What is the historical relationship between women and the military States? Consider reasons why women weren't allowed to

o between women and the military, at least in the United

er reasons why women weren't allowed to serve and/or the circumstances

which allowed them to contribute or fight in conflicts. Cite evidence from the

Dute or fight in conflicts. Cite evidence from this text, your own

experience, and other literature, art, or history in your answer.

Now long and short works of fiction have different characteristics beyond simply the length of the work. think of a short story that you like and a longer work (novel or novella) that you like. you can use the story and novella from this unit if no other works come to mind quickly. discuss the elements of each work that made it enjoyable to read. what relationship did the form of the work (short story, novella, or novel) have in making it an enjoyable read? what elements of fiction were strongest in the work, and how did they impact your enjoyment of the story? compare the two works you chose. how are they representative of short fiction versus longer forms of fiction?

Question from select the correct answer. what argument is susan b. anthony making in the passage? a. male citizens created the laws to secure the rights of men, so legal reform is required to secure women’s rights. b. women are often punished for committing criminal acts that are pardoned when committed by men. c. women are judged under laws supposedly written only for males, so they are entitled to the same rights as males. d. the court judge modified the original documents to arrest and try anthony unfairly. has anyone else got this?

Read the excerpt from act 1 of a doll's house. helmer: nora! [goes up to her and takes her playfully by the ear.] the same little featherhead! suppose, now, that i borrowed fifty pounds today, and you spent it all in the christmas week, and then on new year's eve a slate fell on my head and killed me, and— nora: [putting her hands over his mouth]. oh! don't say such horrid things. helmer: still, suppose that happened, —what then? nora: if that were to happen, i don't suppose i should care whether i owed money or not. helmer: yes, but what about the people who had lent it? nora: they? who would bother about them? i should not know who they were. helmer: that is like a woman! but seriously, nora, you know what i think about that. no debt, no borrowing. there can be no freedom or beauty about a home life that depends on borrowing and debt. we two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. nora: [moving towards the stove]. as you , torvald. how does the interaction between helmer and nora advance the plot? nora realizes that helmer will completely disapprove of her having borrowed money, so she has to continue to keep it a secret from him. nora realizes that she and helmer have the same ideas about financial issues, and the conversation brings them closer together later in the play. helmer realizes that nora is more responsible with money than he originally thought, and he trusts her more with finances later in the play. nora realizes that helmer knows a lot more about borrowing and lending, and she will seek his input later when she needs it.