was that she pulled no punches when she was criticising and commenting on my work. and, in fact, one moment in particular stands out where she looked at my supposedly female ferry pilot and she said, she s far too masculine to be a female ferry pilot. we were very glamorous during the war and i felt obliged to change the modelling on the face there and then to meet dame vera s high standards. as well as a statue of her likeness, there are to be vignettes to commemorate her life. there s a rather epic story to tell about her, and i think that the memorial for future generations would be appreciated even more if one could see some of the colour and some of the history behind her life. it s still a work in progress. the local council has bid for government funding to pay for it, but money is also being raised in a more suitably musical way. # thank you for your love and inspiration
and it obviously had ripple effects for lots of other people that came in their wake. it is a remarkable legacy. i want to talk about some of the criticisms, again, not to be too down as they say goodbye to our screens, in this form at least. they paid a lot of money we can be a little down on them. you re right. parents, lots of parents bringing up young girls over the last 1a years have been trying to tell their daughters life is about more than big bums and your make up and being sexualised. there s more to life than that. and it hasn t been helped by the show and this family promoting that and taking up so much cultural bandwidth. you know, the kardashians airs on a network called e! and on the us version of e! they ve been doing these flashbacks on a show i love called e! s daily pop, showing vignettes throughout the course of the season to prepare people for the final episode when i watch this i watch in amazement, because these women look so different from how they looked in the
the people in their wake. it is a remarkable legacy. they want to talk about some of the criticisms, again, not to be too down as they say goodbye to our screens, too down as they say goodbye to ourscreens, in too down as they say goodbye to our screens, in this form at least. our screens, in this form at least- - - least. they paid a lot of money least. they paid a lot of money we least. they paid a lot of money we can least. they paid a lot of money we can be - least. they paid a lot of money we can be down i least. they paid a lot of| money we can be down on least. they paid a lot of - money we can be down on them. parents, lots of parents bringing up young girls over the last 1a years have been trying to tell their daughters life is about more than big bombs and your make up and being sexualised. there is more to life than that. and it hasn t been helped by the show and this family promoting that and this family promoting that and taking up so much cultural bandwidth bums
and being sexualised. there s more to life than that. and it hasn t been helped by the show and this family promoting that and taking up so much cultural bandwidth. you know, the kardashians airs on a network called e! and on the us version of e! they ve been doing these flashbacks on a show i love called e! s daily pop, showing vignettes throughout the course of the season to prepare people for the final episode when i watch this i watch in amazement, because these women look so different from how they looked in the beginning seasons of this show. it s like when i was a child and my aunt was babysitting me and i would not soap operas with the and they would say the role of so and so will now be played by. i feel like the kardashians look now like they have been recast in their own reality show, with the exception of kourtney, who still looks the same. there should be great concern about young girls who were watching these women with these ever morphing images and this unnatural beau
Abstract
This article applies the framework of possible selves to the motivation and persistence behaviours of one group of university students. We draw on possible selves to consider how particular goal-focused actions and life experiences may significantly shape movements towards imagined futures. Utilising a narrative approach from longitudinal data, this article considers the ways in which possible selves were articulated by five first-in-family students, all of whom were mature-aged women returning to formal learning. A series of vignettes enabled us to explore how students themselves conceived of this movement into university, and how hoped-for selves were considered and enacted (or not). The ways in which societal expectations and expected life trajectories impact (re)conceptualisation of ‘selves’ are discussed, particularly when individuals choose an unexpected or non-normative life course.