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William Pinckard's classic essay on the differences between Go, chess and backgammon.

The Go-between was first published in 1953, the following year it received the Heinemann Foundation Prize of the Royal Society of Literature. Its film version was also very successful and won the principal award at the Festival de Cannes in 1973. This book is a fiction, it's a memory story: a man in his sixties looks back on his boyhood of the middle class boy recalling the events that took place on a summer visit to an aristocratic family in Norfolk in the 1900's. The author uses double narrative, the young Leo's actions told by the older Leo, and it shows us how it has affected his life

The progress seen in the late 20th century has stalled in the 21st. Even though around 40% of the world’s population, more people than ever before, live in countries that will hold free and fair elections this year, democracy’s global advance has come to a halt, and may even have gone into reverse. Freedom House reckons that 2013 was the eighth consecutive year in which global freedom declined, and that its forward march peaked around the beginning of the century. Between 1980 and 2000 the cause of democracy experienced only a few setbacks, but since 2000 there have been many. And democracy’s problems run deeper than mere numbers suggest. Many nominal democracies have slid towards autocracy, maintaining the outward appearance of democracy through elections, but without the rights and institutions that are equally important aspects of a functioning democratic system.

In the novel, the narrative is relived in the memory of Leo Colston 50 years on from the glorious summer gone wrong during which, at a friend’s grand home, he ferried billets-doux between upper-class beauty Marian Maudsley and hunky tenant farmer Ted Burgess. To capture that sense of recollection without excessive reliance on voice-over, Pete Travis’s roving camerawork revealed the gilded paradise of Brandon Hall in impressionistic glances and lush screen grabs of floating pollen and wafting corn. As for the protagonists, he shot Joanna Vanderham’s Marian as a radiant extension of the sun, while ’s Ted suggested a gritty compound of gnarled oak and loamy earth.

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In this essay for Ibraaz, writer and critic Alice Planel explores the conditions of artistic production in Algiers, a city still affected by the legacy of a devastating civil war in the 1990s. Taking the third FIAC Algiers (2011) as her starting point, Planel references some of the key players promoting, discussing and exhibiting contemporary art in the Maghreb and talks to Algerian artists including Amina Menia and Atef Berredjem about how they develop their practices and negotiate the many difficulties inherent in getting their work produced and displayed. In doing so, Planel reiterates the need for scholarship on the subject of contemporary art in Algeria and across the Maghreb, and explores some of the tensions arising therein between the traditional and the contemporary. Due to discriminatory uses of the word 'modernity', she argues, it is also the very taxonomy and history of modern art that inhibits analyses of modern or contemporary Algerian art.

The Product Owner Role: A Stakeholder Proxy for Agile …

Brexit is not the EU’s greatest problem. Whether Britain stays or goes, the union will have to grapple with migration and the euro, which are even more complex. Its progress will be hampered by economic stagnation. Unemployment will continue to feed populism and frustration with the elites. The fight will go on between debtors and creditors over austerity, debt relief and the ECB. To the extent that people feel economically hard-pressed, they will be even less inclined to accept immigrants. The Germans won’t accept freeriding, the easterners won’t accept a collective response, and the migrants will keep coming.

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Is there a connection between these two treatments of the word �memoir�? see James Olney s introduction to Autobiography: Essays Theoretical and Critical, 10- 13 how women have been excluded from some kinds of self-reflexive discourse a trained critic, who can tell the difference between good and bad writing

It is crucial that you identify the required to help you properly select and further define your topic. Look for clues in the to determine if the essay approach should different concepts, or be , , or in nature.If you are given a choice of topics, brainstorm ideas and then choose a topic that you are interested in or have knowledge about so that your enthusiasm and knowledge of the subject matter shines through in your essay.It’s a common mistake with high school students, that they pick up very broad topics. Thus, their essays lack clear central idea, and the connection between body paragraphs is very weak. To avoid this, try to narrow your essay topic to some particular point. Write on something like “Irish political structure” instead of the broader topic of “Irish politics” so that you can focus and write in more depth on one area.High school essays are structured very similarly regardless of the topic and good essay structure will help you to write a clear essay that flows from one paragraph to the next.– All essays should begin with an that grabs the reader and entices them to read further. An introduction should end with – a sentence that will reveal your main point.– The body of your essay should consist of several paragraphs each of which addresses a separate point supported by anecdotes, specific examples, quotations or other evidence. Limit each paragraph to one main idea.

The Go-Between Essay ”The Go-Between” is a short story written by Ali ..

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Schuman told the press the plan was “a leap in the dark”. Yet what is striking is not how far-reaching it was, but how tentative. The idea of European union had a long history—Victor Hugo had talked of a United States of Europe as early as 1849. Perry Anderson, a historian, has counted at least 600 publications between the wars proposing a united Europe. Next to almost all such schemes, the Treaty of Paris, with its focus on schedules of heavy-industrial output, was as dry as coal dust.