3 Things to Know About Sending Your Kid Back to High School

Once your teenager enters high school, they’re also entering some of the most transformative years of their lives. As if out of nowhere, they suddenly have to deal with much harder coursework, extracurriculars, jobs, standardized tests, college applications—all while trying to make friends and maintain a social life. All of these things and more will shape their personalities and prepare them to be independent. During this time, while teenagers are learning how to navigate new responsibilities and make decisions for themselves, you as a parent can either be the support system that they need to get through it all or the point of contention that stops them from growing their autonomy. How you interact with and treat your student during these next few years can be a factor in whether they succeed or fail. At the end of the day, you as a parent know what’s best for your young adult. However, as you send him/her back to high school and into college applications season, there are a few things that you ought to remember as you interact with and make decisions for your child. Read on for some helpful tips explaining what your student is going through and how to help them put their best foot forward. Often, when your kid is a freshman and maybe even sophomore in high school, you may still be doing most things for them like taking them to school, giving them lunch money, and buying their school supplies. However, once they become upperclassmen and start doing things like driving and getting jobs of their own, it’s safe to say that your kid is now a young adult. That can be a difficult concept to grasp for some parents. Just a few years ago, your child needed you for everything. However, as they get older, sometimes they become more independent, which may make you feel like you don’t have as many opportunities to protect them and make sure they’re doing what’s best. There is a delicate balance between treating your child like the independent adult that they have become while also making sure they’re doing the right things (even if the right things aren’t what they want to do). Here are some suggestions to help you find that balance: Our Early Advising Program helps students in 9th and 10th grade discover their passions and build strong academic and extracurricular profiles to succeed in high school. Even though you can still help your child with their homework, high school now is not the same as high school when you were a student. Nowadays, students use laptops for their assignments, are in constant communication with their friends or peers even when they’re not around them, and are trying to prepare themselves for a much more competitive college application process (see State Colleges are Getting More Competitive. Here’s How to Stay Ahead of the Curve ). So, when they tell you that you don’t know what it’s like to be them, in many ways they’re right. As a parent, you may be worried that you can’t relate to what your child is going through or even help them out at times. If this is a concern, here are some ways for you to better understand what they’re experiencing: Even though your kid is now a young adult and may not need you to protect them or do things for them, your teen still needs your support. The easiest way to support a high school teenager handling a bunch of new responsibilities is to listen to them and be there to talk if and when they need it. Your teenager may not always be able to find the right words to express what they’re feeling. When that happens, it’s perfectly normal to not understand them or get what we’re saying. Odds are, they’re not sure either. All you as a parent need to do is listen to them and tell them that everything is going to be okay regardless of how the process turns out. Simply letting your child know that you are here for them whenever they need you is a huge comfort to most high school students. After all, the road to adulthood and college is not an easy one, and it’s always nice for a teenager to know that he or she has the resources to succeed and the cheerleaders to help get there. We at are here to support the parents of college-bound high school students in whatever way we can. Here are some helpful guides for parents going through the high school and college application process with their young adult: Finally, if you’re looking for something that will help your child build their academic and extracurricular profile to impress colleges, check out ’s Mentorship Program. We carefully pair each student one-on-one with a mentor from a top college, who works personally with the student for an entire year. The program is designed to help students discover their interests, develop significant self-motivation, and become high performing individuals.

Effective Communication Case Study Essay Example | Topics and Well Written Essays - 750 words

Effective Communication Case Study - Essay Example An estimated 22000 people have been killed to date due to inhalation of the gas and thousands have to undergo continuous treatments just to breathe in air and survive. Throughout the crisis the most significant feature to be observed had been the lack of communication between the government officials, the plant management in India, the higher management in America and the local people working and living in the surrounding region. Aside from the public that was directly involved in the operations of the plant, there were also stockholders to be notified, the public relations staff which had no clue as to what was going on and finally the press. These two groups of publics must have proper communication channels but this was not the case in Bhopal as was evident when the crisis struck. The internal public in this case were basically the senior management which was based in the United States, the local workers and their managers, the government officials (as they were holding 49.1% of the total shares along with the private investors and had been responsible for the layout and design of the plant) and finally the residents and people living in the ne ighboring community. These people had a direct impact due to the leakage and were the ones who were directly involved in all the communication which took place in the aftermath. The external public involved was the press which found out about the event and the private stockholders who had little effect over them. This group remained unscathed throughout the whole ordeal. After the event took place the communication was evident to be of poor standard. The press was the deliverer of most of the news as the communication systems of Bhopal itself were completely inept. The U.S. has to rely on the coverage of the press as its main source of info as they had no system of communication prior to the event. The internal public

The Effects of the English Language and Culture in Translating A Essay

The Effects of the English Language and Culture in Translating A Non-English Text into Film - Essay Example When a film is to be made in English that was previously in another language and in text format, there are a great number of considerations on how the language and the visual elements can be translated. Meaning in one language must be carefully translated so that not only the verbal language, but the visual language makes sense. Film is unique in that the cultural meanings that are implied through one language must be translated as well as the literature of the original language. Due in large part to colonialism and then to the Westernization of consumerism, the English language has become a part of most languages, English-isms emerging throughout the cultures as they become part of the globalized world. Homogenization creeps into cultures that had previously been very ‘other’ through interactions with the dominance of the English language in business, media, and in presence in the world as English speaking travelers have a dominant position in world travel. Creating Eng lish versions of pieces of work that are written in another language often means that the work itself becomes transformed by the differences between cultures. In dominance, sometimes, comes the arrogance of transformation rather than merely translation. Transforming a literary work takes the meaning from it that was specific to a culture and re-creating it to have meaning for another culture that may no longer hold the same key symbols or meanings that it did in its original form. In translating a piece of fiction into a second language visual experience there are a great many aspects of the work that must be taken into consideration. Coding the translated work so that it reflects both the audience and the language of origin is a difficult achievement. The nature of coding in a language supports cultural meanings of symbols, but in translations that are both visual and verbal that are trying to capture meaning from one cultural language into another the task can be daunting. In the example of the result of colonialism is the key to how to undertake a project that involves translation. Where in colonialism entire cultures were translated into new cultural patterns through the coercive influence of the colonizer, so to can a text be butchered by misunderstanding the meanings that are cultural relevant and stand apart from the Western mind and the English construction of a text to prepare it for film. In translating a text into a script and direction for a film, the numbers of factors that are relevant to the translation are deep and meaningful in relationship to culture and symbols. Translation includes more than just replacing words, but replacing the emotional and cultural context through which the work was expressing meaning. Language Coding In trying to determine the best approach to translating a text from its original language into a film, the cultural coding that exists within the language must be evaluated. The first thing that must be determined in tran slating a text in one language to that of another is if the film will be intended for a mixed language population. In other words, if the film is made for a location in which two languages are prevalent and the work is being translated from one language to the other, the coding will be different than if a text is from a geographically different culture than to the culture that the film will be intended as an audience. If a Chinese book is translated for an English audience it is very

Televisions Impact on Young Teens Essay -- Cause Effect Media Image E

Television's Impact on Young Teens   Ã‚  Ã‚  Ã‚  Ã‚  With the ever growing world of mass media becoming more accessible to our children, we must realize the effect television has on the youth of today. The views and images portrayed on television go right to the heart of American youth. Young men and women are being taught that being over weight or not being skinny enough means that you are unattractive and lazy. The ideal female body which television portrays as being normal has gone from the voluptuous figure of Marilyn Monroe and Mimi VanDoren to the skinny waist and bust-line of Pamela Anderson and Brittany Spears. It has become an obsessive, unattainable goal for our young teenage women. These teens find themselves in an endless battle to try and attain figures that are only made possible through cosmetic surgery and a profession that pays you to look a certain way. Many girls who find themselves unhappy with their appearance turn to starvation, which later turns to binge eating, then to self-induced vomiting(B attegay 54).   Ã‚  Ã‚  Ã‚  Ã‚  Eating disorders are far more common in the United States than in any other country. While some countries like Russia and Bosnia are struggling to find food, Americans are creating problems by consuming too much of it. Americanized countries or even any other industrialized countries with the direct influence of television are found to have considerably more problems with eating disorders. Carolyn Costin states in her book The Eating Disorder Source that western women seem to be at greater risk for developing disorders and the degree of Westernization seems to increase the risk. Costin then goes on to say that Evidence suggests that anorexia nervosa is uncommon outside the Western world and in less affluent Western countries. Furthermore, when immigrants move from less industrialized countries to more industrialized countries they are more likely to develop eating disorders. Costin is trying to say that you are at a greater risk of developing an eating order such as anorexia or bulimia in an Americanized culture because of the importance and constant reminders in forms of mass media that you should look thin, loose weight and keep the weight off. These are all things that are ongoing in our brains and degrade the self-image we behold of ourselves. Constin goes on to say: â€Å"Advertisements for taking off weight and keeping it off are fo... ... the product, but also causes insecurities of what we should look like holding the product. The consumers feed the fire of the sources flurry to put products in our faces.   Ã‚  Ã‚  Ã‚  Ã‚  Overall, media has increased its knowledge of its audience more rapidly than ever before. We are monitored by sources we would have never imagined and the problem is getting worse. With the new age of wireless internet and Cracker Jack baseball card sized phones, companies are tracking our every move. They know what we watch, who we call, where we go, and what we buy. They know what products to offer us and they know where to find more people like us so they too can be targeted.(Cantor p.32) The bottom line is that the media’s effect on us through television is much greater than we know. If they can convince us that our bodies are not slim enough, they can convince us that their products are worth buying. We need to rally for tighter standards from the Gatekeepers of television and the rest of mass media. The producers will only keep giving us more and as the audience becomes more and more desensitized we will only continue to want it until we become a warp ed society without values, morals or standards.

Compare and Contrast the Presentation of Love in the Relationships Between Edgar and Catherine and Catherine and Heathcliff

The two most significant relationships in Catherine's life are with Edgar and Heathcliff; however, they could not be more different. Her relationship with Heathcliff is one of raw, natural passion not social stamina, whereas her marriage to Edgar is one based on convention. Her two lovers come to represent the two conflicting parts of her identity and it is the internal struggle between these conflicting impulses that can be said to lead to her death. As the novel opens, Mr Lockwood says that Heathcliff is a ‘dark-skinned gypsy in aspect in dress and manners a gentleman†¦ He also observes that Heathcliff will ‘love and hate equally. ‘ His description of casual violence lack of manners or consideration for other people which characterizes Heathcliff is only a hint of the atmosphere of the whole novel, in which that violence is contrasted with more genteel and civilized ways of living represented by the Lintons. When Nelly Dean begins to narrate the story of Heathcliff's past, she describes him with discrimination. When Heathcliff is first introduced, Mr Earnshaw says ‘†¦ ut you must e'en take it as a gift of God, though it's as dark almost as if it came from the devil. ‘ Bronti implies early on that Heathcliff has gifts from both God and the Devil (good and bad characteristics). Nelly Dean describes him as a ‘dirty, ragged, black-haired child; big enough to walk and talk†¦ ‘ she also constantly refers to Heathcliff as ‘it'- ‘†¦ Mrs Earnshaw was ready to fling it out of doors†¦. [He's a] Gypsy brat', Heathcliff is constantly referred to as if he weren't human. Nelly talks of how he ‘repeated over and over again some gibberish that nobody could understand†¦ ‘ this portrays him as a wild animal/beast. Catherine and Hindley don't automatically get on with Heathcliff. Catherine ‘showed her humour by grinning and spitting at the stupid little thing†¦ ‘ However later on Mrs Dean describes the friends to be ‘very thick. ‘ Heathcliff's origins are obscure; he was ‘found' and ‘Not a soul knew to whom [he] belonged. ‘ Nelly says ‘†¦ they had christened him Heathcliff†¦.. nd it has served him ever since, both for Christian and surname'; this emphasizes the idea of how low Heathcliff's class is because in the 18th century, the absence of a persons surname exposed a lack of background. Hindley hates Heathcliff from the beginning and the writer comments on how he sees Heathcliff ‘as a usurper of his parents' affections†¦ ‘ This conveys how Heathcliff was favoured above the children. Bronti describes Heathcliff to be ‘as uncomplaining as a lamb†¦ ‘ which persuades the reader to think he is innocent. It is also a biblical phrase as in the bible; lambs were used to portray the innocence and purity of life. Hindley fiercely calls Heathcliff ‘an imp of Satan' in contrast to the original idea that he was innocent and corresponds to the idea that Heathcliff has gifts from both God and from the devil. In the next chapter, Catherine and Heathcliff become extremely close. ‘She was much too fond of Heathcliff. The greatest punishment we could invent for her was to keep her separate from him†¦ ‘ says Nelly showing that the two were inseparable. When Catherine's father dies, Nelly Dean comments on how ‘they both set up a heart breaking cry†¦ ‘ this shows that Heathcliff is the only person Catherine can now turn to and that they only have each other to get through the sorrow. In Chapter VI when Heathcliff describes Thrushcross Grange, he says ‘it was beautiful, – a splendid place carpeted with crimson and crimson-covered chairs and tables and a pure white ceiling bordered by gold†¦ ‘ This description creates a heavenly image of splendour especially to Heathcliff who has never seen anything like it before. Bronti uses the drawing room window to symbolize the boundary between the two classes since it divides the two sets of children. The window is the barrier motif shown throughout the novel. When Catherine is accepted into the house and Heathcliff is rejected, this is the end of their childhood innocence and the beginning of their awareness of the difference of class: ‘†¦ and I would have been there too, but they had not the manners to ask me to stay†¦ ‘ Earlier on in the novel, Mr Lockwood's describes Wuthering Heights; the house and its furniture are described as plain and ‘nothing extraordinary†¦ he floor was of smooth, white stone; the chairs high-backed†¦ ‘ This contrast with the description of the Grange and perhaps Bronti uses this as a metaphor to describe the social context of the inhabitants of both houses. The meeting of the two families begins the ‘tug of war' for Catherine between Edgar and Heathcliff. Heathcliff describes Catherine to be attracted to the Lintons and ‘full of stupid admiration' for them suggesting that Catherine's love for Edgar was built on admiration and for what he represents rather than his innate qualities. At the moment when Heathcliff and Catherine's intimacy is on the verge of blossoming into love, social class intrudes into the novel and their affection. As Heathcliff says- ‘†¦ I resumed my station as a spy; because, if Catherine had wished to return, I intended shattering their great glass panes to a million fragments, unless they let her out.. ‘ This conveys that his love for Catherine is protective and possessive. If the window through which Catherine and Heathcliff first view the Lintons is a metaphor for class division, then Heathcliff vows to smash both the literal and metaphorical boundary between him and Catherine. When Catherine comes back, it is evident that her stay at the Lintons' house was the beginning of the wilting of their relationship because although she is still extremely fond of him, she has realized ‘how very black and cross' and how ‘funny and grim†¦ ‘ he appeared, and she has also realized that he is ‘†¦ so dirty†¦ ‘ Heathcliff ‘did not stand to be laughed at' and ran away. Catherine has begun to think like the Lintons, and thus begins a thaw in their love. ‘Heathcliff was hard to discover at first- if he were careless and uncared for before Catherine's absence, he had been ten times more so, since†¦ says Nelly, emphasizing the fact that Catherine had defended and protected Heathcliff in their home. Heathcliff was only cared for if she was there. When Catherine returns home her behaviour is acquired; her attitude and appearance as a ‘very dignified person' show that she has moved into a different sphere; that of the ‘genteel' Lintons. Heathcliff cannot follow her. He tries to follow her, ‘†¦ Nelly make me decent†¦ ‘ and he wants to have the effect Edgar has on Catherine: ‘I wish I had light hair and fair skin, and was dressed and behaved as well, and had a chance of being as rich as he will be†¦ Although Cathy still cares for the things she did with him during their childhood, she is still under a lot of pressure to become a lady and she is vain enough to enjoy the admiration and approval she receives from Edgar, Hindley and his wife. Just as the window separated the Wuthering heights children from the Lintons in the last chapter, a material object separates Catherine from Heathcliff. The fine dress she wears is a very real boundary between the old friends: it must be sacrificed (smudged and crumpled) if she is to embrace Heathcliff. The dress is also a metaphor for the fact that id Catherine is to associate with Heathcliff, the wildness of her character will be exposed. As Catherine is wants to enjoy both Edgar's admiration and Heathcliff's love, this leads her to ‘adopt a double character without exactly intending to deceive anyone†¦ ‘ Edgar represents the side of Catherine that satisfies her vanity and her yearning for social consequence; Heathcliff represents her natural and real emotions. Catherine has to change in order to be loved by Edgar. During one of his visits, she shows her impulsive and impetuous side when she ‘snatche[s] the cloth from [Nelly's] hand, and pinche[s] [her]' to the great shock of Edgar who only knows her as ‘a very dignified person†¦ ‘ It seems as though Catherine's love for Edgar is based on external considerations ‘†¦ you love Mr Edgar because he is handsome and young and loves you†¦ ‘ says Nelly. Her love is based on his appearance, his wealth and how he feels towards her. Her love for Heathcliff however is internal; in her heart: she loves him ‘not because he's handsome, but because he is more myself than I am. This suggests that Heathcliff represents the person who Catherine actually is whereas Edgar is who Catherine wants to be in terms of social aspirations and consequence. When Catherine tries to explain why she feels she is wrong to marry Edgar, she says she feels it ‘Here! and Here! ‘ striking ‘one hand on her forehead and the other on her breast' as she does so. This creates another metaphorical boundary, between the external and internal: Catherine's love for Edgar is based on internal qualities but her love for Heathcliff is felt within her body. Cathy's description of her love for Heathcliff shows the contrast between Linton's softness and Heathcliff's wildness: ‘Whatever our souls are made of, his and mine are the same and Linton's is as different as a moon beam from lightning or frost from fire. ‘ This is an interesting contrast as ‘moon beam' and ‘frost' are calm and beautiful images, however, they are completely opposite to ‘lightning' and ‘fire' which are both dangerous and wild things. gall, I never would have raised a hand against him†¦ I never would have banished him from her society, as long as she desired his. ‘ Correspondingly, he imagines Catherine's affection for Edgar in terms of property: ‘He is scarcely a degree dearer to her than her dog, or her horse. It is not in him to be loved like me. ‘ Material wealth has always been associated with the Lintons, so Heathcliff extends ideas of property and ownership to their emotions as well. Heathcliff's reunion with Catherine is presented as bittersweet: though passionately glad to be reunited, Catherine accuses Heathcliff of having killed her. Heathcliff warns her not to say such things when they ‘will be branded in [his] memory and eating deeper eternally' after her death. He also says that she had been at fault for abandoning him: ‘why did you betray you own heart Cathy? You deserve this†¦ ‘ This passionate scene between Catherine and Heathcliff in this chapter is probably the emotional climax of the novel though it only marks the middle of the book. It is as though they were members (who belong together) of a different species from other humans. Ellen says: ‘the two, to a cool spectator, made a strange and fearsome picture. ‘ Catherine tears Heathcliff's hair, and he leaves bruises on her arm. Later, ‘he foamed like a mad dog, and gathered her to him with greedy jealousy. ‘ ‘[Ellen] did not feel as though [she] were in the company of a member of [her] own species. ‘ What Ellen considers as bestial, the lovers would probably consider transcendent; their love sets them apart from others but in what way is open to interpretation. When Catherine dies, Bronti creates a contrast between the ways the two men react to her death. Edgar Linton had his head laid on a pillow and his eyes shut†¦ ‘ this shows that he is mourning silently and calmly but, Heathcliff ‘dashed his head against the knotted trunk, and lifting up his eyes howled not like a man but like a savage beast getting goaded to death with knives and spears†¦ ‘ This harsh diction portrays Heathcliff's pain, torment and anger at Catherine's death. Bronti uses this language to show that Catherine was Heathcliff's other half; without her (his beloved), half of his soul was missing. The comparison between Edgar's peaceful mourning and Heathcliff's declaration of love again refers to the difference of their emotions and their contrasting natures. The question of what happens after death is important in this chapter and throughout the novel; though no firm answer is given. Ellen is convinced that Catherine went to heaven, ‘where life is boundless in its duration, and love in its sympathy, joy in its fullness. ‘ Heathcliff however, cannot conceive of Catherine finding peace whilst they are still separated, or of his living without her. In the chapter before, Catherine said ‘I'm wearying to escape into that glorious world and to be always there; not seeing it dimly through tears and yearning for it through the walls of an aching heart, but really with it and in it. ‘ It is as though she had in mind a heaven that was like the moors in everyway but with the spirits of natural freedom. Eighteen years after her death, Heathcliff's continued love for Catherine's dead body paradoxically emphasizes the physical, yet non-physical nature of their relationship. This all-consuming love is revealed when he explains how he tried to dig up her body on the day she was buried. Heathcliff is pleased to see that Catherine still looks like herself after eighteen years but claims that if she had been ‘dissolved into earth or words,' he would have still been happy. His idea of heaven is to be completely united with Catherine in body, as well as in spirit and this could just as well mean to disintegrate into dust together as to be joined in the act of love. In the final two chapters, we are given an extraordinary window into Heathcliff's mind in the chapter. Whenever he looks at something, he sees Catherine in it; he hears her voice in every sound. This is Bronti's idea of true haunting, which seems to resemble madness rather than scary noises in the dark. If the ghost of Catherine is at work, she has found her home in Heathcliff's mind and her vocation is distorting his perception and his ability to communicate with the outside world. The presentation of love in the relationships between Catherine and Edgar and Catherine and Heathcliff are clearly profoundly contrasting. Heathcliff represents passion and nature, whereas Edgar represents culture. These two characteristics symbolize the duality in Cathy's own personality and it is her struggle between the two conflicting impulses that eventually consumes her. However, when Heathcliff and Edgar die and are both buried alongside Catherine, we can see how Bronti portrays that the two men will always have a place in her heart.

Co-Parenting Relationships after Divorce Free Essay Example, 750 words

The researcher states that one problem that may be there in the research method employed is the failure of women to truthfully and fully give correct answers due to fear. The limitation of this particular research design is a lack of trust by various women being interviewed such that they are unable to answer the questions asked appropriately. Thus, the answers may direct the study towards a certain aspect rather than the intended differences it seeks to uncover. For the subjects to be part of the in-depth interviews, they had to meet specific requirements that were under the inclusion criterion. The subjects were selected according to the period by which they had been separated. Specifically, it must have been more than two years. They were also selected based on the ages of their children. That is, they had to have at least one child below eighteen years of age in their residence at the time of separation. Subjects were also selected based on the number of times they had been phys ically abused by husbands they had separated with. The researchers ensured diversity in their selection by going through records of public divorces. We will write a custom essay sample on Co-Parenting Relationships after Divorce or any topic specifically for you Only $17.96 $11.86/page

Cartoons s Influence On Women s Rights Movement

Cartoons have been a prominent and interesting apparatus for politics throughout the ages. Political movements, parties, and groups using propaganda to further their beliefs dates back to the eighteenth and nineteenth century. Though America faces an austere history, lighthearted propaganda colors its decades and gives them life. Political cartoons are so widely used in America that they have become a significant piece of pop culture. Moreover, because of their ability to capture the reader’s attention, propaganda is exploited throughout politics.The cartoons are wonders of the human imagination; illustrators create comical images and intertwine profound political opinions to influence their viewer’s mind. For example, one movement that abundantly grew from propaganda was the women’s rights movement. The artists of the seemingly despised cause drew controversial cartoons that set a fire in the hearts of women all over the world. Consequently, the same cartoons i gnited a passionate war between women who wanted freedom, and those who believed that women could not handle that freedom. Through the use of colorful concepts and daring expressions, political cartoons display the influence of the women’s rights movement throughout history, while the cartoons of Anti-Feminists demonstrates the world’s reaction to the movement. The women’s rights movement utilizes political propaganda to advance its message, as political operations have done for centuries. The message called forShow MoreRelatedWomen s Rights And Suffrage Essay1322 Words   |  6 PagesI chose an article relating to the topic of women s rights and suffrage because it was a topic from my chapter in the book. I felt doing more research on the topic could make my presentation more informative and as well as having more sources to choose from. 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However, not only our international friendsRead MoreHip Hop : A Revolution1155 Words   |  5 Pagesfor certain songs. B. Hip-hop style segmented into different sectors. In the 1980s drug culture was huge. Kids who benefitted from the culture donned jewelry, custom outfits, and extravagant fashions. Direct kids of the 1960s and the civil rights movement reflected elements of afrocentricity, which is seen in groups like Tribe Called Quest and Queen Latifah. Groups like Run DMC adopted the street look with sweat suits and Adidas shell toe sneakers. III. Influential Brands and Designers A. SportswearRead MoreEssay about Variations in Animation in Different Cultures1799 Words   |  8 PagesIts main focus was to lift the spirits of the Japanese children in the postwar period as everything struggled to regain balance, from the animation and film industry, to the economy and even Japanese society as a whole (MacWilliams 49). 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