retinue of servants: “Mrs. Brill to cook for them, and Ellen to lay the tables, and Robertson Ay to cut the lawn and clean the knives and polish the shoes and, as Mr. Banks always said, ‘to waste his time and my money,’ ” as well as a nurse, Katie Nanna, for their four children. Mrs. Banks keeps busy running the household, going to tea, and, when she can, putting her feet up. Mr. Banks works at a bank.

    Obviously, Travers did not write her books to commemorate a happy childhood, but she did seem interested in rewriting her bad one. The Banks family is a reformed version of the Goffs, their charming features magnified and their failures burnished away. Father is a banker, although not a drunk; mother is a flibbertigibbet, although not a suicidal one. And Mary Poppins, like Aunt Ellie, is the great deflater, the enemy of any attempt at whimsy or sentiment. (“ ‘I smell snow,’ said Jane as they got out of the Bus. ‘I smell Christmas trees,’ said Michael. ‘I smell fried fish,’ said Mary Poppins.”) But she is also an everyday enchantress, a woman who will scold a child for wearing a coat in a warm room but also one who will take her charges to a midnight congress of animals at the zoo, and on an afternoon trip around the world.

    The literary Mary Poppins is by no means an untroubling character. Indeed, at the end of the first chapter of the first book—in which she arrives as a shape hurled against the front door in the midst of a gale, assumes the form of a woman, bullies Mrs. Banks into hiring her, snaps at the children, and doses them with a mysterious potion after she gets them alone in the nursery—she earns only a qualified endorsement: “And although they sometimes found themselves wishing for the quieter, more ordinary days when Katie Nanna ruled the household, everybody, on the whole, was glad of Mary Poppins’s arrival.” She is, in fact, very often “angry,” “threatening,” “scornful,” and “frightening.” She calls the children cannibals, jostles them down the stairs, and makes them eat so quickly that they fear they will choke. She has a habit of saving the children from horrifying supernatural experiences, it’s true, but this would seem more of a boon if she herself hadn’t brought them on in revenge for naughtiness. Often, she seems like someone who doesn’t like children much.

    Still, they love her. It is Mary Poppins who puts the children to bed and unbuttons their overcoats and bathes them; Mary Poppins who, familiar to the children simply by her scent—toast and Sunlight soap—comes to their bedsides and comforts them with warm milk and quiet words. It is Mary Poppins who earns the deepest love a child has to offer: that which is bound in his trusting dependence on the person who provides his physical care. “Mary Poppins,” Michael cries in anguish the first night she has come to care for them. “You’ll never leave us, will you?” It’s the great question of childhood, the question upon which all the Mary Poppins books turn: is the person on whom a child relies for the foundation of his existence—food and warmth and love at its most elemental—about to disappear?

    “I’ll stay till the wind changes,” she tells him honestly, and at the first book’s end she leaves abruptly. Mrs. Banks is furious; the children are heartbroken. “Mary Poppins is the only person I want in the world,” Michael shrieks, throwing himself on the floor. His outburst would be doubly wounding to the modern mother: her child would be suffering and she would be reminded of the love she had forfeited to an employee. But Mrs. Banks is untroubled by either fact. Her concerns are for the disruption of her household. She and Mr. Banks have a dinner party to attend, and it’s the maid’s day off.

    The “Mary Poppins” books are transfixing and original, trading sharp drawing-room comedy with fantastical adventures and carefully rendered scenes of servant life. Travers wrote the first volume quickly, patching together the episodes of Mary Poppins and the children with those of Mary’s excursions—to her own “Fairyland,” on a private jaunt with Bert. It was likely Madge who sent the manuscript to a London publisher, Gerald Howe. He accepted it immediately, and then Travers chose an illustrator, a young woman named Mary Shepard, whose father, Ernest Shepard, had illustrated the “Winnie-the-Pooh” books. It was the beginning of a long, fruitful, and often unhappy relationship. Shepard illustrated all of the “Mary Poppins” books, though often with some bitterness: Travers allowed her almost no license in how she composed images. Travers was intimately involved in all aspects of the physical production of her books, including the color of the dust jackets and the typeface.

    Travers sent the book to press with some trepidation, fearing that a children’s book might undermine her hard-won literary cachet. She considered releasing the book anonymously, but her publisher wouldn’t hear of it. In the end, she need not have worried. The book, which came out in 1934, was not only popular with children but well received by the audience whose opinion she valued most. T. S. Eliot, who was then an editor at Faber and Faber, expressed interest; Ted Hughes later wrote to tell her that Sylvia Plath had loved “Mary Poppins.” Princess Margaret and Caroline Kennedy were both admirers. Over the course of the “Mary Poppins” run—the last book was published in 1988—the series was increasingly influenced by Travers’s study of spiritualism, myth, and the occult. But domestic scenes were always her strength. A review of the second book in the series, “Mary Poppins Comes Back,” which appeared in this magazine in 1935, observed of the main character: “To our taste, she and her little charges are at their best when they are fixed firmly on the ground, snapping tartly at each other in the very human and cluttery nursery of the Banks family.”

    It was through Diane Disney, Walt’s young daughter, that he first became aware of the “Mary Poppins” books, sometime in the early nineteen-forties. He saw their potential. The story was not in the public domain, however, and its prickly author was known to have rebuffed many Hollywood suitors, including Samuel Goldwyn. Disney, who later put his stamp on many of the classic characters from English children’s stories—Winnie-the-Pooh, Peter Pan—turned his attention to persuading Travers, who by this time was again living in London and was in and out of a tempestuous relationship with Jessie Orage, the widow of the New English Weekly’s founder, Alfred Orage. Of Disney’s courtship, Travers later recalled, “It was as if he were dangling a watch, hypnotically, before the eyes of a child.” Disney’s was a fifteen-year campaign of attention, flattery, and transcontinental telegrams and visits. At long last, Travers succumbed to a deal that gave her a hundred thousand dollars, a cut of the gross, and—unheard of at the Disney studios—script approval. She also demanded that the movie not be a cartoon, and Disney acquiesced; a 1941 strike against the studio by his animators had left him eager to explore other ways of making movies.

    The story of “Mary Poppins” depended on the premise that it was normal for a middle-class family to employ a staff, including a servant to raise the children. But to a large segment of Disney’s intended audience this idea would be bewildering or, at least, cold and unpalatable. To solve this problem, he summoned Richard and Robert Sherman to a meeting in his large, corner office on the Disney lot in Burbank. The Sherman brothers were songwriters in their early thirties who had worked on several Disney movies and television shows and had recently written the Annette Funicello hit “Tall Paul.” They had impressed Disney with the way they “thought story” when they wrote songs. He asked the brothers a question that is now a part of the lore that surrounds the making of “Mary Poppins”: “Do you boys know what a nanny is?”

    “Yeah,” Richard joked. “It’s a goat.”

    Disney realized that translating the story for an American audience would require an explanation of the role of a nanny, as well as a plot that would reward Mr. and Mrs. Banks for choosing to bring up their children themselves.

    “We had to come up with a need for Mary Poppins to come to the Banks family,” Richard Sherman told me recently. “We had to make her a necessary person.” Their first thought was to get rid of Mr. Banks. “We were going to set the thing during the Boer War and have his regiment called up,” he said. “Then you could have had a real happy ending, when he came home.” And then, Sherman said, they had an inspiration: “You could make the father emotionally absent.”

    Mr. Banks’s journey would provide the narrative arc of the film. The mother would be a matron who had lost sight of her most important calling: raising her children. She, too, would be transformed into a good mother (of the kind recognizable to an American audience in the early nineteen-sixties) through the offices of Mary Poppins, who would leave, never to return, once her work with the parents had been completed. “We made it a story about a dysfunctional family,” Sherman said. “And in comes Mary Poppins—this necessary person—to heal them.”

    By the beginning of 1961, a plot had been outlined, there were drafts for several of the songs, and a studio artist named Don DaGradi had created hundreds of sketches on dozens of storyboards to convey the look and action of the film. But Travers still needed to give the plans her blessing—a contractual obligation that suddenly seemed more daunting, because as the Disney team was finishing its work Travers’s own treatment arrived in the mail. “The more I think about it,” Walt Disney wrote her diplomatically, “the more I am inclined to feel that it would be highly advantageous for all concerned if you could come to Los Angeles and spend at least a week with us here in the studio, getting acquainted with the people who will carry the picture through to completion, and giving us the benefit of your reactions to our presentation.” He promised her a lovely trip, with opportunities to tour Disneyland in the company of a hostess and attend a private screening of “The Parent Trap.” She would, in short, undergo the final phase of hypnosis, swimming in chlorinated water beside movie stars at the hotel pool, visiting Sleeping Beauty’s castle, and—almost as an afterthought—approving the Disney script instead of her own.

    But after Disney’s years of fawning attention, Travers arrived in California expecting to be deferred to completely. Moreover, she was not as awed by Disney’s achievements as others were. Young Richard Sherman may have considered Walt Disney “the greatest storyteller—maybe the greatest man of the twentieth century,” but Pamela Travers had discussed her poetry with William Butler Yeats and shared a masthead with T. S. Eliot. She thought that “Steamboat Willie” was a fine entertainment for youngsters, but she considered most of the Disney oeuvre manipulative and false. In her mind, he traded in sentimentality and cynicism, two qualities she despised.

    Disney’s artistic impulses may be open to interpretation, but he was shrewd. “We had no idea she was coming to town,” Richard Sherman recalled, chuckling. “Walt told us two days before she came—and then he went to the ranch in Palm Springs. He said he had to read some scripts.” DaGradi and the young songwriters were left to deal with her. They could listen to Travers’s ideas, and present their own, but they had no power to agree to anything that she wanted.

    The story meeting was punishing. It lasted more than a week, and consisted of the Sherman brothers trying to sell the Disney version, while Travers, whose youthful self-confidence had gathered over the years into an oppressive self-righteousness, interrupted, corrected, bullied, and shamed them. Like countless novelists in Hollywood, Travers sought to salvage every last detail from her original. The sessions were tape-recorded, and on the tapes you can hear Travers’s booming, imperious voice in terrifying counterpoint to the Sherman brothers’ chipper young voices. “But how is that arranged?” she asks of a sequence in which the principal characters jump into the world of a sidewalk chalk drawing. “Walt Disney magic!” one of the young men replies with touching excitement.

    At last the meeting ended, and Travers headed back to London, but not before rolling nine sheets of pink stationery from the Beverly Hills Hotel into her typewriter and recounting a slew of anachronisms and unconscionable deviations from the text not sufficiently covered in the story conferences. Back home, she bombarded Disney with a second long assessment of what he was doing wrong. In the end, Travers reluctantly approved a version of the script, and production began. She continued to lodge objections, however, and, two years after signing off on the project, sent Disney another long set of notes, her intention seemingly to belittle the effort and to distance herself from it—an insurance policy against going down with the ship if the picture was a stinker. In the nineteen-eighties, she laid out her objections most pointedly to her young friend and devotee Brian Sibley. “What wand was waved to turn Mr. Banks from a bank clerk into a minor president, from an anxious, ever-loving father into a man who could cheerfully tear into pieces a poem that his children had written?” she wrote. “How could dear, demented Mrs. Banks, fussy, feminine and loving, become a suffragette? Why was Mary Poppins, already beloved for what she was—plain, vain and incorruptible—transmogrified into a soubrette?”

    The première was the first Travers had seen of the movie—she did not initially receive an invitation, but had embarrassed a Disney executive into extending one—and it was a shock. Afterward, as Richard Sherman recalled, she tracked down Disney at the after-party, which was held in a giant white tent in the parking lot adjoining the Chinese Theatre. “Well,” she said loudly. “The first thing that has to go is the animation sequence.” Disney looked at her coolly. “Pamela,” he replied, “the ship has sailed.” And then he strode past her, toward a throng of well-wishers, and left her alone, an aging woman in a satin gown and evening gloves, who had travelled more than five thousand miles to attend a party where she was not wanted.

    “Walt Disney’s Mary Poppins” won five Academy Awards. After the movie’s release, P. L. Travers became a cottage industry, something she loved and chafed against in equal measure. By then, children’s literature had become a legitimate academic field in America, particularly popular at women’s colleges, and Smith and Radcliffe invited her to be a writer in residence. It was a mixed blessing. She relished university life and the opportunities for pontificating that it provided, but she found that the kind of young women who studied children’s books were nothing at all like the girl who had escaped from Australia half a lifetime ago. She took to hosting louche at-homes in her dormitory apartment, sprawling on the couch barefoot, clad in a loosely belted kimono and coming to life only if a male student or professor wandered into the session.

    Richard Sherman believes that Travers’s opinion of the movie changed depending on her audience. In private letters, including some to journalists, she mercilessly criticized Disney’s lack of subtlety and what she called his emasculation of characters, but she habitually attached a nervous caveat that her remarks were not for publication. (Disney, she claimed, had once reprimanded her for being ungrateful.) To this day, her estate watchfully guards this correspondence.

    As much as Travers seethed about her experience in Hollywood, she couldn’t resist the thought of a return. According to Sibley, she spent her eighties working on a treatment for a movie sequel. In 1989, she decided to sell her meticulously preserved and organized papers, including a file of annotated carbons of letters she had written to Walt Disney. She had hoped to place the archive with a major American collection, where the curious could, at last, learn her genuine response to the film. But the papers didn’t find a buyer, and the offering was eventually repackaged as a collection belonging to “the best-known and best-selling Australian author” and sold to the Mitchell Library, part of the State Library of New South Wales, in Sydney. They are stored there in twenty-eight manuscript boxes, not eighty miles from the house where Margaret Goff tried to kill herself.

    In 1994, two years before Travers’s death, she made a final attempt to control her legacy, selling the theatrical rights to “Mary Poppins” to the producer Cameron Mackintosh. (His “big four” are “Cats,” “Les Misérables,” “The Phantom of the Opera,” and “Miss Saigon.”) As Mackintosh said, “She realized I was her best chance.” Last December, after Mackintosh and Thomas Schumacher, the president of Disney’s theatrical division—his team produced the stage version of “The Lion King”—negotiated a co-producing deal, “Mary Poppins” opened at the Prince Edward Theatre in London’s West End. (It will come to Broadway next fall.) The musical, with a book by Julian Fellowes, is a strange and beautiful thing, containing an astonishing variety of moods and distinguished by a faithful rendering of the books’ brisk and sophisticated comic sensibility. It ends with a crowd-pleaser: Mary Poppins departs the Banks family by soaring up and into the rafters, borne aloft by her umbrella and by the forgiving enthusiasm of the audience, which often includes ample representation from the under-ten set. She has been more punitive and frightening than Julie Andrews ever was, but she has nonetheless managed to evoke the powerful emotions—in particular, children’s deep fear of abandonment—that have always been at the story’s core. On one occasion, when the beloved nanny was making her getaway, a middle-aged man was heard to cry out in anguish, “Mary Poppins, don’t leave!” ♦

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    Home » Online Training » Core Java Online Training

    Core Java Online Training

    Contents

    • 1 Core Java Online Training Course Overview
      • 1.1 Duration : 40 Hrs
      • 1.2 Introduction to “Java”
      • 1.3 Object Oriented Programming
      • 1.4 Using Java Library
      • 1.5 Packages and Interfaces
      • 1.6 Exception Handling
      • 1.7 Multithreading
      • 1.8 IO Streams
      • 1.9 Network Programming
      • 1.10 Collections Framework
      • 1.11 Applets and Frame-based Applications
        • 1.11.1 share training and course content with friends and students:
      • 1.12 Share this:

    Core Java Online Training Course Overview

    Duration : 40 Hrs

    Introduction to “Java”

    • Introduction to Internet
    • Role of Java in internet programming
    • Features of Java
    • How to create a simple program in Java
    • Using JAVAC to compile and run Java program
    • Data types and control structures of Java
    • Working with Arrays
    • Command line arguments
    • Using printf() method and Scanner class

    Object Oriented Programming

    • What is OOP – encapsulation, inheritance, and polymorphism
    • How to create a class and instantiate objects
    • Using Constructors
    • Method overloading and constructor overloading
    • Finalize method
    • Static variables and static methods
    • Inheritance
    • Using super keyword
    • Dynamic Method Dispatch – late binding
    • Abstract method and class
    • Final variable, method and class
    • Enumeration

    Using Java Library

    • String, StringBuffer classes
    • Math class
    • How Java deals with Objects and Primitive types
    • Object and Objects classes
    • Wrapper classes – Autoboxing and autounboxing
    • Date, Calendar, DateFormat classes
    • Runtime class

    Packages and Interfaces

    • What is a package and how to create it
    • Using package , import statement and CLASSPATH variable
    • Access modifiers
    • What is an interface
    • Implementing an interface
    • Inheritance and interfaces
    • Static imports
    • Variable arguments
    • Enumeration

    Exception Handling

    • How to handle exceptions in Java – try and catch blocks
    • Understanding exception classes hierarchy
    • finally block
    • Creating user-defined exceptions
    • Using throws and throw keywords
    • Multi-catch and precise rethrow

    Multithreading

    • What is a multithreaded application
    • Creating new thread using subclass of Thread class
    • Creating new thread using Runnable interface
    • Methods of Thread class
    • Life cycle of a thread
    • Synchronization of threads – using synchronized methods and block

    IO Streams

    • What is a stream
    • Character and byte streams
    • FileReader and FileWriter
    • Filtered Streams
    • BufferedReader to read one complete line
    • Using InputStreamReader to convert byte stream to char stream
    • Reading data from keyboard (System.in)
    • Using RandomAccessFile class
    • Using PrintWriter class
    • Using File class
    • NIO of Java 7.0 – Files and Path classes
    • Serialization

    Network Programming

    • Creating Server Socket
    • Creating Client Socket and connecting to server
    • InetAddress class
    • Using URL class

    Collections Framework

    • Collection, List, Set and SortedSet interfaces
    • ArrayList, Vector, HashSet, TreeSet classes
    • How to Comparator interface
    • Queue interface and LinkedList class
    • Map and SortedMap interfaces
    • HashMap and TreeMap classes
    • Using Collections class
    • Generics
    • Improved type inference
    • Automatic resource management

    Applets and Frame-based Applications

    • What is an applet and how to create simple applet
    • Passing parameters to Applet
    • Handling images in Applet
    • Multithreading in Applet
    • Swing frame based applications
    • Components and layout managers
    • Event Handling – Delegation event model
    • Handling events using adapter class and inner classes
    • Window, Mouse and Keyboard events
    • How to change look and feel at runtime
    • Swing components – JRadioButton, JList etc.
    • Using Menu, Toolbar and Standard Dialog boxes
    • Using Timer, JScrollPane and JSlider
    • Using JFileChooser, JTable, JTree etc.
    • Using pop-up splash screen
    • Using Desktop class to launch desktop applications

    share training and course content with friends and students:

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                          ★Essay About Famous Person

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                          Famous person essay

                          Who is your favorite famous person essay

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                          • Describe famous person essay
                          • Descriptive writing about a famous person
                          • Essay description of a famous person
                          • Describe a famous person you admire essay
                          • A famous person you admire spm essay
                          • An essay on a famous person


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                          Go to the profile of Rogério R. Alcântara
                          Rogério R. Alcântara
                          An ape who happens to talk, code and tweet.

                          IELTS General Writing Task 2 — Practice Draft

                          Many newspapers and magazines feature stories about the private lives of famous people. We know what they eat, where they buy their clothes and who they love. We also often see pictures of them in private situations. Is it appropriate for a magazine or newspaper to give this kind of private information about people?

                          A One-Sided Opinion Essay
                          with a Funnel Approach Introduction


                          Never before has society been so obsessed with famous people as these days. In the past, celebrities were able to separate their private lives from their public personas with some degree of success. Yet today, seemingly due to the omnipresence of the mass media joined to the ubiquity of the Internet, celebrities reach a whole new level of popularity. Such prestige, however, does not come without a price.

                          News about famous people’s private lives hit the headlines almost every day. From exotic diets to gossip about love affairs, celebrities have their lives scrutinized by the mass media all the time. Not rarely, famous people struggle to put up with paparazzi, being harassed even in gloomy situations such as a funeral of a beloved one, for example.

                          Ironically, what seems to fuel such obsession is precisely the thermometer of the fame; popularity. In other words, the greater the fame is the more news about their private lives will be sought after. It seems fundamental to point this out because, given the very nature of the market, to boost profit, it seems natural that the mass media, playing the market role, provides this sort of product. After all, where there is demand there will be supply, it is said.

                          Hence, that the reason why the mass media features such stories stems from the natural dynamic of capitalism appears to be clear. Yet, to me, the intriguing challenge is to figure out why do people are so keen on this kind of news in the first place? Perhaps we should consider fostering an honest reflection on whether such cult of celebrity is still suitable for the society we aspire to.

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                          Famous College Essay


                          Famous University Essay, Famous Admissions Essay, Famous NYU Essay

                          NYU received what would become the most famous college essay many years ago.

                          We’ve never written about this essay on our college admissions blog before. But we figured…why not? If one were to ask us what is the most famous college essay ever written, we know the answer hands down. It’s this NYU applicant’s essay from many, many years ago. To this day, it remains well known in the highly selective college admissions community. But, today, we’d like to discuss it. Look, it’s extremely well written. Rarely — and we mean rarely — have we seen students with this kind of writing ability. Did we say rarely yet? Because we do mean rarely. And it’s quite funny. The guy can make 30-minute brownies in 20 minutes.

                          And while it was a great essay at the time and the writer definitely has a sense of humor, we strongly discourage students from writing essays in this style. For one, every single admissions officer — from the ones who are first out of college to the veterans of the departments — will know from where you’re taking inspiration. Also, this essay is kind of mocking the entire college admissions process. The writer is essentially saying that he has done all of these amazing things in life and he hasn’t even yet gone to college. Sure, it’s written tongue in cheek but, at the end of the day, the essay says little about the actual applicant. Because, presumably, little or none of it is true. That’s the whole point.

                          Look, this was a great essay all of those years ago. There’s a reason it’s a famous essay. What we’re saying is don’t even think about taking inspiration from it or writing anything stylistically similar because that is not a good idea for you. Here’s the essay:

                          “I am a dynamic figure, often seen scaling walls and crushing ice. I have been known to remodel train stations on my lunch breaks, making them more efficient in the area of heat retention. I translate ethnic slurs for Cuban refugees, I write award-winning operas, I manage time efficiently.

                          Occasionally, I tread water for three days in a row. I woo women with my sensuous and godlike trombone playing. I can pilot bicycles up severe inclines with unflagging speed, and I cook 30-minute brownies in 20 minutes.

                          I am an expert in stucco, a veteran in love, and an outlaw in Peru.

                          Using only a hoe and a large glass of water, I once single-handedly defended a small village in the Amazon basin from a horde of ferocious army ants. I play bluegrass cello. I was scouted by the Mets. I am the subject of numerous documentaries. When I’m bored, I build large suspension bridges in my yard. I enjoy urban hang gliding. On Wednesdays, after school, I repair electrical appliances free of charge.

                          I am an abstract artist, a concrete analyst, and a ruthless bookie. Critics worldwide swoon over my original line of corduroy evening wear. I don’t perspire.

                          I am a private citizen, yet I receive fan mail. I have been caller number nine and have won the weekend passes. Last summer I toured New Jersey with a traveling centrifugal force demonstration. I bat .400. My deft floral arrangements have earned me fame in international botany circles. Children trust me.

                          I can hurl tennis rackets at small moving objects with deadly accuracy. I once read Paradise lost, Moby Dick, and David Copperfield in one day and still had time to refurbish an entire dining room that evening. I know the exact location of every food item in the supermarket. I have performed several covert operations for the CIA. I sleep once a week; when I do sleep, I sleep in a chair. While on vacation in Canada, I successfully negotiated with a group of terrorists who had seized a small bakery. The laws of physics do not apply to me.

                          I balance, I weave, I dodge, I frolic, and my bills are all paid. On weekends, to let off steam, I participate in full-contact origami. Years ago I discovered the meaning of life, but forgot to write it down. I have made extraordinary four course meals using only a mouli and a toaster oven.

                          I breed prize-winning clams. I have won bullfights in San Juan, cliff-diving competitions in Sri Lanka, and spelling bees at the Kremlin. I have played Hamlet, I have performed open-heart surgery, and I have spoken with Elvis.

                          But, I have not yet gone to college.”

                          What do you think about this college essay? Let us know your thoughts by posting a Comment below. We look forward to hearing from you! Oh, and if you’re a rising high school senior, now is the time when you should be working on your college essays . So contact us  today to get started!

                           


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                          Categories: College Essays

                          Tags: Famous College Essay , Famous NYU Essay , Famous University Essay , Most Famous College Essay , Well Known College Essay

                          10 Comments

                          • Micah says:
                            February 20, 2016 at 5:22 pm

                            Was the guy accepted into the college?

                            Reply

                            • Ivy Coach says:
                              February 22, 2016 at 1:31 am

                              Yes, NYU.

                              Reply

                            • Mocsab says:
                              December 28, 2016 at 2:43 am

                              Yes, he applied to NYU for Creative Writing, they’d have to be mental not to accept this work of art

                              Reply

                              • Rosie says:
                                January 1, 2018 at 3:12 am

                                NYU doesn’t have a Creative Writing major.

                                Reply

                                • Ivy Coach says:
                                  January 2, 2018 at 4:31 pm

                                  That is not relevant to this student’s essay. Who said he applied (decades ago) as a creative writing major?

                                  Reply

                          • K says:
                            September 23, 2016 at 12:58 pm

                            This is bold and hilarious. Good for him for taking a risk! (and it paying off)

                            Reply

                          • Sophia Kolak says:
                            November 5, 2016 at 7:19 pm

                            The essay actually does say a lot about him. It shows he is witty, cynical, funny, and creative. It also shows that he is brave, because he is not afraid to break the conventions of a typical college essay. The rest of his application would have said what clubs he was in, his grades, and the rest of the things most people talk about in their essays. I agree that it would likely be obvious if a student were to emulate this style exactly, but claiming the essay “says little about the applicant” is rather naive.

                            Reply

                          • Kerryb says:
                            December 15, 2016 at 2:51 am

                            This is a funny read, very clever and just entertaining! If you asked a college coach or anyone else if you should submit this essay, they would say no!!! Maybe he had an equally amazing gpa and perfect sat scores etc….and he had room to take a risk!

                            Reply

                          • KenC says:
                            May 17, 2018 at 12:07 am

                            The kind of essay, you would submit only as a lark to your dream school.

                            Reply

                          • Isaac says:
                            August 7, 2018 at 3:58 am

                            I can’t believe actually laughed out loud in the middle of Starbucks while reading this…

                            Reply

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                          ★How to Write Excellent &quot



                          Top-notch study tips for A+ students

                          How to Write Excellent “Why I Need This Scholarship” Essays

                          1 Star2 Stars3 Stars4 Stars5 Stars ( votes: 14 )

                          By Julia R.

                          • essay format
                          • students’ budget

                          Summer is the time of sunny sky, sunsets on the beach… and scholarship essays.
                          Don’t seem to go together well, do they?

                          Have you already guessed it?

                          Even though it can be hard to motivate yourself to write an essay instead of lying in the sun, there’s still a good reason to get yourself together.

                          That reason is your wellbeing during the year that follows.

                          Scholarship essay is, without any doubt, on the list of things that can significantly affect your life (and if you’re struggling with your scholarship writing, you can always find help here ).

                          College admission boards and scholarship committees are looking for new effective ways to discover talented students who can easily and successfully communicate their ideas in writing (that’s why it is important to proofread your essay by Grammarly ).

                          Scholarship essays have become an effective tool in this search. Even for students who want to study abroad. To help you out, we have conducted a thorough research came up with this definitive guide on scholarship essays.

                          So, what’s inside?

                          First, we’ll explain the whole point of writing this kind of essay and describe what components it should include to bring you success. Next, we’ll lead you step by step through the process of writing itself. You’ll learn exactly what you need to do to create the perfect scholarship essay.

                          And that’s not all.

                          We’ll also discuss the best choice of words when writing an essay and explain how you should create effective headlines. You’ll also get to check out a couple of essay examples, as well as a list of do’s and don’ts that will make the writing process even easier for you.

                          Last but not least, we’ll give a list of scholarships that you can apply to—so make sure to read our guide through to the very end!

                          But enough introductions, let’s move on to the most interesting part. It’s time to learn what scholarship essays are all about.

                          Before Starting to Write…

                          There’s one important thing you need to know before even starting to gather material for your scholarship letter.

                          And here’s what it is.

                          You need to understand the real purpose of why you are writing a scholarship essay. Apart from that, you need to see the difference between phrases like “Why I Need This Scholarship” and “Why I Deserve This Scholarship.”

                          At a glance, there seems to be no difference between those two.

                          After all, you are going to write a mere essay. And it is probably not that important, which one of the titles you choose, right?

                          Still, if you look at the two titles closer, you will see a slight difference between a “Why I Need This Scholarship” essay and a “Why I Deserve the Scholarship” essay.

                          Source: https://admission.enrollment.cmu.edu/pages/financial-aid-statistics

                          Obviously, the difference lies in the two words “need” and “deserve”.

                          So, let’s look at what sets apart these similarly titled essays in more detail.

                          “Why I Need This Scholarship” essay

                          If you’re using the word need in your essay, it will sound like you are begging for your scholarship.

                          And that may be true in reality.

                          However, do you want to sound like a beggar?

                          Your success will heavily depend on the language and tone you use in your essay. However, you must be aware that something like “Please, give me this scholarship. I need it. My family cannot afford to pay for my education, and I want to get a degree so much” will not make a good impression.

                          “Why I Deserve This Scholarship” essay

                          Source: http://time.com/money/4132391/winning-scholarships-help/

                          Writing an application letter that explains why you deserve a scholarship also shows that you are asking for it.

                          But…

                          When you’re sure you deserve the scholarship, you will sound much stronger and more convincing.

                          Support your argument with a logical and detailed explanation of exactly why you deserve this scholarship. Tell about what makes you unique among other candidates. Describe your main strengths to persuade your readers that you’re the one who’s worthy of getting the money. It’s common to hold scholarship essay contests, so you need to do your best to win the competition.

                          With the right focus, writing a successful scholarship essay comes down to just following the prompts and completing all the necessary steps.

                          And that’s exactly what you’re going to learn in the next part of our guide.

                          Writing Scholarships Step by Step

                          Every essay—regardless of its type, purpose, or topic—has an individual writing process that consists of distinct steps.

                          And a scholarship essay is no exception.

                          What’s the purpose of this type of essay?

                          This is a convincing paper that tells a college admission board a short story about why you are the right person to give a scholarship to.

                          What are the stages of writing it?

                          Let’s find out how to start right now.

                          1. Gathering ideas

                          To increase the chances of your essay being successful, analyze the institution you are applying to. Additional background knowledge will give you more confidence.

                          With a significant number of future college freshmen applying at the same time, it’s good to know that you have at least some advantage.

                          First things first—you should choose an appropriate topic to illustrate your unique qualities (unless the committee has already selected the topic for you).

                          Ideas that you can use as a topic for your essay include extracurricular activities, your major accomplishments, challenges and other aspects of your life. Talk about anything that you think can make you stand out among the other applicants for this scholarship.

                          Once you’ve selected the topic and established your goal, you need to outline the story you’re about to tell. Without a well-thought-out plan, it’s going to be difficult to keep the narration logical and straightforward and avoid getting lost in your thoughts.

                          Here’s a quick tip from us.

                          Take your time to prepare for writing this essay.

                          Source: http://www.mytimemanagement.com/time-management-statistics.html

                          With a scholarship, you have no option to fail. It’s not a regular class essay that you can redo to get a better grade.

                          In fact, there will be no grades at all. And if you mess up, you won’t get another chance until the next year (depending on the specific scholarship you’re applying to).

                          That’s why you have to do your absolute best. Discuss the essay with your friends and family. It is hard to write an ode to yourself, so you can request a bit of writing help from people who know you well.

                          2. Writing the introduction

                          The introduction is the face of your paper. Capture the interest of the committee. Because that’s the only way to get them engaged in your story.

                          And once you do that—you’ll have every chance to receive your scholarship.

                          In the introduction, you can start from the beginning, middle, or end of your story.

                          Make it brief, informative and descriptive.

                          Don’t use long sentences for the introduction. You may leave that for other parts of your essay.

                          Here’s what’s important.

                          Be optimistic. Think about your attitude. You like people who have a positive point of view. The same thing works with the committee.

                          So, there’s no need to add drama to your paper.

                          3. Crafting the main body of your essay

                          This is the part of the paper that has all the “meat.” The body of your essay contains the main argument.

                          The body paragraphs should include the information on your life, accomplishments, and plans for the future—anything that the committee might find interesting and persuasive.

                          Focus on family values and the importance of academic success.

                          Be sure to leave enough time to write this part. When finished, go over it again to see if you’ve left out anything significant.

                          Some of the main tips are as follows:

                          • Don’t try to summarize. Instead, provide as many details as possible to your story. You need to make it compelling, captivating, and convincing.
                          • Don’t be impersonal. It’s all about you. And it’s not only the story itself that should be focused on you. It’s even better if you can add a couple of personal touches to your writing style, too.
                          • Don’t complain. Remember that strong personalities struggle, and avoid whining. You also have to keep a positive attitude. Even if your story describes sad or negative events, it’s a good opportunity to show how you managed to deal with them.

                          4. Wrapping everything up in the conclusion

                          Source: https://aso-resources.une.edu.au/academic-writing-course/paragraphs/conclusion-paragraphs/

                          In this part of the essay, you’ll stress the significance of your story and why it’s necessary to give the scholarship to you.

                          There is only one main rule for the conclusion—don’t try to sum everything up.

                          Your scholarship essay is short as it is. So, there is nothing to go over and review, as the memory is still fresh.

                          To write a proper conclusion, just put extra emphasis on the points of your story that you consider to be the most important.

                          There’s nothing else to say about writing a conclusion.

                          To give you a final tip, let us remind you that it’s essential to proofread your essay. As we mentioned earlier, you won’t get the chance to redo it right away—so you have to do everything you can to nail it on the first try.

                          Choosing the Right Vocabulary for Your Scholarship Essay

                          A great, well-considered story about yourself is only one part of your scholarship essay’s success.

                          What’s the other?

                          It’s your language and the vocabulary you use.

                          You have to choose your words carefully, as they can make a huge impact on your essay’s overall success.

                          Here are three core principles you can follow to filter out the wrong words:

                          • Sincerity. ‘A good candidate’ and ‘well-prepared’ is much better than ‘fantastic background’ and ‘exceptional skills’.
                          • Positive views. ‘Well-prepared’ can be a good substitute for ‘struggling academically’.
                          • Conciseness. Delete ‘very’, ‘strongly’ and ‘literally’ from your papers and try to find stronger one-word synonyms, instead.

                          At the same time, don’t try to show off your vocabulary just for the sake of it. Instead, use it as a tool to help you craft your story . A story that will earn you that scholarship.

                          After getting into the right mindset, try using the following words to brighten up your vocabulary.

                          • To support your point with additional information
                            Furthermore, moreover, similarly, what’s more, likewise, as well as, coupled with, to say nothing of, not to mention
                          • To give a general explanation
                            In other words, in order to, to that end, that is to say, to put it another way
                          • To develop contrast
                            Yet, then again, that said, on the other hand, by contrast, however, in comparison, having said that
                          • To show importance
                            Importantly, significantly, notably
                          • To add acknowledgment
                            In light of, despite this, provided that, given, with this in mind, nevertheless, nonetheless, notwithstanding
                          • To draw a summary
                            All things considered, in conclusion, compelling, above all

                          It’s fair to say that the words mentioned above aren’t the only ones you can use.

                          If you think that a particular word is suitable for your essay—use it without doubt!

                          There’s just one more thing to consider, though.

                          While thesauruses and dictionaries can help a lot when writing various research papers, it’s better not to use them when writing a scholarship essay.

                          The main reason is that you shouldn’t use words whose meaning you don’t know well. This will only show your insecurity, which is definitely not good if you’re aiming to receive a scholarship.

                          Sample Scholarship Essays and Essay Headlines

                          Of course, no amount of theory can compare to a nicely composed example.

                          Instead of reading endless tips and suggestions and trying to remember all that information, just take a look at an already-written work. It’ll give you an idea of what the finished essay should look like.

                          We couldn’t deprive you of this excellent opportunity. So, we’ve decided to provide you with a couple of sources where you can find these examples. They will give you a clearer understanding of how you should approach the writing of your scholarship essay.

                          • Scholarship paper examples from Custom-Writing
                          • Sample scholarship essays
                          • How to write a scholarship essay—examples
                          • Scholarship application essay example

                          There’s a whole set of benefits you can get from checking out sample scholarship essays:

                          • You’ll learn the basics of this type of work—including the required structure, length, number of paragraphs, formatting, and more.
                          • It can help you overcome writer’s block, especially when you can’t even come up with a topic. Looking at a couple of examples can give you an idea of what your essay should be about.
                          • Any writing task requires research, and the same is true of scholarship essays. When the example topic is similar to yours, you’ll get some inspiration for ideas yourself! It might even be like you were searching for scholarship essay examples about yourself. That’s how similar these essays can be sometimes.
                          • Checking out essay examples can boost your creativity. You can borrow some of the techniques from the sample or even improve upon what you’ve seen in your own work.
                          • You’ll get a good reminder to pay attention to grammar, which unfortunately is still a problem in many essays. An example essay can also demonstrate what sentence structure you should have, how to properly insert quotes, and how to deal with punctuation. This exercise will be especially useful for scholarships for international students whose native language isn’t English.

                          But that’s not even all.

                          You should also think about a strong title.

                          This is the first hook that will grab your readers’ attention.

                          You can even start the whole writing process by choosing your headline. The headline can determine what story you’re going to tell and how you’ll do it. Let’s explore a couple of ideas about what your essay headline could be.

                          Remember, you don’t have to use these ideas exactly as they are. Instead, use this list as inspiration, and you’ll easily come up with a topic of your own.

                          • Previous scholarships and leadership roles.
                          • Personal contributions to clubs, associations, civic organizations.
                          • Special knowledge, skills, research projects.
                          • Prior experiences that have motivated you.
                          • Previous experiences that show your ability to face challenges.
                          • Academic and career goals.
                          • Personal financial circumstances (only if they reveal financial hardships).
                          • My attempts at entrepreneurship in high school.
                          • Turning dreams into achievements.
                          • What I learned from my school teachers.
                          • Role models who influenced my future.
                          • Finding new people, inspiration, and ideas.

                          Scholarship Essay Dos and Donts

                          We’ve already covered quite a lot in this guide.

                          But…

                          There’s always more to talk about.

                          For instance, what are the most common do’s and don’ts of writing scholarship essays?

                          Let’s find out!

                          Do’s of writing scholarship essay

                          Starting with a strong statement is important. Imagine that the committee reads only this first sentence. So, avoid beating around the bush wasting your chances and get down to business.

                          Start from your achievements, not problems—set the optimistic tone. For example, “My academic accomplishments and persistence have always helped me to work towards my goals.” Don’t begin by stating that you’re seeking financial assistance.

                          Make it energetic and persuasive—use active verbs: work, achieve, accomplish.

                          Save your readers’ time—start with the most important claims.

                          Thoroughly research the scholarships you’re applying to. This will give you an understanding of which key ideas your essay should cover.

                          Think about your essay’s transitions. Arrange the paragraphs of your essay in such a way that your readers will be fully immersed in your story.

                          Choose your words carefully, and remove all the unnecessary ones. Remember that you have a tight word count.

                          Make your essay unique—from the headline and the thesis statement to the story itself and its conclusion. Avoid using clichés and general phrases as much as possible. Even if the scholarship you’re applying for is less competitive than others, you still need to make the most of your essay.

                          Don’ts of writing scholarship essay

                          • Avoid irrelevant info—inappropriate quotes, too general or obvious phrases.
                          • Don’t show your uncertainty.
                          • Avoid exaggerations or unnecessary pathos. Such as “chemistry is my only passion” or “my never-ending quest for knowledge”.
                          • Don’t ignore feedback. Never miss out on the opportunity to have someone else check your essay in the first place.
                          • At the same time, don’t allow anyone else to get too involved in the creative process of your essay. It’s still ultimately about you.
                          • If you’re applying for multiple scholarships, you shouldn’t assume that one essay will fit them all. It may be tempting to use the same essay since the work might be unpublished, but that really isn’t a good idea. It’s always best to tailor your essay to each scholarship you’re applying to.
                          • Never rush your essay writing. Make sure you have enough time to write a first draft. Leave some time for a couple revisions, too. You can revise the essay yourself, and then have someone else check it. That’s at least two revisions.
                          • Don’t forget to check the required scholarship essay format in order to make it right.

                          Easy Scholarships to Apply for in 2017

                          It would be unfair to give you all these tips on how to write a scholarship essay and then leave you without any actual scholarship sources.

                          But that’s all about to change right now.

                          Wondering where and how to get a scholarship? It’s easy!

                          You should apply for scholarships online. You don’t even need to use a search engine to find one.

                          Here’s a list of scholarships you can easily apply for in 2017 (they’re going to be available later, too, so make sure to check out the links even if 2018 is approaching).

                          1. Courage To Grow Scholarship

                          This is a $500 scholarship given on the last day of every month. It’s a great opportunity for those in financial need. High school juniors and seniors or college students with a minimum GPA of 2.5 can apply. The application requires a 250-word essay on why you should receive this scholarship.

                          2. Cappex Easy College Money Scholarship

                          This scholarship awards a $1,000 prize every month. It has no GPA requirement and is open to any undergraduate. To apply for the scholarship, you have to create a profile and describe your extracurricular, volunteer, leadership, or other free-time activities.

                          3. Course Hero Scholarships

                          This $5,000 scholarship is given every month. All it takes to apply for this scholarship is to fill out the registration form and answer the question of the month. Winning depends on the answer given by applicants.

                          4. Bachus & Schanker, LLC Scholarship

                          This is a semiannual scholarship with a $2,000 award, designed for high school students accepted to a four-year university or university students with a GPA of 3.0 or higher. To win, you have to write a short essay about the Seventh Amendment and how it influences your life.

                          5. Americanism Essay Contest

                          This annual scholarship offers a main award of $5,000 and 3 additional prizes for first, second, and third places ($2,500, $1,500, and $1,000 respectively). It includes contests that require a short essay to be written on a specific topic with a deadline of December 1st. You should also pick an FRA US department sponsor.

                          6. Innovation in Education Scholarship

                          This is a scholarship of $500 given every month. To apply for it, you must be creative by designing an innovative project and describing it in a cover letter.

                          Guaranteed, there are many more scholarships to choose from. And not only for students in the USA but also for those in Europe.

                          We’ve only given you a couple of options, so you know that there are many simple ones out there

                          With a little research, you can easily find the scholarship that fits you best (something like the AVVO scholarship program or Chegg monthly, for instance). There are even scholarships with essays for those who play football or basketball and for those pursuing a masters degree.

                          Tell us about your results! Or share interesting scholarships you’ve found in the comments.

                          But for now, we wish you luck with all your essay writing!

                          Related articles

                          Essays on Murder: Top 3 Killing Ideas to Complete your Essay Excellent Reflective Essay in Nursing: Easy Guidelines

                          Comments (2)


                          Cancel reply

                          • Annett Fr. Annett Fr. Posted:

                            Sound ideas on writing “Why I Need This Scholarship” essays. They are the key to writing a good scholarship essay and getting financial aid!

                            Reply

                          • Ann Willis Ann Willis Posted:

                            This is great advice on writing my “Why I Need This Scholarship” essay, and I used it when worked on my assignment. Really helpful blog!

                            Reply

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                          • Амбасадорот на Македонија во Албанија
                          • Амбасадорот на Република Куба за Република Македонија
                          • америка
                          • американска амбасада
                          • анализа
                          • Ангел Митревски
                          • Ангела Меркел
                          • англија
                          • Андреа Алексовски
                          • Анкара
                          • анкета
                          • Анти уставен
                          • Античките Македонци
                          • Античките Македонци не биле Грци
                          • Антонио Гутереш
                          • аргеологија
                          • арм
                          • Арменија
                          • арми
                          • Армија
                          • Армија на Македонија
                          • армија на република македонија
                          • Армијата на Република Македонија
                          • ародором
                          • Ародроми
                          • Архиепископот Охридски и Македонски
                          • Архиепископски црковно-народен собор
                          • Архимандрит Никодим Царкњас
                          • Архимандрит Партениј
                          • Архимандритот Јоаникиј Ракотински
                          • атентат
                          • атина
                          • аустриа
                          • аустрија
                          • Афрески
                          • африка
                          • база
                          • балакн
                          • Балкан
                          • балканска рута
                          • балкански маратон
                          • балкански фестивал охрид македонија
                          • банда
                          • Банка
                          • банкет
                          • барање
                          • барцелона
                          • Башар Ал Асад
                          • Бегалци
                          • белгија
                          • белград
                          • бензински пумпи
                          • берат
                          • берлин
                          • бесбедност
                          • бигорски манастир
                          • Бигорски манастир Св.Јован Крстител
                          • бигорски манастри
                          • бигорски манстир
                          • Бигорскиот манастир „Св. Јован Крстител“
                          • Бизнес
                          • Бизнес конференција
                          • бизнес форум
                          • Бил Николов
                          • Бил Павловски
                          • Билатерални средби
                          • Билишта
                          • Биографиа
                          • битола
                          • бих
                          • Бјелорусија
                          • Благодарница “Илинден”
                          • Благодатниот оган
                          • Благодатниот оган од Ерусалим
                          • блаже конески
                          • Блиски Исток
                          • блокада
                          • Бобоштица
                          • богородица
                          • бојкот
                          • Бојкот на референдумот
                          • Бојкотирајте го понижубачкиот референдум
                          • Бојкотирам
                          • Боло Брдо
                          • бомби
                          • борење
                          • Борец Ален Амедовски
                          • босна
                          • босна и херцеговина
                          • бразил
                          • браќа
                          • Брашно
                          • брдо­бриони процесот
                          • британија
                          • брод
                          • брот
                          • брошура
                          • Бугари во албанија не постојат
                          • бугари во албанија нема
                          • бугари нема
                          • бугарија
                          • бугарска лага
                          • буда
                          • Будва
                          • бујар нишани
                          • бурка
                          • Буркина Фасо
                          • Валамскиот манастир
                          • валандво
                          • валандово
                          • Валбона Атанасковска
                          • валона
                          • валута „Bitcoin“
                          • Ванчо Шехтански
                          • Вардар
                          • Варшава
                          • Васил Јанкула
                          • Васил Јанкула Македонец од Мала Преспа
                          • васил стерјовски
                          • василица
                          • Васко Ефтов “Во Центар”
                          • ватикан
                          • Вашингтон тајмс
                          • Веб портал
                          • вежба
                          • Веле Тошевски
                          • велес
                          • велигден
                          • Велика Сабота
                          • Велики петок
                          • Велики петок најтежок христијански празник
                          • Великомаченик Св.Јован Владимир
                          • Велинденски
                          • велипоје
                          • Венецијанската комисија
                          • вера
                          • Весна Темелкоска – Вуковиќ
                          • весник
                          • Весник Илинден
                          • весник илинден тирана
                          • весник македнија торонто
                          • весник на македонците во бугарија
                          • вести на макеоднски
                          • Ветераните на армиите и безбедносните служби
                          • Вето
                          • Видео
                          • Виена
                          • Виз ер
                          • Визи
                          • викиликс
                          • Виктор Димовски
                          • Виктор Орбан
                          • Викторија
                          • Винариа стоби
                          • виница
                          • Вино
                          • виножито
                          • Винче Лорант
                          • Витаминка
                          • Вишеградската група
                          • Влада
                          • влада на германија
                          • влада република македонија
                          • Владата Република Макеоднија
                          • Владика на Европската епархија Пимен
                          • Владимир Путин
                          • Владимирица
                          • владина
                          • владина седница
                          • Влаимир Путин
                          • вмро
                          • ВМРО-ДПМНЕ
                          • внукот на енвер хоџа
                          • Вода
                          • Водици
                          • воена состојба
                          • воз
                          • возачки
                          • Возачки дозволи
                          • војводина
                          • војна
                          • војни
                          • војска
                          • вонредни избори
                          • Вооружените сили на Република Хрватска
                          • Воскресение Христово Велигден
                          • Воскресение Христово во Ерусалим
                          • Воскресението Христово – Велигден
                          • враќање на законот
                          • врбник
                          • Врбник е село населено со Македонци
                          • врник
                          • Врница
                          • Вселена
                          • Вселенскиот патријарх Вартоломеј
                          • Вселенскиот Патријарх Вартоломеј I.
                          • Втора
                          • втората фаза од ЕП
                          • вториот Македонски Фолклорен Фестивал СОНЦЕ 2017
                          • второ место
                          • г-дин Ванчо Шехтански
                          • г-дин Никола Ѓурѓај
                          • г-ѓа Лилјана Танги
                          • г-ѓа Маја Иванова
                          • г. Владимир Путин
                          • г. Реџеп Таип Ердоган
                          • г.г. Стефан
                          • г7
                          • гаврил светогорец
                          • газ
                          • газпром
                          • Галичка Свабда
                          • Галичката свадба
                          • галичник
                          • Гарда
                          • гасовод
                          • генерал
                          • Генералниот секретар на НАТО
                          • Генералниот секретар на Обединетите Нации
                          • Генерално Собрание на Обедиенетите Нации
                          • Генерално Собрание на Обединетите Нации
                          • Генералното собрание на Обединетите нации
                          • Генералното собрание на ОН
                          • Геноцид
                          • Георги Гоце Дуртаноски
                          • герамнија
                          • Германија
                          • Германија Печатница Европа 92 Кочани
                          • Германија Турција Бнд
                          • Германската банка за развој
                          • Германската десничарска Алтернатива за Германија
                          • Германската стопанска комора во Албанија
                          • Германски историчар
                          • Германски магазинот Шпигел
                          • Германскиот репрезентативец Дисингер
                          • Гибралтар
                          • Главниот уредник на весникот
                          • Говор
                          • Годинашнава победничка на Ролан Гарос
                          • годишно обраќање
                          • голеи сили
                          • Голем Македонец
                          • голем петок
                          • Голем христијански празник
                          • Голема Богородица
                          • голема македонија
                          • Големото Војводство Луксембург
                          • Голо Брдо
                          • гора
                          • горење
                          • горно крчиште
                          • Горно Крчиште – Полени -Маќелара
                          • госпоѓа Маја Иванова
                          • Гостивар
                          • гоце делчев
                          • град
                          • градоначалник на скопје
                          • Градоначалникот на Охрид
                          • граница
                          • границен премин
                          • граници
                          • границна полиција албанија
                          • граничен премин
                          • Граничен премин Требиште – Џепиште
                          • Григор Прличев
                          • груевски
                          • група
                          • Грција
                          • Грција негативни ставови
                          • Грчка амбасада
                          • Грчката историја е фалсификувана
                          • Грчки новинар
                          • Грчкиот националистички мит
                          • Грчкиот писател Никос Диму: Грците не знаат кои се и каде припаѓаат
                          • грчко малциство
                          • Грчко-албанската граница
                          • д-р Ѓорге Иванов
                          • д-р Златко Николоски
                          • д-р Маркус Пападопулос
                          • д-р Мери Стојанова
                          • Д-р Олси Јазеџи
                          • дебар
                          • Дебар Мало
                          • Дебарска
                          • дебарска-кичевска епаркија
                          • дедо мрас
                          • делегација
                          • Демократи
                          • Демократска партија
                          • демократска партја
                          • Демократската партија
                          • денар
                          • Денари
                          • дерзертери
                          • Детроит
                          • Детска целебрална парализа
                          • Детската болница на Мичиген
                          • деца
                          • Децата бегалци од Егејскиот дел на Македонија
                          • Диаспора
                          • Димиторв
                          • димитрев
                          • Димитров
                          • Дипломати
                          • дипломатија
                          • Дипломи
                          • дирекотр
                          • Директини летови Иран-Србија
                          • директор
                          • Директорот на Директоратот за проширување во Европската комисија
                          • Дискриминаторската политика на Грција и Бугарија
                          • Дискриминација
                          • дитмир бушати
                          • дневник
                          • договор
                          • докази нема бугари албанија
                          • Документарен Филм
                          • Документи
                          • долг
                          • долна саскониа
                          • долно крчиште
                          • Доналд Трамп
                          • Доналд Туск
                          • Донаторски банкет “Македонија е се што имаме”
                          • донација
                          • доха
                          • ДП
                          • драгаш
                          • драч
                          • Дрга
                          • Древен христијански
                          • држава
                          • држави
                          • Државниот секретар
                          • Државниот секретар во Министерството за надворешни работи
                          • Дримски базен
                          • дрога
                          • дрога италија
                          • Друштвото Горани Македонци во Косово
                          • Друштвото за заштита и зачувување на животната средина во Албанија
                          • дубаи
                          • дума
                          • дунав
                          • Дуња Мијатовиќ
                          • Духовден
                          • Ѓерѓ Кастриоти Скендербег
                          • Ѓорг Иванов
                          • ѓорге иванов
                          • Ѓурѓовден
                          • евра
                          • евреи
                          • еврејскиот празник Пaсха
                          • евровизија
                          • еврозона
                          • еврозоната
                          • Европа
                          • Европарламентарка од Хрватска
                          • европска унија
                          • Европската делегација во Албанија
                          • Европската комисија
                          • Европската слободна алијанса
                          • Европската унија ја слави 60-годишнината
                          • европски парламент
                          • европски првак
                          • Европски суд за човекови права
                          • европски шампион
                          • егејска македонија
                          • Егејска макеоднија
                          • егејско море
                          • египет
                          • едејска македонија
                          • Еди Рама
                          • единствена македонија
                          • едмонд панарити
                          • едмонд темелко
                          • Едмонд Темелко – Гадоначалник на општина Пустец и Претседател на Македонска Алијанса за Европска Интеграција (МАЕИ)
                          • едмонд темлко
                          • езеро
                          • Екологија
                          • еконмска зона
                          • Економија
                          • Економист
                          • економски
                          • економски план
                          • Ексклузивни фотографии
                          • Ексклузивно интервју
                          • Експлозија
                          • Експлозија на Менхетен
                          • екстремисти
                          • елем
                          • Елмаз Докле
                          • ело Ербеле-Маќелара
                          • Емисија
                          • Енвер Хоџа
                          • енергија
                          • Еордија
                          • Епископот Велички Гаврил Светогорец
                          • епл
                          • ербеле
                          • ердоган
                          • ермал хоџа
                          • Ерменија
                          • ерусалим
                          • естонија
                          • Ета
                          • Етнографија и антропологија на Македонците „Нашинци“ од македонско-албанското пограничје
                          • Еу
                          • ЕУ- Западен Балкан
                          • еуро
                          • еуровизија
                          • ефа
                          • ЕХФ-шампионатот
                          • Железна црква „Свети Стефан“ во Истанбул изградена од Македонци
                          • железна црквата „Свети Стефан“ во Истанбул
                          • железничка
                          • Желки
                          • жени
                          • за македонија
                          • забрана
                          • загадување
                          • загинати
                          • заев
                          • Заедницата на Македонците во Хрватска
                          • Заедничка
                          • заедничка македонија
                          • закана
                          • закани
                          • закон
                          • закон за јазици
                          • закон за јазици неуставен
                          • закон за јазиците
                          • закон за малциства
                          • закон за малциства во албанија
                          • закон за малциствата
                          • Западен Балкан
                          • заплената
                          • затвори
                          • Затемнувањето на месечината
                          • Зафир Хаџиманов
                          • здраство
                          • Здружението на Македонците за Моравички округ „Даме Груев“
                          • зејотрес
                          • зелана партија албанија
                          • зелена партија македонија дом
                          • земја
                          • земјотрес
                          • Зимски Олимписки Игри
                          • злато
                          • змјотрес
                          • знаме
                          • зоран заев
                          • Иванка Трамп
                          • иванов
                          • Игор Стефановски – Иџе
                          • ИД
                          • Избори
                          • избори 2017
                          • избори албанија
                          • избори косово
                          • Избори. Македонска заедница
                          • избри
                          • извештај
                          • извинување
                          • извинување од Фејсбук
                          • изводи на македонски
                          • Издавачката куќа „Арс Ламина – публикации“
                          • Издраел
                          • Изјава
                          • изложба
                          • изолација
                          • изори
                          • Израил
                          • икеа
                          • Иковна колонија
                          • илегалци од албанија
                          • или халиај
                          • или халилај
                          • Илија Димовски
                          • илинден
                          • Илинден 2018
                          • Илинден Тирана
                          • илинденски марш
                          • илир мета
                          • Имами
                          • име
                          • името вековно не го менуваме
                          • инагурација
                          • инвестиција
                          • индија
                          • Инженерска институција на Македонија
                          • Иницијатива за малцинство SafePack
                          • Иницијативата за малцинство SafePack
                          • Институт за Старословенска култура – Прилеп
                          • интеграции и надворешни работи на Република Австрија
                          • интеграција и единство
                          • Интелектуалци од цел свет
                          • интервју
                          • интија
                          • ирак
                          • иран
                          • Иранското разузнавање
                          • иранци
                          • ирзбори
                          • ири
                          • исланд
                          • исланда
                          • истамбул
                          • историја
                          • Историчар
                          • Источен петок – Балаклија
                          • Исус Христос
                          • Италија
                          • Италјанскиот јавен обвинител
                          • Ифтар
                          • Ифтарска вечер
                          • Ицо Најдовски Перин
                          • јавен обвинител
                          • Јадранско – јонската иницијатива
                          • Јазик
                          • Јазици
                          • Јајца
                          • Јамајка
                          • јана бурчевска
                          • Јана Клопчевска
                          • Јанис Бутарис
                          • јапонија
                          • јахта
                          • Јацек Чапутович
                          • Јоаникиј Ракотински
                          • Јован Павлевски
                          • јован шкмби
                          • Јорго Огненовски
                          • Јоргос Пападакис
                          • Јоргос Папандреу
                          • јордан
                          • Јоханес Хан
                          • Јужна
                          • јужна кореа
                          • кабул
                          • Кавадарци
                          • Казахстан
                          • кајак
                          • Кајмакчалан
                          • калаши
                          • кале
                          • Калишта
                          • Камбани
                          • Каменос
                          • Камп
                          • кам