I need an analysis on this introduction. Since the publication of the first novel of Stephenie Meyer's Twilight saga in 2005, millions of readers
all over the world, the majority of whom are teenage girls and women, have fallen for the love story of
Bella and Edward. Furthered by the release of the movie adaptations of the first three volumes in
2009 and 2010, critics have started to wonder about the foundation of Twilight-mania, especially
concerning the basic theme of the story, namely the vampire myth, which, throughout its literary
history, is rather a reflection of "adolescent male fantasy" (Twitchell, Living 6). Still, the indisputably
kitsny story of an inconspicuous teenager who falls in love with the vampire next door fascinates
today's emancipated and independent females and thus can be regarded as an essential part of the
success. It would seem that the attraction derives from Meyer's unique interweaving of different
generic elements, a strategy which can be found in other late 20th- and 21st-century popular
literature. Thus, for instance, the "Harry Potter books have been received with manic enthusiasm"
because they, too, "uniquely combine several kinds of appeal" (O'Keefe 176), such as the mixture of
public school story and fantasy. In the Twilight Saga, we find a similar amalgamation of various
different literary genres - fantasy fiction for young adults, vampire story, gothic romance, and
Arthurian legend. It is a medley, a generic crossing that is - not least due to its focus on an active
young heroine - bound to entice a primarily female readership.
Through an analysis of the figure of the vampire in literature as well as in folklore it will be observed
to what extent Edward differs from the folkloric blood-sucking revenant and also from the master of all
literary vampires, Dracula. Furthermore, it will be investigated how his knightly behaviour towards
Bella contributes to the impression of a romantic transformation of the gothic form. Special attention
will also be paid to the figure of Bella, who, on the one hand seems to be presented as the femme
fragile or damsel in distress concerning her physicality, but, on the other hand, represents a figure of
identification for female readers as the independent, strong-willed hero of young adult fiction. The
analysis seeks to prove that the combination of these various aspects of different genres and
traditions allows Meyer to create a new kind of vampire love story.

How do you think langley employees reconcile the difference between the work they do that is innovative and advances humankind with the work they do that destroys it?

Which phrase from the article suggests a tone that is formal but subjective? a- "thirty-six inches long and sixteen inches wide" b- "loads of fun with it" c- "most generous and attractive" d- "must be new subscribers" one of the most generous and attractive offers ever made to washington boys and girls is announced today by the washington times circulation department. for a limited time, national capital youngsters who show enterprise and energy will be given disc wheel coaster wagons in return for a few hours of their time. each boy or girl who sends in to the circulation manager, room 242, the names and addresses of ten friends or relatives who agree to take the washington times for six months, will receive one of these wagons, which can be made a source of profit as well as unending enjoyment for youngsters. the boys and girls are merely asked to obtain the signatures of ten friends or relatives. no money is to be collected and no work is required. the washington times is the most popular and constantly growing newspaper in the national capital and it is easy and simple to obtain the required ten signatures. as soon as the signatures are verified, the disc wheel coaster wagon will be delivered to the energetic boy or girl. the disc wheel coaster wagon is thirty-six inches long and sixteen inches wide. the coaster is built exactly like a high-powered automobile. the disc wheels have rubber tires and true roller bearings. it runs as smoothly as an eight-cylinder automobile. it is built of the strongest wood and is equipped with a reliable hand brake, enabling the owner to stop in an instant. the tongue—usually the first thing about a wagon to break and render the wagon unserviceable—is so stout that a man can jump on it without breaking it. it is built for real boys and active girls and they are bound to have loads of fun with it. besides using the wagon for pleasure and going visiting, boys and girls can use it to make money, running—or riding—errands, delivering packages, wheeling marketing home, etc. the disc wheel coaster wagon is so strongly built that it will withstand the roughest usage to which it may be subjected and will last for years. every boy and girl who wants one of the attractive and most desirable disc wheel coaster wagons should start today to sign up the necessary ten relatives or friends as home delivery subscribers for the washington times for six months. bear in mind that the ten persons whose signatures you obtain must be new subscribers—that is, they must be persons who are not having the washington times delivered at their homes at present. here’s hoping every boy and girl in washington gets a disc wheel coaster wagon before many days.

Read the excerpt from the land. in the late afternoon i did the same, but all the time i was on the stallion, i was aware that mitchell was watching me. he had appeared on the edge of the woods and had just stood there watching ghost wind and me as we went round and round the meadow. finally, on one of our turns past him, he said: "s'pose you thinkin' you a real somebody 'cause you can ride that stallion." i looked down at mitchell and stopped, knowing that despite our understanding, he was itching for a fight with me. now, i don't know what possessed me in that moment to say the next thing i did. maybe i was feeling guilty that because i was my daddy's son, i could ride ghost wind. maybe it was that, but it wasn't out of fear i said what i said. i no longer was afraid of mitchell. "you want to ride him? " i asked. mitchell took a step backward. it was obvious he hadn't expected me to say that. "you know i can't ride him," he said. "your white daddy'd kill me." "you want to ride him? " i asked again. mitchell looked at the stallion, then at me. "so, what if i do? " what intrinsic motivation does the author most likely intend the reader to infer from the passage? paul is motivated by his need to have mitchell praise his riding skills. mitchell is motivated by his need to have paul praise his riding skills. paul is motivated by jealousy and wishes he had free time like mitchell. mitchell is motivated by jealousy and wishes he could ride the horse.