Reflective Narrative Essay Topics

Reflective Narrative Essay TopicsReflective narrative essay topics are generally chosen from events and occurrences in the writer's life. Some writers also include their personal views, thoughts, feelings and intuitions to relate to a larger theme or question. However, it is generally recommended that the writer sets his or her own topic as a framing statement in order to enhance the writing process.There are several components of reflective narrative essay that should be considered carefully before drafting a personal narrative topic. The writer should first know the reasons why he or she wrote the story. Reasons can range from fear to curiosity or perhaps a love for a particular author.For those who choose to write a personal essay, they may want to set personal goals or dreams that they are pursuing. This way, the writer will be able to incorporate his or her personal viewpoint into the topic to help express the person's thoughts. Therefore, the writer must be specific about the g oals that are to be presented within the essay.The second component that is generally required for a reflective narrative essay is the character. This character must relate to the audience in some way or fashion in order to form a well defined theme within the piece. For example, if the character is a girl and she loves reading, then the writer needs to decide whether the topic can be about a character in a book that enjoys reading or it can be about a character that enjoys reading but does not like to read.The third component to consider when choosing a reflective narrative essay topic is the setting. The writer should think about what type of environment he or she is writing in order to form the subject of the story. For example, if the topic is about a family in which one son is sick and the mother is always nagging about the illness, then the writer might want to discuss the subject from the perspective of the son as a means of introducing his viewpoint.One of the other ways tha t a reflective narrative essay can be formed is to integrate humor within the story itself. It should be noted that this is not a joke about a fictional character or event. Instead, the writing should reflect back to the writer on what that story is truly about and how it relates to the reader.The fourth component that will influence the success of a reflective narrative essay is the tone. The tone is the voice or attitude that the writer puts into the piece. Whether the writer is attempting to humorous or serious, the tone should reflect the overall mood of the writer.The fifth component that will help to make a reflective narrative essay successful is to remember that there is a point within every story. The purpose of a reflective essay is to express a theme that the writer hopes will affect readers in some way. If the theme that the writer is expressing is the reader's apprehension with a certain book or author, then the theme should be expressed through the main character withi n the piece.

Transformational Leadership Impact on Team Performance Free Essay Example, 4000 words

The concept of leadership has been a central focus for most researchers for decades, with the most recent focus on leadership moving from traditional theories of leadership to the more modern transactional and transformational theories of leadership (Ozaralli, 2003). A lot of emphasis though has been placed on transformational leadership, which is viewed to be charismatic and visionary (Bass Stedlmeier, 1999), and has been theorized to influence the follower s performance motivation, sense of purpose, and self-awareness (Bass, 1985; Bass and Avolio, 1993). This view has been strongly supported by Bass, Daniel and Tucker (1992), who in their research analyzing university principals, found that transformational leadership not only had an impact on job satisfaction but also performance. Ozaralli (2003) who is investigating transformational leadership with respect to team effectiveness and leadership also concluded that transformative leadership strongly contributed to employee empower ment and team efficiency. Studies relating leadership styles to team effectiveness have consistently arrived at the same solution; that transformational leadership is a more determinant of effectiveness than are other leadership styles. For instance, Organ (1998) in his empirical analysis found that the relationship between role performance and transformational leadership was higher than that between role performance and transactional leadership. We will write a custom essay sample on Transformational Leadership Impact on Team Performance or any topic specifically for you Only $17.96 $11.86/pageorder now Sosik, Avolio, and Khakai (1997) and Dione et al (2004) found similar results when relating the leadership styles to team effectiveness, where transformational leadership is deemed more influential and effective. The essence of transformational leadership rests on Bass and Stedlmeier (1999), Bass (1995) and Bass and Avolio (1993) theoretical constructs. Based on these researches, it can be noted that transformational leadership has four dimensions: these are Inspirational motivation, where the leader effectively communicates a vision.

The Brutalizing Effects of Slavery Illustrated in the...

Frederick Douglass, the author of the book â€Å"Narrative of the Life of Frederick Douglass†, said â€Å"I saw more clearly than ever the brutalizing effects of slavery upon both slave and slaveholder† (Douglass, p.71). Modern people can fairly and easily understand the negative effects of slavery upon slave. People have the idea of slaves that they are not allow to learn which makes them unable to read and write and also they don’t have enough time to take a rest and recover their injuries. However, the negative effects upon slaveholder are less obvious to modern people. People usually think about the positive effects of slavery upon slaveholder, such as getting inexpensive labor. In the book â€Å"Narrative of the Life of Frederick Douglass†, Douglass†¦show more content†¦Actually, it made him even more cruel and hateful and he made greatest pretensions to piety. He remained as a cruel slaveholder, but he prayed everyday and he proved himself a n instrument in the hands of the church in converting many souls (Douglass, p. 77). However, his unconvincing performance and pretending as a Christian made him even crueler. Also, since he was a slaveholder and a Christian, he couldn’t avoid having a double life. He was a mean and cruel master and a hypocrite for his slaves, but he was a faithful Christian for other white Christians. His cruelty and double life are showing readers how slavery can impact the slaveholders in a negative way. Moreover, Edward Covey was also a slaveholder like Thomas Auld and he pretended that he was a Christian. Douglass talked about Covey that â€Å"Everything he possessed in the shape of learning or religion, he made conform to his disposition to deceive. He seemed to think himself equal to deceiving the Almighty. He would make a short prayer in the morning, and a long prayer at night†¦I do verily believe that he sometimes deceived himself into the solemn belief, that he was a sincere wo rshipper of the most high God†¦shocking as in the fact, he bought her, as he said, for a breeder† (Douglass, p. 82). Covey was a very cruel master and even bought a woman for a breeder as calling himself as a Christian. He was really

Plains Indians Free Essays

The destruction of the Plains Indians’ cultures connected with the technological developments and government actions in the United States. During the period of struggle between Indians and Whites in the late 19th century, Indian leaders often traveled east to plead their case before the federal government, with few results. The building of the transcontinental railroads and all their branches was an inevitable part of the Industrial Revolution that drove America following the Civil War. We will write a custom essay sample on Plains Indians or any similar topic only for you Order Now The Indians were repressed due to the railroad, which cut through their territory in the West, the declining population of the buffalo, wars, and the loss of their land to White settlement. The federal government tried to quiet the Indians’ protests by signing treaties with the chiefs of the tribes. However, the treaties failed because those who signed didn’t necessarily represent groups of people in Indian culture, and in most cases, the Indians didn’t recognize the authority chiefs outside of their own tribes. In the 1860s, the U. S. government made new efforts to relocate Indians into even smaller reservations than before. Indians were often promised that they wouldn’t be bothered further if they would just move out of their ancestral lands, and often, Indian agents were corrupt and sold off cheap food and products to their own fellow Indians. White men often ignored the treaties, though, and frequently scammed the Indians. In frustration, many Native American tribes attempted to fight back. After the Civil War, the U. S. Army’s new mission became to move the Indians out of the West so the White settlers could move in. A couple of Indians and Whites battled between 1860s to 1890s in a series known as the Indian Wars. Many times though, the Indians were better equipped than the federal troops sent to stop their revolts because arrows could be fired more rapidly than their rifles. However, the invention of the Colt . 45 revolver and Winchester repeating rifle put the Indians at a disadvantage. During this period, there was much violence among the Indians and Whites. Generals Sherman, Sheridan, and Custer all battled Indians in battles such as Little Big Horn. The building of the railroads is connected with the settlement of the West and the steady destruction of Indian cultures. The main food source for Plains Indians were the bison. In the early days, millions of bison populated the American prairie, and by the end of the Civil War, there were still 15 million buffalo. Many people killed buffalo for their meat and their skin but many people killed the bison for sport and just left the rest of the carcass to rot. However, it was the expansion of the railroad that really started the bison massacre. Railroads enhanced the value of the land enormously, but made farmers dependent on railroads. The need for open land led them to kill off the bison for railroad land. Railroad construction led to further settlement of the West, which in turn complicated conditions for the Indian tribes. The Plains Indians were driven out of their territory and into too small reservations. With the expansion of the railroad, down came their number one food source, the bison. Inventions such as the Winchester, led to the disadvantage of Indians during battles when protecting their land. The wars, overall, also affected the Indians. The government actions, building of the railroad and other inventions, contributed to the steady decline in the Plains Indians’ population. How to cite Plains Indians, Essay examples

John Steinbeck Essays (449 words) - The Pearl, La Perla, Kino

John Steinbeck In The Pearl, by John Steinbech, evil transforms certain humble citizens into envious savages. Evil was exhibited by the doctor who refused to treat Coyotito because his parents had no money. When the doctor heard of Kino and Juana's fortune in finding "the pearl of the world" (722), he boasted that they were patients of his while thinking of a better life for himself in Paris. Coyotito was healed when the doctor finally came to their straw hut. He deceived Kino by giving the baby a white powder that made him go into convulsions. An hour later he came and gave Coyotito the remedy and immediately wanted to know when he was getting paid. The evil in the pearl had reached the heart of the doctor. The pearl's evil did not restrict itself to infecting Kino's peers; it also affected Kino himself. He wanted to sell the pearl and use the money to better his family's standard of living. He had dreams and goals that all depended on the pearl. When Juana wanted to destroy the pearl, Kino beat her unmercifully: He struck her in the face and she fell among the boulders, and he kicked her in the side...He hissed at her like a snake and she stared at him with wide unfrightened eyes, like a sheep before a butcher. (742) Juana saw through the outer beauty of the pearl and knew it would destroy them, but Kino's vision was blurred by the possible prosperity the pearl brought. The malignant evil then spread to a secret cult known only as the trackers. This corrupt band of ruffians attacked and destroyed Kino's life. The very night that the trackers learned of Kino's pearl, they tried to steal it. The next night, Kino was attacked twice, which resulted in Kino committing murder. After the final struggle of the night, Juana went back to their home to find more baneful members of the heartless cult rampaging through their belongings to find the pearl. The end result was Kino and Juana's house going up in flames. The trackers then committed the cardinal sin, they destroyed Kino's canoe: This was an evil beyond thinking. The killing of a man was not so evil as the killing of a boat. For a boat does not have sons, and a boat cannot protect itself, and a wounded boat does not heal. (744) The trackers annihilated the most important material possession that any citizen of the community owned, "...for a man with a boat can guarantee a woman that she will eat something. It was the bulwark against starvation" (717). The evil invaded Kino's life and everyone who knew of it.

Sacudir Conjugation in Spanish, Translation, and Examples

Sacudir Conjugation in Spanish, Translation, and Examples The Spanish verb sacudir means to shake. It is a regular -ir verb, so it follows the same conjugation pattern of verbs like cumplir, vivir and subir. In the tables below you will find the conjugations of sacudir in the indicative mood (present, past, future, and conditional), the subjunctive mood (present and past), the imperative mood, and other verb forms. Using the Verb Sacudir Sacudir means to shake, and this verb can be used in most situations when you would use to shake in English. For example, you can talk about shaking something to clean it, as in sacudir el polvo de la alfombra (shaking off the dust from the rug). You can also use sacudir to talk about shaking any object, such as sacudir las maracas (shaking the maracas), or it can be used to talk about shaking in the sense of scaring someone. For example, you can say El crimen sacudià ³ a la gente del pueblo (The crime shook the people of the town). Sacudir Present Indicative Yo sacudo I shake Yo sacudo los muebles sucios. Tà º sacudes You shake Tà º sacudes la alfombra de la entrada. Usted/à ©l/ella sacude You/he/she shakes Ella sacude el instrumento para hacer mà ºsica. Nosotros sacudimos We shake Nosotros sacudimos a la clase con las tristes noticias. Vosotros sacudà ­s You shake Vosotros sacudà ­s la cabeza en desacuerdo. Ustedes/ellos/ellas sacuden You/they shake Ellos sacuden la caja para adivinar su contenido. Sacudir Preterite Indicative The preterite is one of two past tenses in Spanish. It is used to talk about completed actions in the past. Yo sacudà ­ I shook Yo sacudà ­ los muebles sucios. Tà º sacudiste You shook Tà º sacudiste la alfombra de la entrada. Usted/à ©l/ella sacudià ³ You/he/she shook Ella sacudià ³ el instrumento para hacer mà ºsica. Nosotros sacudimos We shook Nosotros sacudimos a la clase con las tristes noticias. Vosotros sacudisteis You shook Vosotros sacudisteis la cabeza en desacuerdo. Ustedes/ellos/ellas sacudieron You/they shook Ellos sacudieron la caja para adivinar su contenido. Sacudir Imperfect Indicative The imperfect tense is used to talk about habitual or ongoing actions in the past. It can be translated as was shaking or used to shake. Yo sacudà ­a I used to shake Yo sacudà ­a los muebles sucios. Tà º sacudà ­as You used to shake Tà º sacudà ­as la alfombra de la entrada. Usted/à ©l/ella sacudà ­a You/he/she used to shake Ella sacudà ­a el instrumento para hacer mà ºsica. Nosotros sacudà ­amos We used to shake Nosotros sacudà ­amos a la clase con las tristes noticias. Vosotros sacudà ­ais You used to shake Vosotros sacudà ­ais la cabeza en desacuerdo. Ustedes/ellos/ellas sacudà ­an You/they used to shake Ellos sacudà ­an la caja para adivinar su contenido. Sacudir Future Indicative Yo sacudirà © I will shake Yo sacudirà © los muebles sucios. Tà º sacudirs You will shake Tà º sacudirs la alfombra de la entrada. Usted/à ©l/ella sacudir You/he/she will shake Ella sacudirel instrumento para hacer mà ºsica. Nosotros sacudiremos We will shake Nosotros sacudiremos a la clase con las tristes noticias. Vosotros sacudirà ©is You will shake Vosotros sacudirà ©is la cabeza en desacuerdo. Ustedes/ellos/ellas sacudirn You/they will shake Ellos sacudirnla caja para adivinar su contenido. Sacudir Periphrastic  Future Indicative   The periphrastic future is formed with the present indicative conjugation of the verb ir (to go), the preposition a, and the infinitive sacudir. Yo voy a sacudir I am going to shake Yo voya sacudir los muebles sucios. Tà º vasa sacudir You aregoing to shake Tà º vasa sacudir la alfombra de la entrada. Usted/à ©l/ella vaa sacudir You/he/she isgoing to shake Ella vaa sacudir el instrumento para hacer mà ºsica. Nosotros vamosa sacudir We aregoing to shake Nosotros vamosa sacudir a la clase con las tristes noticias. Vosotros vaisa sacudir You aregoing to shake Vosotros vaisa sacudir la cabeza en desacuerdo. Ustedes/ellos/ellas vana sacudir You/they aregoing to shake Ellos vana sacudir la caja para adivinar su contenido. Sacudir Present Progressive/Gerund Form The gerund or present participle for -ir verbs is formed with the ending -iendo. Present Progressive of Sacudir est sacudiendo Is shaking Ella est sacudiendo el instrumento para hacer mà ºsica. Sacudir Past Participle The past participle can be used as an adjective or to form compound tenses with the verb haber, such as the present perfect. For regular -ir verbs, the past participle is formed with the ending -ido. Present Perfect of Sacudir ha sacudido Has shaken Ella ha sacudido el instrumento para hacer mà ºsica. Sacudir Conditional Indicative To talk about possibilities, you can use the conditional tense, which in English is usually expressed as would verb. Yo sacudirà ­a I would shake Yo sacudirà ­a los muebles sucios si me gustara limpiar. Tà º sacudirà ­as You would shake Tà º sacudirà ­as la alfombra de la entrada si estuviera sucia. Usted/à ©l/ella sacudirà ­a You/he/she would shake Ella sacudirà ­ael instrumento para hacer mà ºsica, pero no le gusta el sonido. Nosotros sacudirà ­amos We would shake Nosotros sacudirà ­amos a la clase con las tristes noticias, pero preferimos no decepcionarlos. Vosotros sacudirà ­ais You would shake Vosotros sacudirà ­ais la cabeza en desacuerdo si no os gustara la idea. Ustedes/ellos/ellas sacudirà ­an You/they would shake Ellos sacudirà ­anla caja para adivinar su contenido si se lo permitieran. Sacudir Present Subjunctive Que yo sacuda That I shake Mam espera que yo sacuda los muebles sucios. Que tà º sacudas That you shake Andrea quiere que tà º sacudas la alfombra de la entrada. Que usted/à ©l/ella sacuda That you/he/she shake El director sugiere que ella sacuda el instrumento para hacer mà ºsica. Que nosotros sacudamos That we shake Los padres de familia esperan que nosotros no sacudamos a la clase con las tristes noticias. Que vosotros sacudis That you shake El jefe sugiere que vosotros sacudisla cabeza en desacuerdo. Que ustedes/ellos/ellas sacudan That you/they shake La nià ±a espera que ellos sacudan la caja para adivinar su contenido. Sacudir Imperfect Subjunctive The imperfect subjunctive has two different conjugation options, shown in the tables below. Option 1 Que yo sacudiera That I shook Mam esperaba que yo sacudiera los muebles sucios. Que tà º sacudieras That you shook Andrea querà ­a que tà º sacudieras la alfombra de la entrada. Que usted/à ©l/ella sacudiera That you/he/she shook El director sugerà ­a que ella sacudiera el instrumento para hacer mà ºsica. Que nosotros sacudià ©ramos That we shook Los padres de familia esperaban que nosotros no sacudià ©ramos a la clase con las tristes noticias. Que vosotros sacudierais That you shook El jefe sugerà ­a que vosotros sacudieraisla cabeza en desacuerdo. Que ustedes/ellos/ellas sacudieran That you/they shook La nià ±a esperaba que ellos sacudieran la caja para adivinar su contenido. Option 2 Que yo sacudiese That I shook Mam esperaba que yo sacudiese los muebles sucios. Que tà º sacudieses That you shook Andrea querà ­a que tà º sacudieses la alfombra de la entrada. Que usted/à ©l/ella sacudiese That you/he/she shook El director sugerà ­a que ella sacudiese el instrumento para hacer mà ºsica. Que nosotros sacudià ©semos That we shook Los padres de familia esperaban que nosotros no sacudià ©semos a la clase con las tristes noticias. Que vosotros sacudieseis That you shook El jefe sugerà ­a que vosotros sacudieseisla cabeza en desacuerdo. Que ustedes/ellos/ellas sacudiesen That you/they shook La nià ±a esperaba que ellos sacudiesen la caja para adivinar su contenido. Sacudir Imperative The purpose of the imperative mood is to give direct orders or commands. There are slightly different conjugations for the positive and the negative commands. Positive Commands Tà º sacude Shake!  ¡Sacude la alfombra de la entrada! Usted sacuda Shake!  ¡Sacuda el instrumento para hacer mà ºsica! Nosotros sacudamos Let's shake!  ¡Sacudamos a la clase con las tristes noticias! Vosotros sacudid Shake!  ¡Sacudid la cabeza en desacuerdo! Ustedes sacudan Shake!  ¡Sacudan la caja para adivinar su contenido! Negative Commands Tà º no sacudas Don't shake!  ¡No sacudas la alfombra de la entrada! Usted no sacuda Don't shake!  ¡No sacuda el instrumento para hacer mà ºsica! Nosotros no sacudamos Let's not shake!  ¡No sacudamos a la clase con las tristes noticias! Vosotros no sacudis Don't shake!  ¡No sacudis la cabeza en desacuerdo! Ustedes no sacudan Don't shake!  ¡No sacudan la caja para adivinar su contenido!

The Writers Voice in Literature and Rhetoric

The Writers Voice in Literature and Rhetoric In rhetoric and literary studies, voice is the distinctive style or manner of expression of an author or narrator.  As discussed below, voice is one of the most elusive yet important qualities in a piece of writing.   Voice is usually the key element in effective writing, says teacher and journalist Donald Murray. It is  what attracts the reader and communicates  to the reader. It is that element that gives the illusion of speech.  Murray continues: Voice carries the writers intensity and glues together the information that the reader needs to know. It is the music in writing that makes the meaning clear (Expecting the Unexpected: Teaching Myselfand Othersto Read and Write, 1989). EtymologyFrom the Latin, call The Music of a Writers Voice Voice is the sum of all strategies used by the author to create the illusion that the writer is speaking directly to the reader from the page. (Don Fry, quoted by Roy P. Clark, Writing Tools. Little, Brown, 2006) Voice is the most popular metaphor for writing style, but an equally suggestive one may be delivery or presentation, as it includes body language, facial expression, stance, and other qualities that set speakers apart from one another. (Ben Yagoda, The Sound on the Page. HarperCollins, 2004) If one means by style the voice, the irreducible and always recognizable and alive thing, then of course style is really everything. (Mary McCarthy, Writers at Work: The Paris Review Interviews, Second Series. 1977) Voice and Speech I think voice is one of the main forces that draws us into texts. We often give other explanations for what we like (clarity, style, energy, sublimity, reach, even truth), but I think its often one sort of voice or another. One way of saying this is that voice seems to overcome writing or textuality. That is, speech seems to come to us as listener; the speaker seems to do the work of getting the meaning into our heads. In the case of writing, on the other hand, its as though we as reader have [to] go to the text and do the work of extracting the meaning. And speech seems to give us more sense of contact with the author. (Peter Elbow, Everyone Can Write: Essays Toward a Hopeful Theory of Writing and Teaching. Oxford University Press, 2000) Multiple Voices The personality I am expressing in this written sentence is not the same as the one I orally express to my three-year-old who at this moment is bent on climbing onto my typewriter. For each of these two situations, I choose a different voice, a different mask, in order to accomplish what I want accomplished. (Walker Gibson, The Limits of Language. Hill and Wang, 1966) Just as you dress differently on different occasions, as a writer you assume different voices in different situations. If youre writing an essay about a personal experience, you may work hard to create a strong personal voice in your essay. . . . If youre writing a report or essay exam, you will adopt a more formal, public tone. Whatever the situation, the choice you make as you write and revise . . . will determine how readers interpret and respond to your presence. (Lisa Ede, Work in Progress: A Guide to Writing and Revising. St. Martins Press, 1989) Tone and Voice If voice is the writers personality that a reader hears in a text, then tone might be described as the writers attitude in a text. The tone of a text might be emotional (angry, enthusiastic, melancholy), measured (such as in an essay in which the author wants to seem reasonable on a controversial topic), or objective or neutral (as in a scientific report). . . . In writing, tone is created through word choice, sentence structure, imagery, and similar devices that convey to a reader the writers attitude. Voice, in writing, by contrast, is like the sound of your spoken voice: deep, high-pitched, nasal. It is the quality that makes your voice distinctly your own, no matter what tone you might take. In some ways, tone and voice overlap, but voice is a more fundamental characteristic of a writer, whereas tone changes upon the subject and the writers feelings about it. (Robert P. Yagelski,  Writing: Ten Core Concepts. Cengage, 2015) Grammar and Voice ​If, as we believe, grammar is linked to voice, students need to be thinking about grammar far earlier in the writing process. We cannot teach grammar in lasting ways if we teach it as a way to fix students writing, especially writing they view as already complete. Students need to construct knowledge of grammar by practicing it as part of what it means to write, particularly in how it helps create a voice that engages the reader on the page. (Mary Ehrenworth and Vicki Vinton, The Power of Grammar: Unconventional Approaches to the Conventions of Language. Heinemann, 2005) The Elusive Entity of Voice One of the most mysterious of writing’s immaterial properties is what people call voice. . . . Prose can show many virtues, including originality, without having a voice. It may avoid clichà ©, radiate conviction, be grammatically so clean that your grandmother could eat off it. But none of this has anything to do with this elusive entity the voice. There are probably all kinds of literary sins that prevent a piece of writing from having a voice, but there seems to be no guaranteed technique for creating one. Grammatical correctness doesn’t insure it. Calculated incorrectness doesn’t, either. Ingenuity, wit, sarcasm, euphony, frequent outbreaks of the first-person singular- any of these can enliven prose without giving it a voice. (Louis Menand, Bad Comma. The New Yorker, June 28, 2004)