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First page of The third Part of Henry the Sixt, with the death of the Duke of Yorke from the First Folio (1623). Henry VI, Part 3 (often written as 3 Henry VI) is a history play by William Shakespeare believed to have been written in 1591 and set during the lifetime of King Henry VI of England.
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Because SparkNotes provides study guides for literature that include chapter summaries, many teachers see the website as a cheating tool. [7] These teachers argue that students can use SparkNotes as a replacement for actually completing reading assignments with the original material, [8] [9] [10] or to cheat during tests using cell phones with Internet access.
[6] Lawrence Venuti of the New York Times Book Review notes the many American cultural references and the influence of American novels on the style of I’m Not Scared. He argues that the novel provides deep insight into themes of class and geographical divisions in Italy, and he applauds the work of Jonathan Hunt in translating the novel to ...
At her father's suggestion, the book was dedicated to Hannah Stevenson, a friend who had helped Alcott secure her position as a volunteer nurse. [5] The book, priced at 50 cents, earned the author five cents in royalties for every copy sold, with an additional five cents donated to children orphaned by the war. [ 5 ]
The poem is written in the voice of an old woman in a nursing home who is reflecting upon her life. Crabbit is Scots for "bad-tempered" or "grumpy". The poem appeared in the Nursing Mirror in December 1972 without attribution. Phyllis McCormack explained in a letter to the journal that she wrote the poem in 1966 for her hospital newsletter. [4]
Just Us: An American Conversation is a 2020 book and anthology of essays, poems, and personal anecdotes written by American author and poet Claudia Rankine.An "arrangement of essays, poems, and images [which] includes the voices and rebuttals of others", [1] it describes and outlines an ideal response to forms of racism in contemporary settings. [1]
Mute grief, growing disbelief, rationalization, raw mourning, and steely resolve are just a few that remain constant throughout the entire cycle. [6] Writing sometimes in first person and sometimes in third person, Ahkmatova universalizes her personal pain and makes a point to connect with others who experienced the same tragedy as herself.