# data[].attributes.body
Advertising techniques

Problem and Benefit

Bandwagon effect

Testimonials

Celebrities

Association

# data[].attributes.body
Please- Product

Call- Context

Aunt- Audience

Vera- Visual

To- Text

Eat- Emotion

Vietnamese- Value message

Spring rolls- Subtext

# data[].attributes.headline
A Doll's House Analysis (from the Internet) 

# data[].attributes.subject
A Doll's House Analysis (from the Internet) 

# data[].attributes.headline
Paper 1 and Paper 2 Guide (IB English Guys) 

# data[].attributes.subject
Paper 1 and Paper 2 Guide (IB English Guys) 

# data[].attributes.attachment_link.readable_text
Less than a week into the war, it seems increasingly likely that Vladimir Putin is heading towards a historic defeat. He may win all the battles but still lose the war. Putin's dream of rebuilding the Russian empire has always rested on the lie that Ukraine isn't a real nation, that Ukrainians aren't a real people, and that the inhabitants of Kyiv, Kharkiv and Lviv yearn for Moscow's rule. That's a complete lie - Ukraine is a nation with more than a thousand years of history, and Kyiv was already a major metropolis when Moscow was not even a village. But the Russian despot has told his lie so many times that he apparently believes it himself.

When planning his invasion of Ukraine, Putin could count on many known facts. He knew that militarily Russia dwarfs Ukraine. He knew that Nato would not send troops to help Ukraine. He knew that European dependence on Russian oil and gas would make countries like Germany hesitate about imposing stiff sanctions. Based on these known facts, his plan was to hit Ukraine hard and fast, decapitate its government, establish a puppet regime in Kyiv, and ride out the western sanctions.

But there was one big unknown about this plan. As the Americans learned in Iraq and the Soviets learned in Afghanistan, it is much easier to conquer a country than to hold it. Putin knew he had the power to conquer Ukraine. But would the Ukrainian people just accept Moscow's puppet regime? Putin gambled that they would. After all, as he repeatedly explained to anyone willing to listen, Ukraine isn't a real nation, and the Ukrainians aren't a real people. In 2014, people in Crimea hardly resisted the Russian invaders. Why should 2022 be any different?

With each passing day, it is becoming clearer that Putin's gamble is failing. The Ukrainian people are resisting with all their heart, winning the admiration of the entire world - and winning the war. Many dark days lie ahead. The Russians may still conquer the whole of Ukraine. But to win the war, the Russians would have to hold Ukraine, and they can do that only if the Ukrainian people let them. This seems increasingly unlikely to happen.

Each Russian tank destroyed and each Russian soldier killed increases the Ukrainians' courage to resist. And each Ukrainian killed deepens the Ukrainians' hatred of the invaders. Hatred is the ugliest of emotions. But for oppressed nations, hatred is a hidden treasure. Buried deep in the heart, it can sustain resistance for generations. To reestablish the Russian empire, Putin needs a relatively bloodless victory that will lead to a relatively hateless occupation. By spilling more and more Ukrainian blood, Putin is making sure his dream will never be realised. It won't be Mikhail Gorbachev's name written on the death certificate of the Russian empire: it will be Putin's. Gorbachev left Russians and Ukrainians feeling like siblings; Putin has turned them into enemies, and has ensured that the Ukrainian nation will henceforth define itself in opposition to Russia.

Nations are ultimately built on stories. Each passing day adds more stories that Ukrainians will tell not only in the dark days ahead, but in the decades and generations to come. The president who refused to flee the capital, telling the US that he needs ammunition, not a ride; the soldiers from Snake Island who told a Russian warship to "go fuck yourself"; the civilians who tried to stop Russian tanks by sitting in their path. This is the stuff nations are built from. In the long run, these stories count for more than tanks.

The Russian despot should know this as well as anyone. As a child, he grew up on a diet of stories about German atrocities and Russian bravery in the siege of Leningrad. He is now producing similar stories, but casting himself in the role of Hitler.

The stories of Ukrainian bravery give resolve not only to the Ukrainians, but to the whole world. They give courage to the governments of European nations, to the US administration, and even to the oppressed citizens of Russia. If Ukrainians dare to stop a tank with their bare hands, the German government can dare to supply them with some anti-tank missiles, the US government can dare to cut Russia off Swift, and Russian citizens can dare to demonstrate their opposition to this senseless war.

We can all be inspired to dare to do something, whether it is make a donation, welcome refugees, or help with the struggle online. The war in Ukraine will shape the future of the entire world. If tyranny and aggression are allowed to win, we will all suffer the consequences. There is no point to remain just observers. It's time to stand up and be counted.

Unfortunately, this war is likely to be long-lasting. Taking different forms, it may well continue for years. But the most important issue has already been decided. The last few days have proved to the entire world that Ukraine is a very real nation, that Ukrainians are a very real people, and that they definitely don't want to live under a new Russian empire. The main question left open is how long it will take for this message to penetrate the Kremlin's thick walls.

# data[].attributes.attachment_link.title
Why Vladimir Putin has already lost this war | Yuval Noah Harari

# data[].attributes.attachment_link.description
The Russians may yet conquer Ukraine. But Ukrainians have shown that they will not let them hold it, says historian and author Yuval Noah Harari

# data[].attributes.attachment_caption
Paper One - Op Ed - Leonard Pitts Jr., George Floyd and MLK

# data[].attributes.attachment_link.title
Paper One - Op Ed - Leonard Pitts Jr., George Floyd and MLK (1) (1)

# data[].attributes.attachment_caption
Paper One - Op Ed Pitts - Student Sample Response

# data[].attributes.attachment_link.title
Paper One - Op Ed Pitts - Student Sample Response (1)

# data[].attributes.body
https://vc.bridgew.edu/jiws/vol21/iss1/8/

# data[].attributes.attachment_link.title
Orientalism, Gender, and Nation Defied by an Iranian Woman: Feminist Orientalism and National Identity in Satrapi’s Persepolis and Persepolis 2

# data[].attributes.attachment_link.description
Marjane Satrapi’s graphic novels Persepolis: The Story of a Childhood (2003) and Persepolis 2: The Story of a Return (2004) —focused on her youth and early adulthood in Iran and Austria— reveal in many ways the conflicting coexistence between the West —Europe and North America— and the Middle East. This article explores feminist Orientalism and national identity in both Satrapi’s works, with the purpose of demonstrating the manners that these comics complicate and challenge binary divisions commonly related to the tensions amid the Occident and the Orient, such as East-West, Self-Other, civilized-barbarian and feminism-antifeminism. In the first part of the analysis, feminist Orientalism —a concept based on the works of Edward Said and Roksana Bahramitash, which is defined in the paper as any form of domination from the West on the East, validated by women’s rights and/or Western feminism— is applied on the two comics of Satrapi, in order to explain how they break some stereotypes linked to women from the East, like their passive and subjugated role in a patriarchal and religious society. Through the study of feminist Orientalism on both graphic novels, it can also be observed the various ways in which the protagonist disputes the notion of the West as the best place for women to live, unlike the “uncivilized” Orient. The second part of the analysis exposes the complex national identity of the main character. On the one hand, she opposes the nationalism that the Iranian fundamentalist regime wants to impose, and, on the other hand, she is attached to her family and Iranian culture. Moreover, the article delves into the ambivalent national identity of the protagonist during her experience as a migrant in Vienna, where she defies misunderstandings and Orientalized visions, but also suffers because of the tensions and differences between the Occident and the Orient.

# data[].attributes.body
Carol Ann Duffy, born on December 23rd, 1955, in Glasgow, Scotland, is a British poet whose well-known and well-liked poetry engaged countless discussions while reaching millions of people. Between 2009 and 2019, she served as the first female poet laureate of Great Britain.

# data[].attributes.body
Each of the thirty poems in this book takes as its theme a character from history, mythology, literature or popular culture and gives it a feminist treatment, usually by telling the untold story of the woman lost in the shade cast by a better-known male character. Incorporates themes that revolve around the ideas of relationships, love, betrayal, manipulation, and the loss of love and struggle through the utilization of a range of stylistic devices such as allusion, rhetorical questions, word choice, and first-person narrative in order to elicit the desperation of the protagonist’s point of view.

# data[].attributes.headline
Analysis of The World's Wife and Persepolis

# data[].attributes.subject
Analysis of The World's Wife and Persepolis

# data[].attributes.attachment_link.readable_text
Artist: Shirin Neshat (Iranian, born Qazvin 1957)

Medium: Ink on photograph

Dimensions: 12 × 9 in. (30.5 × 22.9 cm)

Classification: Prints

Credit Line: Purchase, Reba and Dave Williams Gift, 1997

Accession Number: 1997.129.8

# data[].attributes.attachment_link.title
Shirin Neshat | Women of Allah | The Metropolitan Museum of Art

# data[].attributes.attachment_link.description
Artist: Shirin Neshat (Iranian, born Qazvin 1957) Medium: Ink on photograph Dimensions: 12 × 9 in. (30.5 × 22.9 cm) Classification: Prints Credit Line: Purchase, Reba and Dave Williams Gift, 1997 Accession Number: 1997.129.8

# data[].attributes.attachment_link.description
Lynsey Addario is an American photojournalist, who has been covering conflict and humanitarian crises around the Middle East and Africa on assignment for The New York Times, National Geographic Magazine, and Time Magazine for almost two decades.

# data[].attributes.body
Things Fall Apart by Chinua Achebe is a simple story of a ‘strong man’ whose life is dominated by fear and anger. The book captures the complexities and tension of the encounter between African communities and European powers. Achebe’s work stands as a critique of European and colonial narratives that have often marginalised and misrepresented African perspectives.

# data[].attributes.body
Tradition

Power

Fate

Gender roles

Religion

Masculinity

Family

# data[].attributes.body
The novel is structured in three different parts, with each part going through a different stage in Okonkwo’s life. The first part takes place when Okonkwo is a young boy living within Umuofia, one of the many villages of the Igbo country. The first part of the book depicts Okonkwo’s greatness as a strong, prosperous, and capable man. Okonkwo wins fame and respect as the greatest wrestler in all of the nine villages. At a young age, Okonkwo becomes one of the greatest men of his time. However, slowly but surely, things start to fall apart for Okonkwo. He is banished to Mbanta, his mother’s homeland, for committing what the locals termed “offense against the great goddess.” The process of things falling apart further accelerates with the second part of the book. The white missionaries arrive in Mbanta and start to propagate their understanding of a monotheistic god while also succeeding in converting a few residents, including Okonkwo’s own son, Nwoye. Nwoye’s conversion devastates Okonkwo. In the third and final part of the book, after seven years in exile, Okonkwo returns to his village, Umuofia. To Okonkwo’s surprise, he returns to a nation that is teetering on the verge of total capitulation to European standards and belief systems. Okonkwo’s values no longer hold the same importance as they once did. Okonkwo mourns for his clan, which he sees breaking up and falling apart. Okonkwo’s attempt to reclaim his position and revert to a time when his tribe was independent and not victims of colonialism was unsuccessful. In the end, Okonkwo takes his own life, and the entire village of Umuofia falls apart.

# data[].attributes.attachment_link.title
Copy of 1 - Blank Organizer for Political Cartoons

# data[].attributes.body
Related Questions

# data[].attributes.attachment_link.title
Don’t ask where I’m from, ask where I’m a local

# data[].attributes.attachment_link.description
When someone asks you where you’re from … do you sometimes not know how to answer? Writer Taiye Selasi speaks on behalf of “multi-local” people, who feel at home in the town where they grew up, the city they live now and maybe another place or two. “How can I come from a country?” she asks. “How can a human being come from a concept?”

# data[].attributes.attachment_link.title
"Revisiting The Dinner Party: Why It's Important Now" with Judy Chicago and Diane Gelon

# data[].attributes.attachment_link.title
Shirin Neshat - 'Dreams Are Where Our Fears Live' | Tate

# data[].attributes.body
Mocks Final

# data[].attributes.body
Mocks Final