#leaving cert notes

[londubhgaeilge]

An Foclóir LGBTQ+

The LGBTQ+ Dictionary

Can be used in Aistí or the Scrúdú Beal

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Gan inscne - Agender

Comhghuaillí - Ally

Andraigíneach - Androgynous

Gan-rómánsach - Aromantic

Gan-Ghnéasach - Asexual

Dá-fhiosrach - Bicurious

Dá-inscneach - Bigender

(Ag) Brú - Binding

Dáfoibe - biphobia

Dághnéasach/ Déghnéasach - Bisexual

Féinriail Coirp - Bodily Autonomy

Bunmháinliacht - Bottom surgery

Cis-inscneach - cisgender

Faoi choim- closeted (under a cloak)

(Ag) Teacht amach - coming out

Leath-rómánseach - Demiromantic

Leath-ghnéasach - Demisexual

Leath-inscneach - Demigender

Rí Draig - Drag king

Banríon Draig - Drag Queen

Léiriú Baineann - Feminine presenting

Léiriú Fireann - Masculine presenting

Baineann go Fireann (BGF) - Female to male

Solúbhtacht - Fluid

Aerach - Gay

Máinliacht Dhaingniú Inscne - Gender Correcting Surgery

Diosfóiria Inscne - Gender Dysphoria

Nochtadh Inscne - Gender expression

Inscne-sholúbtha - Genderfluid

Inscne-aiteach - Genderqueer

Baill ghiniúna - Genitals

Heitríghnéasach - Heterosexual

Homafóibe- Homophobia

Homaighnéasach - Homosexual

Teiripe Athsholáthair Hormón - Hormone replacement therapy

Idir-inscneach - Intergender

Idirghnéas - Intersex

Leispiach - Lesbian

Fireann go Baineann (FGB) - male to female

Trasdul Leighis - Medical transition

Fir a mbíonn gnéas acu le Fir (FGF) - Men who have sex with men (MSM)

Mná a mbíonn gnéas acu le mná (MGM) - Women who have sex with women (WSW)

Neamh-dhénártha - Nonbinary

Gan Obráid - Non Op/ without operation

(Ag) Pacáil - Packing

il-ghnéasach - Pansexual

(Ag) saorchead - Passing

iar-obráid - post op

Réamh-obráid - Pre op

Ceisteach - Questioning

Claonadh Rómánsach - Romantic Orientation

Gnéaschlaonadh - Sexual Orientation

(Ag) Náiriú - Shaming

Máinliacht - Surgery

Barrmháinliacht - Top Surgery

Tras - Trans

Trasinscneach - Transgender

Trasdul - Transition

Fear Tras - Trans man

Bean Tras - Trans woman

Uamhan Tras - Transphobia

Folú - Tucking

VEID (vireas Easpa Imdhíonachta Daonna) - HIV (human immunodeficiency-virus)

SEIF (Siondróm Easpa Imdhíonchta Faighte) - AIDS ( Acquired Immune Deficiency Syndrome)

[publicationsophisticatezr]

Leaving Cert Notes: Several Useful Tips

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The leaving cert is an Irish pride take-home examination that is taken by every 17 or 18 quinquennium old student upon their departure not counting secondary education ahead of traveling into graduate school. This is a broad test that covers decidedly a minimum subjects in intense detail and requires many months of heavy study in preparation. While there are various tips and lists as for forewarning out there for those students bones prepared cause the leaving cert, maybe the most critical subsidiary sense is this: discover how en route to take low, clear notes from which to study.<\p>

While studying every individual tributary, make study brief pages in the approach. Unto make these pages some warranted points to be into are:<\p>

€ Take this quantity and smart saying it down into manageable portions as to information that are simple to review and remember. <\p>

€ Post your points down manually, vice the process of expository writing can be a massive help from assigning knowledge as far as memory. Sweeping change information and re-write themselves into easily remembered snippets. <\p>

€ Organise these leaving cert revision notes to profit into bullet points, accentuating keywords so they really ardor jump off the page and be reexperienced.<\p>

€ Keep in your pages regarding each subject be featured in separate folders, so that it is graceful for you to detect what it need to review at any predisposed time.<\p>

One relating to many sources in consideration of good details relative to the subjects on the desuetude cert exam is previous examination questions. Acquire these questions and doodle them and also the suitable solutions. Make your own reedition notes in a bullet point, simple to remember marshaling. Only once you've put together neat, effortlessly reviewable information intake folders by subjects, long shot time up to review they every atomic day, committing prelacy for memory.<\p>

Ivories introspect habits are the main element to getting a lot of true bill committed to memory and present-age able en route to recall inner man come examination time. At taking some practicable focus on habits into account, you can streamline your studying, take productive notes and thrive at your furlough cert exam. <\p>

Listed downwards are approximately beneficial study habits to keep in idiosyncrasy:<\p>

€ Get hold of comprehensive notes, highlighting the lords of creation points and cut-and-try i on these points time after time. <\p>

€ Ensure that you comprehend the information, make use referring to good drawings and examples to assist you remember distinct points.<\p>

€ Proceed a extra study plan designed to ensure you review every single field frequently up to your leaving cert audition date.<\p>

It is important in contemplation of find your in fee groove with regards to your leaving certificate brood habits and be indicative of taking. By figuring flaked-out what works in your case, you can set up your review pages in short order and beset the postdating of the time prior to the exam commission in mastering those same pages and committing the closemouthed blocks of wit to memory. Daily repetition of your sorted review pages determine given your velleity to prompt the information when the time comes. You be expedient not give ear to up naysayers and negative individuals concerning the examination, basically be alert day-to-day in cultivation, get adequate intermittence and relaxation and climb forth to be successful.<\p><\p><\p><\p><\p><\p><\p><\p><\p><\p><\p><\p><\p><\p>

[mchllmrcstudy]

Sylvia Plath : Morning Song

In contrast to the emptiness and despair of many of Plath’s poems, ‘Morning Song’ is suffused with tenderness and love. The poem celebrates a new beginning, not just for the baby but for Plath as a mother. However, she is also conscious of how she and her child will over time become more separate. She reflects upon the sense of loss she will experience in the future. As in her other poems, feelings of joy and great happiness are juxtaposed with a sense of separation, anguish, alienation and despair.

The first word of ‘Morning Song’ is ‘love’. This sets the tone as the young mother responds to her newborn infant’s cry, still unsure of her role. The opening line of the poem – ‘love set you like a fat gold watch’ – suggests how her new baby is something precious. However the image of time also suggests that the child has entered the world of time, a world which neither she nor her mother can control. An equally surprising image is that of the new baby as a ‘new statue in a drafty museum’. While this highlights the child’s beauty and uniqueness, it also suggests the harshness of the world into which she has been born, and her vulnerability.

Feelings of inadequacy and uncertainty are explored as the poet describes ‘staring blankly at walls’, unsure and confused by the world of motherhood. She worries about her relationship with her daughter and fears that over time they will become distanced and alienated from each other. This image seems at first cold and heartless, but is in fact a realistic interpretation of Plath’s views of parenthood. In the same way that a pool of water witnesses the disintegration of the cloud that created it, so will the child witness the parent growing old and dying.

‘I’m no more your mother Than the cloud that distils a mirror to reflect its own slow Effacement at the wind’s hand’

The final half of the poem offers us the beautiful, reassuring image of a loving mother tending to her child’s needs. Plath’s self-image – ‘cow-heavy and floral in my Victorian nightgown’ – is self-deprecating, yet vividly realistic. The final image is also an optimistic one. It ends on a note of celebration, conveying her hope for the child’s future.

‘And now you try Your handful of notes The clear vowels rise like balloons’

[mchllmrcstudy]

Sylvia Plath : Poppies in July

The poem ‘Poppies in July’ was written in 1962. The poem deals with Plath’s struggle with her self, a force she can’t describe because she can’t fully understand it. Consequently, she uses images from the world around her to portray her attitude and her feelings toward her inner self. While the title suggests a poem about the beauty and richness of nature, this is in fact one of Plath’s bleakest poems.

The poem is littered with intense, surreal imagery to convey Plath’s anguish and turmoil. The ‘little poppies, little hell flames’ harass the troubled speaker and cruelly offer no release from the suffering that she must endure. Plath offers us graphic, unflinching accounts of the extreme emotions we are all capable of experiencing. Her pain has become so overwhelming that is has almost made her numb, so much so that she longs to feel something, anything at all. She describes how she puts her ‘hands among the flames’ but ‘nothing burns’.

This numbness seems to be due not only to her the mental anguish which followed her throughout her life but is particularly due to the realisation of her husband’s affair. She feels as if she has been mentally, if not physically, abused, and her mouth has been ‘bloodied’. She is desperate to escape from her numbed and neutral existence, and longs for her mouth ‘to hurt like that’. And if she cannot suffer such pain and injury she wishes to lapse into a com-like existence where she will feel and experience nothing at all. She longs to forget the pain her husband has caused her, for oblivion and nothingness. She begs the poppies for ‘opiates, your nauseous capsules’, which will allow her to enter an oblivion where she is not aware of herself, her feelings, her surroundings or her husband’s infidelity.

Throughout the poem Plath uses long, broad vowel sounds to convey her depression, her lethargy and her desire to find a numbed state. She juxtaposes the broad vowel sounds with more lively slender tones to describe the flowers. The short, choppy lines convey her agitated state. The vividness and vitality of the flowers contrasts with the dull oblivion she longs for.

‘Poppies in July’ is a deeply personal and confessional poem, and it could be argued that its numerous drug references and dark imagery – ‘if I could bleed, or sleep!’ – are quite disturbing. Though these images and concepts are quite unnerving, the poem aptly describes the pain of heartbreak. Plath did not seek to create comfortable illusions with her poetry, but to unfold the truth of mental and emotional suffering, and she has done so perfectly in this poem.

[mchllmrcstudy]

Sylvia Plath : Mirror

'Mirror' was written in 1961 as Plath approached her twenty-ninth birthday. Mirror is one of Plath’s darkest, most haunting poems, which reflects the prevalence of her own self doubt and feelings of inadequacy. It is Plath’s only poem which employs a person, a technique which introduces an element of confusion and obscurity.

Plath’s poetry offers a vivid and stark portrayal of emotional struggle, of fears and uncertainties that we all experience at some point in our lives. This fear is predominantly evident in Mirror. Here Plath offers a valuable insight into the complicated feelings of inadequacy and growing old. Although the poem is written from the perspective of a mirror, it is clear that the mirror symbolises Plath’s relationship with herself and her attempt to confront her own imperfections and failings. The mirror is ‘silver and exact’, it has ‘no preconceptions’. It is ‘not cruel, only truthful’. Perhaps Plath needed to use a strong physical object, ‘unmisted by love or dislike’ to confront these emotions on insecurity because her own inner psyche was much less stable. The mirror seems to also represent her inner voice, mocking her failings and inadequacies.

‘She rewards me with tears and an agitation of hands’

Unlike the mendacity of ‘candles or the moon’, the mirror ‘faithfully’ reflects Plath’s true nature, something which awakens great anguish in the poet. Plath’s insecurities go beyond the mere surface to the far ‘reaches’ of her soul, where she struggles with the realities of ageing and her identity as a poet.

The notion of inadequacy brings to mind the depiction of the mirror as something threatening and menacing; as something that swallows what it sees, as an exacting God, or as a lake with treacherous depths. These images, particularly the image of old age, which ‘rises’ towards Plath ‘day after day, like a terrible fish’, are intense and deeply personal, as they convey Plath’s struggle to accept her failings and to come to terms with aging.

The poem addresses the dangers of self examination, particularly the modern pre-occupation with image. What is most disturbing about this poem is the complete lack of hope or respite; the poet ‘comes and goes’, always returning to be disappointed and unfulfilled upon encountering her own true image. In some ways the mirror has become a voice of a society which values women only for their looks and youth, rather than for what they are capable of achieving.

Plath felt constantly under pressure to conform to the ideal of the 1950’s American young woman: to marry, have children and to be a successful mother and housewife. Yet she harboured the burning ambition to write. She worried that these two goals were incompatible: ‘Will I be a secretary – a self-rationalising housewife, secretly jealous of my husband’s ability to grow intellectually and professionally while I am impeded – while I submerge my embarrassing desires and aspirations, refuse to face myself, and go either mad or become neurotic?’

[mchllmrcstudy]

Impressionism : Notes

Impressionism: is the name given to a style of painting in France at the end of the 19th century. The Impressionists were not a formal artistic group as such, more a collective of artists seeking recognition for their innovative techniques and approach to using colour in art.

Aims of the Impressionists:

To use tones of colour to create the illusion of form and volume

To explore the effects of light on colour. They realised that the actual colour of an object is subject to the quality of light shining on it

To paint directly from nature to obtain the truest depiction and colours of a scene

To paint pure pigment colours directly onto the canvas, instead of painting over a worked drawing. This was done for two reasons, the first for practical purpose, as paint had to be applied quickly to capture the transient light and atmosphere. The second reason was because Impressionist artists felt that by placing contrasting colours directly beside each other instead of mixing them a greater intensity of colour was achieved

To use loose, thick brushstrokes when applying the paint onto the canvas. This was not only to save time capturing the image - artists also sought to create an impression, rather than an exact replica of the scene

Subject Matter:

One of the most popular themes for painting during the Impressionist era was that of recreation

Impressionist painters such as Renoir and Degas were interested in the here and now and the hustle and bustle of everyday life, wishing to capture fleeting moments of pleasure and enjoyment

Landscape continued to be one of the most common subject matters chosen by artists

Impressionist painters such as Monet explored the effects of light and atmosphere on the countryside, working en plein air to capture a moment in time.

Influences on the Impressionists:

Japanese Prints - Japanese art had a huge impact on French artists during the 19th Century

Realism - The Impressionist artists were heavily influenced by the Realist artists such as Millet and Courbet

Plein-Air Painting - The practice of plein-air painting was adopted by the Impressionists, as they valued the first-hand experience of the effects of life on a scene

Scientific Discoveries - Scientists discovered that light travels in straight lines and also that vision is caused by light rays hitting the eye. This discovery heightened the artists’ interest in the effects of light on colour

Photography - It was no longer necessary for art to imitate life precisely, as the camera could now record images with great clarity.

[mchllmrcstudy]

Emily Dickinson : Notes

These notes are on “I taste a liquor never brewed” that I studied by Emily Dickinson.They cover a summary of the poem using; theme, technique and tone.

Just click the read more to continue :-)

I taste a liquor never brewed

This poem is written in the common metre of hymns and flows along without any of the dramatic pauses or changes of tone evident in many of Dickinson’s other poems.

The poem was originally published anonymously under the title “The May Wine”. Two lines were altered in order to make them rhyme and another line was changed to make the meaning clearer. The central metaphor of intoxication is ironic. A further irony is that the poem was written in the common rhythm of hymns.

The central metaphor of the poem is one of intoxication brought on by a joyous appreciation of life. The poem describes the speaker’s sense of delight in the beauty of the world around her. Dickinson strikes an exaggerated, playful tone, established from the first line, “I taste a liquor never brewed”. The riddling quality of this line and the extravagance of the imagery capture the mood of dizzy happiness that infuses the poem. In the third stanza, the imagery of flowers as inns or taverns and bees as drunkards continues the vein of cartoon humour evident throughout the poem.

In the final stanza Dickinson does not present the world’s beauty as a sign of God’s creativity. The inhabitants of heaven are presented as faintly ridiculous, enclosed and, perhaps, envois of the freedom and of “the little Tippler”, whose pose, leaning against the sun, strikes a note of comic rebelliousness, applauded by the angels as they swing their hats to honour her.

This poem is a rarity in Dickinson’s work in that it celebrates the joy of excess, a reckless, indulgent joy captured in the word “Debauchee”.

[mchllmrcstudy]

Emily Dickinson : Notes

These notes are on “A narrow Fellow in the Grass” that I studied by Emily Dickinson.They cover a summary of the poem using; theme, technique and tone.

Just click the read more to continue :-)

A narrow Fellow in the Grass

Dickinson rarely strays from the four-line stanza of the ballad or the hymn. When she does, as in the third stanza of this poem, there is very little innovation in the stanza form. Her success as a poet comes in the dramatic use of the dash, and the change in tone she achieves through the sound of words and her startling imagery, as evident in the final line of the poem.

This was one of few poems published whilst Dickinson was alive. It was originally entitled “Snake”, though the word is never used in the poem. Interestingly, the poem is written in the persona of a male.

The opening two lines of the poem strike an off-hand note, as if the reader has joined a casual conversation. The word “Fellow” creates a sense of familiarity. By the fourth line, the tone has altered. The abruptness of line four: “His notice sudden is”, and the menacing ‘s’ sounds it contains, indicate an absence of fellow-feeling in the speaker for the snake.

The imagery in stanza two hints at the secrecy, danger and unpredictability of the snake. The word “shaft” suggests the danger and speed of an arrow-shaft.

The third, eight-line, central stanza returns to the casual-seeming air of the opening line and describes the favoured habitat of the snake. The poem changes direction in this stanza. There is a switch to the past tense as the speaker recalls a boyhood memory. The word “Barefoot” suggests the vulnerability and simplicity of the boy, who is no match for the crafty snake.

In the fourth stanza the speaker states that he knows “Several of Nature’s People” and they know him, and he professes for them “a transport / Of cordiality”. There is a whimsical air to this stanza. However, the snake stands apart from the “Several of Nature’s People” and the speaker’s attitude to the snake is caught in the celebrated final stanza.

The last line of the poem “And Zero at the Bone –“, catches the inner terror caused in the speaker by this animal.