In Chekhov's 'The Lady with the Little Dog', what social issue is primarily explored through the relationship of Gurov and Anna?

The constraints of societal expectations and marital fidelity

The importance of wealth in relationships

The impact of politics on personal lives

What social issue is prominently explored in Chekhov's 'The Lady with the Little Dog'?

The conflict between personal desire and societal expectations

The impact of technology on communication

How does Chekhov portray love in 'The Lady with the Little Dog'?

As complex and often conflicted

As purely romantic and idealistic

As solely based on physical attraction

What is the significance of the dog in 'The Lady with the Little Dog'?

It symbolizes innocence and companionship

It represents wealth and status

It illustrates the theme of betrayal

It serves as a plot device without deeper meaning

What is a major theme in Chekhov's 'The Lady with the Little Dog'?

The exploration of existential loneliness

The importance of wealth and success

The dangers of political activism

What does the setting of Yalta represent in 'The Lady with the Little Dog'?

A temporary escape from societal norms

An ideal place for business and trade

A permanent home for the characters

How does Chekhov use characterization in 'The Lady with the Little Dog' to address social issues?

By revealing the inner conflicts and emotional complexities of the characters

By depicting characters as purely heroic or villainous

By focusing solely on their physical appearances

By using stereotypes without depth

What role does societal judgment play in the relationship between Gurov and Anna in 'The Lady with the Little Dog'?

It creates tension and conflict in their relationship

It has no impact on their feelings for each other

It reinforces their decision to remain together

It encourages them to leave their spouses immediately

In 'The Lady with the Little Dog,' how does Chekhov portray the theme of infidelity?

As a source of personal transformation and inner conflict

As a purely negative act without consequences

As a trivial and unimportant issue

As a way to escape from societal responsibilities

What does Chekhov suggest about the nature of happiness in 'The Lady with the Little Dog'?

That happiness is often fleeting and complex

That true happiness is only found in traditional marriage

That happiness is a constant state of being

That happiness can be easily achieved through wealth

What is the impact of the setting shift from Yalta to Moscow in 'The Lady with the Little Dog'?

It highlights the contrast between freedom and societal constraints

It emphasizes the importance of wealth

It has no significant effect on the characters' feelings

It represents a change in the weather from warm to cold

The lady with the little dog Chekhov realism and social issues

Translator: Joseph Geni Reviewer: Morton Bast Before March, 2011, I was a photographic retoucher based in New York City. We're pale, gray creatures. We hide in dark, windowless rooms, and generally avoid sunlight. We make skinny models skinnier, perfect skin more perfect, and the impossible possible, and we get criticized in the press all the time, but some of us are actually talented artists with years of experience and a real appreciation for images and photography. On March 11, 2011, I watched from home, as the rest of the world did, as the tragic events unfolded in Japan. Soon after, an organization I volunteer with, All Hands Volunteers, were on the ground, within days, working as part of the response efforts. I, along with hundreds of other volunteers, knew we couldn't just sit at home, so I decided to join them for three weeks. On May the 13th, I made my way to the town of Ōfunato. It's a small fishing town in Iwate Prefecture, about 50,000 people, one of the first that was hit by the wave. The waters here have been recorded at reaching over 24 meters in height, and traveled over two miles inland. As you can imagine, the town had been devastated. We pulled debris from canals and ditches. We cleaned schools. We de-mudded and gutted homes ready for renovation and rehabilitation. We cleared tons and tons of stinking, rotting fish carcasses from the local fish processing plant. We got dirty, and we loved it. For weeks, all the volunteers and locals alike had been finding similar things. They'd been finding photos and photo albums and cameras and SD cards. And everyone was doing the same. They were collecting them up, and handing them in to various places around the different towns for safekeeping. Now, it wasn't until this point that I realized that these photos were such a huge part of the personal loss these people had felt. As they had run from the wave, and for their lives, absolutely everything they had, everything had to be left behind. At the end of my first week there, I found myself helping out in an evacuation center in the town. I was helping clean the onsen, the communal onsen, the huge giant bathtubs. This happened to also be a place in the town where the evacuation center was collecting the photos. This is where people were handing them in, and I was honored that day that they actually trusted me to help them start hand-cleaning them. Now, it was emotional and it was inspiring, and I've always heard about thinking outside the box, but it wasn't until I had actually gotten outside of my box that something happened. As I looked through the photos, there were some were over a hundred years old, some still in the envelope from the processing lab, I couldn't help but think as a retoucher that I could fix that tear and mend that scratch, and I knew hundreds of people who could do the same. So that evening, I just reached out on Facebook and asked a few of them, and by morning the response had been so overwhelming and so positive, I knew we had to give it a go. So we started retouching photos. This was the very first. Not terribly damaged, but where the water had caused that discoloration on the girl's face had to be repaired with such accuracy and delicacy. Otherwise, that little girl isn't going to look like that little girl anymore, and surely that's as tragic as having the photo damaged. (Applause) Over time, more photos came in, thankfully, and more retouchers were needed, and so I reached out again on Facebook and LinkedIn, and within five days, 80 people wanted to help from 12 different countries. Within two weeks, I had 150 people wanting to join in. Within Japan, by July, we'd branched out to the neighboring town of Rikuzentakata, further north to a town called Yamada. Once a week, we would set up our scanning equipment in the temporary photo libraries that had been set up, where people were reclaiming their photos. The older ladies sometimes hadn't seen a scanner before, but within 10 minutes of them finding their lost photo, they could give it to us, have it scanned, uploaded to a cloud server, it would be downloaded by a gaijin, a stranger, somewhere on the other side of the globe, and it'd start being fixed. The time it took, however, to get it back is a completely different story, and it depended obviously on the damage involved. It could take an hour. It could take weeks. It could take months. The kimono in this shot pretty much had to be hand-drawn, or pieced together, picking out the remaining parts of color and detail that the water hadn't damaged. It was very time-consuming. Now, all these photos had been damaged by water, submerged in salt water, covered in bacteria, in sewage, sometimes even in oil, all of which over time is going to continue to damage them, so hand-cleaning them was a huge part of the project. We couldn't retouch the photo unless it was cleaned, dry and reclaimed. Now, we were lucky with our hand-cleaning. We had an amazing local woman who guided us. It's very easy to do more damage to those damaged photos. As my team leader Wynne once said, it's like doing a tattoo on someone. You don't get a chance to mess it up. The lady who brought us these photos was lucky, as far as the photos go. She had started hand-cleaning them herself and stopped when she realized she was doing more damage. She also had duplicates. Areas like her husband and her face, which otherwise would have been completely impossible to fix, we could just put them together in one good photo, and remake the whole photo. When she collected the photos from us, she shared a bit of her story with us. Her photos were found by her husband's colleagues at a local fire department in the debris a long way from where the home had once stood, and they'd recognized him. The day of the tsunami, he'd actually been in charge of making sure the tsunami gates were closed. He had to go towards the water as the sirens sounded. Her two little boys, not so little anymore, but her two boys were both at school, separate schools. One of them got caught up in the water. It took her a week to find them all again and find out that they had all survived. The day I gave her the photos also happened to be her youngest son's 14th birthday. For her, despite all of this, those photos were the perfect gift back to him, something he could look at again, something he remembered from before that wasn't still scarred from that day in March when absolutely everything else in his life had changed or been destroyed. After six months in Japan, 1,100 volunteers had passed through All Hands, hundreds of whom had helped us hand-clean over 135,000 photographs, the large majority — (Applause) — a large majority of which did actually find their home again, importantly. Over five hundred volunteers around the globe helped us get 90 families hundreds of photographs back, fully restored and retouched. During this time, we hadn't really spent more than about a thousand dollars in equipment and materials, most of which was printer inks. We take photos constantly. A photo is a reminder of someone or something, a place, a relationship, a loved one. They're our memory-keepers and our histories, the last thing we would grab and the first thing you'd go back to look for. That's all this project was about, about restoring those little bits of humanity, giving someone that connection back. When a photo like this can be returned to someone like this, it makes a huge difference in the lives of the person receiving it. The project's also made a big difference in the lives of the retouchers. For some of them, it's given them a connection to something bigger, giving something back, using their talents on something other than skinny models and perfect skin. I would like to conclude by reading an email I got from one of them, Cindy, the day I finally got back from Japan after six months. "As I worked, I couldn't help but think about the individuals and the stories represented in the images. One in particular, a photo of women of all ages, from grandmother to little girl, gathered around a baby, struck a chord, because a similar photo from my family, my grandmother and mother, myself, and newborn daughter, hangs on our wall. Across the globe, throughout the ages, our basic needs are just the same, aren't they?" Thank you. (Applause) (Applause)

Timmy: Sam, can you see that fat dog? Sam: Yes, he is sitting next to the man with the black mustache. Timmy: That dog has a very big stomach. Do you think he can run? Sam: No, I don’t think he can. Timmy: Sam, can you see that thin dog? Sam: Yes, he is sitting next to the lady with blond hair. Timmy: That dog has a very small stomach. Do you think he can run? Sam: Yes, I think he can run fast.

The Two Mice The country mouse was happy in his small house until his cousin, the town mouse, came to visit. “I live in the city,” the town mouse said. “I dine on tasty cheese and warm bread.” When the country mouse heard this, he thought for a while and said, "Cousin, I'll come to the city with you." So they went to the town mouse's house in the city. When they arrived, the town mouse said, "The people are in the parlor. Let's sneak into the kitchen for some bread and cheese." "Can we eat all these things?“ asked the country mouse. "Of course!" said the town mouse. "Let's have a feast. Oh, it's such a wonderful life!" the town mouse said. Suddenly, they heard footsteps. "Quickly! Hide!" whispered the town mouse. "The lady of the house is coming!" The mice hid under the table and waited for her to go. Then, they returned to enjoy their feast.

Name: Marco Ramirez - “I Am Not Batman” TW: language It’s the middle of the night. And the sky is glowing like mad radioactive red. And if you squint, you could maybe see the moon through a thick layer of cigarette smoke and airplane exhaust that covers the entire city like mosquito net that won’t let the angels in. And if you look up high enough you could see me-standing on the edge of a eighty seven story building. And up there-a place for gargoyles and broken clock towers that have stayed still and dead for maybe like a hundred years-up there is me. And I’m freakin Batman. And I gots Bat-mobiles and Bat-a-rangs and freakin Bat-caves like for real, and all it takes is a broom closet or a back room or a fire escape and Danny’s hand-me-down jeans are gone. And my navy blue polo shirt? – The one that looks kinda good on me but has a hole on it near the butt from when it got snagged on the chain linked fence behind Arturo’s but it isn’t even a big deal cause I tuck that part in and its like all good? –that blue polo shirt? – It’s gone too. And I get like, like transformational. And nobody pulls out a belt and whips Batman for talking back –-Or for not talking back –And nobody calls Batman simple –- Or stupid –- Or skinny –- And nobody fires Batman’s brother from the Eastern Taxi Company ‘cause they was making cutbacks, neither, ‘cause they got nothing but respect, and not like afraid-respect. Just like respect-respect. ‘Cause nobody’s afraid of you. Cause Batman doesn’t mean nobody harm. Ever. Cause all Batman really wants to do is save people and maybe pay Abuela’s bills one day and die happy and maybe get like mad famous. For real.…And kill the Joker. Tonight, like most nights, I’m all alone. And I’m watching…And I’m waiting… Like a eagle. Or like a –no, yea, like a eagle. And my cape is flappin’ in the wind (‘cause it’s freakin’ long), and my pointy ears are on, and that mask that covers like half my face is on too, and I got like bulletproof stuff all in my chest so no one could hurt me and nobody – nobody – is gonna come between Batman, And Justice. From where I am I could hear everything. Somewhere in the city there’s a old lady picking Styrofoam leftovers up outta a trash can and she’s putting a piece of sesame chicken someone spit out into her own mouth. And somewhere there’s a doctor with a whack haircut in a black lab coat trying to find a cure for the diseases that are gonna make us all extinct for real one day. And somewhere there’s a man, a man in a janitor’s uniform, stumbling home drunk and dizzy after spending half his paycheck on forty-ounce bottles of twist-off beer and the other half on a four hour visit to some lady’s house on a street where the lights have all been shot out by people who’d rather do what they do, in this city, in the dark. And half a block away from JanitorMan there’s a group of good-for-nothings who don’t know no better waiting to beat JanitorMan with rusted bicycle chains and imitation Lousiville Sluggers, and if they don’t find a cent on him – which they won’t – they’ll just pound at him till the muscles in their arms start burning, till there’s no more teeth to crack out. But they don’t count on me. They don’t count on no dark night (with a stomach full of grocery store brand macaroni-and-cheese and cut up Vienna sausages), Cause they’d rather believe I don’t exist, And from eighty-seven stories up I could hear one of the good-for-nothings say “Gimmethecash” real fast (like that) just “Gimmethefuckingcash” and I see JAnitorMan mumble something in drunk language and turn pale and from eighty-seven stories up I could hear his stomach trying to hurl its way out of his Dickies. So I swoop down like and fast and I’m like darkness. I’m like SWOOSH –- And I throw a Bat-a-rang at the one naked lightbulb –- And they’re all like “whoa-motherfucker-who-just-turned-out-the-lights?” –“What’s that over there?” –-“What?” –- “Gimme whatchou got old man” –- “Did anybody hear that?!” –- “No, really” –- “There ain’t. No. Bat.” – But then –- One out of three good-for-nothings gets it to the head! And number Two swings blindly into the dark cape before him but before his fist hits anything I grab a trash can lid and –-- Right into the gut, and number One comes back with a jump-kick but I know judo-karate too so I’m like –-- Twice –-- but before I can do any more damage suddenly we all hear a CLIC – CLIC –And suddenly everything gets quiet And the one good-for-nothing left standing grips a handgun and aims straight up, like he’s holding Jesus hostage, like he’s threatening maybe to blow a hole in the moon. And the good-for-nothing who got it to the head who tried to jump-kick me and the other good-for-nothing who got it in the gut is both scrambling back away from the dark figure before him. And the drunk man the JanitorMan is huddled in a corner, praying to Saint Anthony ‘cause that’s the only one he could remember. And there’s me, Eyes glowing white, cape blowing softly in the wind. Bulletporoof chest heaving. My heart beating right through it in a Morse code for “fuck with me, just once, come on, just try.” And the one good-for-nothing left standing, the one with the handgun, he laughs he lowers his arm, and he points it at me and gives the moon a break, and he aims it right between my pointy ears, like goalposts and he’s special teams. And JanitorMan is still calling Saint Anthony but he ain’t pickin’ up, And for a second it seems like…maybe I’m gonna lose. Naw. SHOO – SHOO! FUACATA! --“Don’t kill me man!” –“SNAP! – Wrist CRACK – Neck – SLASH! – Skin – meets – acid – “AHH!!” –And he’s on the floor. And I’m standing over him. And I got the gun in MY hands now. And I hate guns, I hate holding ‘em cause I’m Batman, and –Batman don’t like guns ‘cause his parents got iced by guns a long time ago – but for just a second, my eyes glow white, and I hold this thing, for I could speak to the good-for-nothing in a language he maybe understands…CLIC – CLIC…And the good-for-nothings become good-for-disappearing into whatever toxic-waste-chemical-sludge-shit-hole they crawled out of. And it’s just me and JanitorMan. And I pick him up. And I wipe sweat and cheap perfume off his forehead. And he begs me not to hurt him and I grab him tight by his JanitorMan shirt collar and I pull him to my face, and he’s taller than me, but the cape helps so he listens when I look him straight in the eyes and I say two words to him: “Go home.” And he does, checking behind his shoulder every ten feet. And I SWOOSH from building to building on his way there, ‘cause I know where he lives. And I watch his hands where he lives. And I watch his hands tremble as he pulls out his keychain and opens the door to his building. And I’m back in bed before he even walks in through the front door. And I hear him turn on the faucet and pour himself a glass of warm tap water And he puts the glass back in the sink. And I hear his footsteps, And they get slower as they get to my room. And he creaks my door open like mad slow. And he takes a step in, which he never does. And he’s staring off into nowhere, his face the color of sidewalks in summer, and I act like I’m just waking up, and I say, “What’s up, Pop?” And JanitorMan says nothing to me. But I see, in the dark, I see his arms go limp and his head turns back, like towards me, and he lifts it for I could see his face, For I could see his eyes, And his cheeks is dripping but not with sweat. And he just stands there, breathing, like he remembers my eyes glowing white. Like he remembers my bulletproof chest. Like he remembers he’s my pop. And for a long time I don’t say nothing. And he turns around, hand on the doorknob, and he ain’t looking up my way but I hear him mumble two words to me. “I’m sorry.” And I lean over and open my window just a crack.… If you look up high enough you could see me. And from where I am? I could hear everything.

CUSTOMER:I bought two expensive dictionaries here half an hour ago, but I forgot to take them with me. MANAGER:Who served you, madam? CUSTOMER:The lady who is standing behind the counter. MANAGER:Which books did you buy? CUSTOMER:The books which are on the counter. MANAGER:Did you serve this lady half an hour ago, Caroline? She says she's the one who bought these books. CAROLINE:I can't remember. The lady who I served was wearing a hat. MANAGER:Have you got a hat, madam? CUSTOMER:Yes, I have. MANAGER:Would you put it on, please? CUSTOMER: All right. MANAGER:Is this the lady that you served, Caroline? CAROLINE: Yes. I recognize her now.

When this lady died I descended like real estate in fee simple to her son Benjamin Stiles, Esq[uire]. About four years after her death, her two sons, Benjamin and David, were drafted to fight in the revolution. I also entered the banners of freedom. Alas! Poor African Slave, to liberate freemen, my tyrants. I had contemplated going to Barbados to avenge myself and my country… I went into Capt. [Samuel] Granger’s company, from hence I was drafted into Capt. [Samuel] Barker’s company of light infantry… ...I suddenly discovered a man riding up to me not more than eight rods distant on full speed with a pistol in his hand and ordered me to lay down my arms [weapons]... He said I must surrender to him who demanded me in the name of the King his majesty of Great Britain. I then plainly told him that neither him or his King’s majesty would get my arms unless he took them by force. He immediately cocked his pistol and fired. I fell flat upon the ground in order to dodge his ball… ...Finally, I was in the battles at Cambridge, White Plains, Monmouth, Princeton, Newark, Frog’s Point, Horseneck where I had a ball pass through my knapsack. All which battles the reader can obtain a more perfect account of in history than I can give. At last we returned to West Point and were discharged [1783], as the war was over. Thus was I, a slave for five years fighting for liberty. ...After we were disbanded, I returned to my old master at Woodbury [Connecticut], with whom I lived one year, my services in the American war having emancipated me from further slavery and from being bartered or sold. My master consented that I might go where I pleased and seek my fortune. Hearing flattering accounts of the new state of Vermont, I left Woodbury and travelled as far as the town of Lenox in Massachusetts, where for the first time I made a bargain as a freeman for labor. I let [hired] myself to a Mr. Elisha Orsborn for one month at the price of five dollars. When I had fulfilled this contract, I travelled to the town of Poltney in Vermont. There again I let myself to a Mr. Abiel Parker for the sum of thirteen pounds ten shillings, for six months. Here I enjoyed the pleasures of a freeman; my food was sweet, my labor pleasure: and one bright gleam of life seemed to shine upon me.

A running game in a factory. The worker must drink water to avoid heat stress. Collect water bottles and avoid heat. Educational game about heat stress safety. The player collects water bottles, special factory ice cream for employees, electrolyte drinks, and juice to stay hydrated and cool. If a worker is affected by heat stress, he should lie down, raise his legs, and keep his body cool. First aid includes cooling the body using water, wiping or wetting the skin, and providing ventilation. Emergency first aid includes calling the Sohar emergency number 3333. Do not leave the affected person alone. Stay with him until help arrives.

The Lady or the Tiger Vocabulary Practice

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