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Extended family and relationship

  1. Describe your family of origin, including information on:
    a. Composition (parents, siblings, birth order, etc.)
    b. Extended family and relationship (how close?)
    c. Cultural identity
    d. Racial and ethnic background
    e. Gender identity
    f. Class
    g. Religion
    h. Sexual orientation
    i. Abilities/disabilities
    j. Neighborhood and type of community (rural, suburb, urban; rich, poor, middle-class; diverse, homogeneous)
  2. What is your first recollection about your cultural background? How did you come to identify with any group and to learn that there are “others”? Who are and were defined as “outsiders” and “insiders” by your family or group?
  3. What went into the formation of your ideas in regard to your own physical appearance? What did you consider to be attractive and unattractive?
  4. Who were your friends when growing up? Who lived in your neighborhood? Who was a “desirable” friend to bring home? How did you select your dates, roommates, partners, and/or spouses? How did these choices relate?
  5. Can you relate any of your tastes in food, music, art, clothes, activities and games to culture or class? What about modes of expression, i.e. language use, accent, proverbs?
  6. What have you learned about how children “should” behave and how gender roles are defined that could be related to your cultural identity? Can you relate your educational and/or employment aspirations to gender and cultural expectations?
  7. How do you perceive power position(s) of particular individuals in your family or group in relation to their culture, gender, class, sexual orientation, age, and/or abilities? How do these individuals vary in power and decision-making authority?
  8. What was the impact (or not) of religion on your family? How did your family feel relating to people of other religions? What role did and does (if any) religious beliefs play in your life?
  9. As a member of a dominant group, which ways have you experienced privilege? Did you know you had it? How might you challenge it?
  10. As a member of a subordinate group, how did you learn to respond to oppression (e.g. how was it explained to you, what functional and/or dysfunctional reactions did you witness, etc.)?

Remember that dominant and subordinate status applies not only to race and ethnicity, but also to gender, class, sexual orientation, abilities, religion and age.

Sample Solution

hand, is concerned with decayed emotion. An inconsistency in Gothic is that ‘Gothic novelists did not know how to release their own feelings of frustration and rebelliousness. Their fiction is both exploratory and fearful’ as Kilgour tells us. It usually results in the death of a villain. Miles has a valid point about how you cannot constrain Gothic to a particular type of text, preferring to class Gothic literature as a taste or preference. Overall, I will show that the reception of gothic writing-its institutional and commercial recognition as a kind of literature- played a fundamental role in shaping many of the ideological assumptions about high culture that we now associate with the term Romanticism. The Gothic novel was first invented almost single-handedly by Walpole as The Castle of Otranto fits most of the classifications we see in Gothic today. ‘The Gothic, like any genre, depends on a system of classification, and because genres, as Derrida argues, are never pure, and systems of classification, according to Foucault, cannot be verified, one is pressed to investigate and contest the validity of the definitions and conceptions typically attributed to the term “Gothic”, a kind of writing that is evidently heterogeneous and impure’ (Alshatti, A. (2008).). Walpole’s novel was imitated in the eighteenth century, but it was enjoyed widespread influence in the nineteenth century partly because of the era’s understanding in dark and fascinating themes. He could be said to have been influenced by Shakespearean dramas because in The Castle Of Otranto he plays around with mental disturbances, where Manfred seeks to marry the soon to be wife of his dead son Conrad to keep his genes alive throughout generations. Lady Macbeth evidently suffers from a psychotic disorder with the misfortune of hallucinations which can be induced by extreme guilt. She has the sense of heavy guilt because her and her husband killed King Duncan in cold blood. Gothic, it can be argued, was instrumental in the decisive shift towards popular fiction in its modern form, aimed at a brood readership, commercially streamlined, form
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