Dancing With God Analysis Essay Example

Dancing With God Analysis Essay The speaker refers to the stranger as God, though it is evident that he is Just a man. This is because she thinks he influenced her life so dramatically that he could not possibly be a simple human, therefore he must be God. At first the surprise/ of being singled out, the dance floor crowded/ and me not looking my best,] a too-often worn dress/ and the man with me/ a budding casualty/ of one repetition too much,] God touched his shoulder/ and he left. When she first introduces him, it is unclear of why she is calling him God. However, out of all the people in the club, he chooses her to dance. Not used to this kind of attention, she is shocked. As the poem progresses it becomes apparent that the speaker calls this man God because he essentially performed a miracle. In her eyes, he Is her savior, making her aware of how unfilled her current life is. Although her interpretation of this man Is substantial, the feeling he gives her is Imperative. God makes the speaker feel things that she has never felt before, or emotions that she thought were long gone; leading her to realize all the things she has been missing out on. This Is evident when the speaker says, l never danced better, freer, / as If dancing were my way/ of saying how easily/ I could be with him, or apart. In this line she Is realizing how effortless It was for her to connect with another man that Is not her husband. She Is saying how easy Is It for her to be without him, proving how little she cares for him anymore. We will write a custom essay sample on Dancing With God Analysis specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Dancing With God Analysis specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Dancing With God Analysis specifically for you FOR ONLY $16.38 $13.9/page Hire Writer The speaker feels as If her husband could never make her feel alive the way God does. Then the confirmation of an old guess: God was a wild god/ Into the most mindless rock, but graceful. Looking -this excited me- Like no one I could love,] cruel mouth, eyes evocative/ of promises unwept. The speaker Is feeling such a rush by simply dancing with him. The speaker understands that God Is someone she would never be with; she determines this Just by his demeanor. He Is graceful yet wild, and that sense of mysteriousness Intrigues her. She may be wondering If she actually could be with someone Like him; but she will never know for sure. She even wonders whether her experience was part of something more significant, God held me close/ and I felt for a moment/ Id mistaken hell,/ that he was Death/ and this the famous embrace/ before the lights go out. She felt so close to god, that at one point she questioned whether she was near death. She was not sure If these were her final moments and her life was flashing before her eyes. The speakers encounter with God Is what ultimately leads to her moment of self-discovery. In these few short minutes, the speaker learns that this dance with a stranger has had a significant Impact on her life. And I stood looking at a figure/ I wanted to slap/ or forgive for something/ I interacting with the speaker. To him, she was Just another woman at the club. This is shown when the speaker says, He left then, no thanks,] no sign/ that hed felt anything/ more than an earthly moment/ with someone who couldve been/ anyone on earth. The speaker may be angry that this dance does not mean as much to him as it does to her. His actions have now transformed her outlook on life, helping her uncover things about herself she did not know she desired. Though it was clear/ there was no going back/ to the man who brought me,] nice man with whom Id kissed and grown tired,] who danced wrong,] and never again/ could do anything right. At this point, the speaker has had an epiphany. She realizes that she no longer wants to live a monotonous life with a man she no longer loves. That one trivial dance with God has made her realize that life has so much more to offer; somewhere out there is something that can make her feel like herself once more. She now knows that she is not the type of woman who is satisfied with living a comfortable and unfulfilled lifestyle. The speaker wants to achieve happiness and feel alive again. Many people think that discovering things about oneself involves big changes or meaningful experiences. When in fact, it can be revealed through the simplest of events. As illustrated in this poem, all it took was one dance for the speaker to realize who she was- or wasnt. Through these events, individuals are able to find their place in the world and strive for what ultimately makes them happy.

buy custom How Death and Dying Can Inform essay

buy custom How Death and Dying Can Inform essay Patients Should be Informed about Dying and Death It is important to inform patients about death and dying, although, there are a lot of controversial and long discussions about if the patients would be told the truth about their death and dying. This issue rarely rises when the dying person is taken care of by the family physician (Behar, 1990). One of the most vital facts is that dying today is more dreadful, friendless, mechanical and dehumanized, and at times it is even hard to establish, technically when the moment of death occurs. Patients should be informed about death and dying because it becomes impersonal and lonely when human is taken out of the familiar environment, and is rushed to the emergency ward (Behar, 1990). When a patient is dying, the next of kin informed as a matter of routine. Firstly, patients should be informed about dying, so as to allow them to know the truth (Moorey, 1995). Moorey (1995) indicated that while healthcare workers may be better informed than a patient, concerning the best way to treat an illness, it does not follow the fact that the professional knows in all respects what is best for the patient (p. 97). Research shows that a majority of doctors (80% of those questioned) felt it unhelpful to let someone know they are dying (Moorey, 1995). Studies also indicate that between 50% and 80% of patients want to know the truth about their condition. Relatives, on the other hand, are also reluctant to allow a loved one to be told he is dying. Secondly, it is common that when a dying patient knows the truth, he or she may conspire with the deception and evasion of staff and next of kin, because he or she does not want to bring a commotion or distress people. Many researchers in the field have indicated that the dying patients should be informed, because they worry other people, and they will see them as being a major reason for going along with a deceit tha they will recover, be able to go back home, and make plans for the future (Moorey, 1995). From the above argument, it is more to do with guarding the feelings of professionals than with the care of the dying. Thirdly, maintaining pretence and keeping away from the truth takes away the chance for sharing and experiencing some sort of consummation. This implies that the concern of bringing the truth out into the open risks will make the patient and relatives be overwhelmed by their feelings (Moorey, 1995). The risk of informing patients that they are dying should be set against the benefits of open communication between the dying patients and those family members close to them. Moorey (1995) established that in a family, where feelings have not been expressed freely, the opportunity to say goodbye in a meaningful way may be considerably less stressful than keeping the pretence for both the patients and the family members (p. 98). Though it may seem cold or even melancholic to do so; it is also a chance to examine issues that the dying person will leave behind. In addition, informing patients about death enables them to discuss the useful issues of setting matters in order, finances and insurance, making a will, funeral arrangements and other matters. This is extremely helpful for both the patient and the relatives. Moorey (1995) mentioned that such practical issues can cause immense stress to mourners when there is a conflict, and can be easier resolved, if there is an opportunity to discuss them with the dying person (p. 98). Dialogue between the dying person and those close to him can be priceless in preventing complications after the death has occurred (Moorey, 1995). Several conditions encourage disclosure, regardless of the individual patients capacity to withstand it (Glaser Strauss, 2005). It is important to tell the patients that they are dying to avoid losing the patients self-belief, if he should find out through cues or accidentally. Glaser Strauss (2005) indicated that informing patients about death justifies thorough treatment and a clinical research offer, and therefore it reduces the doctors needs to keep up a positive, but false front. Patients should be informed about death and dying, so that they can put their affairs in order and plan for their familys future, or reduce their pace of living (Glaser Strauss, 2005). According to Bryant (2003), there are more legal reasons for telling patients the truth than for keeping it from them. Therefore, physicians are inclined towards more openness in communicating with the terminally ill, and their families about the dying patients condition. It offers the patients an opportunity to grieve the loss of their own lives (Seale, 1998). The suggestions of revealing to patients that they are dying are profound, because it enables other people to see that dying people in late modernity are being offered the opportunity to preside over their own funerals. Patients who go into the position of aware of dying are able to write their own obituaries and take part in the mortuary rites that in ethnic and customary cultures help familiarize survivors towards life. Seale (1998) indicated that people in general find the practice of informing patients that they are dying shocking and pointless, representing an abandonment of medical responsibility and a withdrawal of the protective cocoon of health care(p. 121). Through informing patient about death and dying, they can focus their concern on enacting individual journeys of internal exploration. At the same time, they are offered the chance of writing themselves into a revitalization cultural script (Seale, 1998). This in turn enables such patients to take part in the creation of the caring team as joint explorations, mirroring aspirations for membership in an extensive compassionate community, in which the common link is kept intact. Buy custom How Death and Dying Can Inform essay

Aircraft maintenance eng - Aircraft Maintenance procedures -scenario Research Paper

Aircraft maintenance eng - Aircraft Maintenance procedures -scenario for systems integration - Research Paper Example rding the aircraft’s system failures, system integration, Crew Resource Management, and tech recorders among others were evaluated, and the following information regarding the situation were summarized. The aircraft (Airbus A380) departed Changi International Airport for Sidney, Australia on November 4th, 2013 at 01:57 hours UTC. This aircraft (Airbus A380 whose registration number is VH-OQA) carried a total of 469 passengers (that is, 440 passengers and 29 members of crew) (ATSB 2010). During that day of flight, the weather was favorable, and was described by the metrological department of Changi International Airport as a clear and sunny Singapore day. After an approximate of 6 minutes after the takeoff of the plane (that is, at 02:02 hours UTC), and as the aircraft was climbing 7000 feet over Bantam Island in Indonesia, it was reported that the crew members hard a number of loud banging sounds (ATSB, 2010). These banging sounds were followed by ECAM (Electronic Centralized Aircraft Monitor) messages. These alerts were more than 50 in number and indicated that the aircraft’s Number 2 engine experienced a catastrophic failure. Immediately, the crew members initiated holding pattern then started to diagnose the problem. After approximately 50 minutes (that is at 14:52 UTC) the crew members made a decision to return to Changi International Airport in Singapore and attempt to land (ATSB 2010). At 16:32 hours UTC, the crew members managed to land the aircraft successfully with only one engine operating fully, with a maximum landing weight (MLW) of more than 50000 pounds, and in absence of the aircraft’s anti-lock brakes. In addition, the aircraft was stopped at distance of approximately 450 feet from the run way end (ATSB 2010). The disintegration of engine number 2, as indicated by investigations, produced a number of debris that struck (hit) the aircraft’s fuselage. Pieces of IP (Intermediate Pressure) turbine disc penetrated the aircraft’s left wing

Tax Researh memo (Corporate Formation and Basis Calculation) Research Paper

Tax Researh memo (Corporate Formation and Basis Calculation) - Research Paper Example Fred Horn decides to contribute equipment that has a basis of $100,000 and an FMV of $80,000. Sam Yang will provide his legal services to Acme, Inc., which has an FMV of $20,000, and Wade Kent will use his know-how to develop software that will mass-produce the road runner trap. This software development is worth $75,000 and in addition, Wade Kent will contribute cash worth $100,000. The four shareholders will receive a share of stock as follows: Barry – 140, Fred –150, Sam – 40, and Wade – 350. Each share costs $500. Issue: It was the decision of the four shareholders to come together to form Acme, Inc. However, since each has a personal contribution to the formation of Acme, Inc., there are tax implications involved. Therefore, the issue is that the four shareholders would like to know what tax implications of the formation of Acme, Inc. are to them considering the analysis of their realized and recognized gains/losses. Another issue is the tax implicati on of the transaction to Acme, Inc., including the basis of the assets the shareholders will include in their books. Authorities: District of Columbia v. Universal Computers Assocs. Code Section 351 Code Section 83 Conclusion: Software is classified as a property. However, the classification of software as a property should specify that software is an intangible property. Know-how being non-discardable is also classified as a property, and more specifically as an intangible property for that matter. Any gain or loss recognized by any shareholder will be guided by the satisfaction of the conditions of the Code Section 351. Wade will not have any loss or gain recognized since there is a transfer of property. A cash or property contribution in return for long-term debt, such as bond, does not qualify for Section 351 treatment. Therefore, Wade’s cash contribution is not considered under the Code Section 351 as he receives 175,000 of stock in return. Analysis: Barry will contribut e a land and a building in return of stock shares. The land has a basis of $60,000 and an FMV of $80,000. Acme, Inc. will also assume a mortgage of $90,000 on the land. The amount realized will include $170,000 from the stock shares ($500 per stock share x 340 stock shares). Therefore, Barry will realize a gain of $20,000 of cash, $170,000 from stock and the $90,000 mortgage. The asset-by-asset analysis would be: the total amount of the FMV of the assets transferred would be $200,000 + 80,000 + 90,000, which gives $370,000. From this, the land portion is $200,000 and the building portion is $170,000, which translates to 54% for the land and 46% for the building out of 100% that represents $370,000 (total amount of the assets transferred by Barry). When portioned according to the percentages, the total FMV of the stock received would be $170,000 (Building of $91,800 + Land of $78,200). The total cash realized would be $20,000, which would come from both the building and the land, wit h the building contributing $10,800 and the land contributing $9,200. He would recognize a total of $10,800 from the land and $92,000 from the building. Therefore, his would recognize a total of $102,800 from his transfers. He would, however, receive a basis of $60,000 in stock (60,000 + 90,000 – 20,000 + 20,000 – 90,000 = 60,000). He will also have gains realized as follows: from the

Impact of Technology on Consciousness Essay Example | Topics and Well Written Essays - 2000 words

Impact of Technology on Consciousness - Essay Example The cognitive theory, therefore, defines brain and the mind as two independent entities that work in tandem to produce actions and reactions of man, to an event. The need to know the working of mind becomes all the more important because of the fact that all our intentional and non intentional decisions and emotive expressions have a definite voluntary and involuntary actions associated with them. Hence our state of mental causation results in some form of physical actions. In other words, our beliefs and desires are linked with some definite actions that are designed to rearrange the physical aspects of our surrounding through the movements of our body parts which is caused by the directives of the mind. Hence, the concept of mental causation becomes relevant because of the sheer physicalitism of the world, surrounding us. â€Å"Physicalists, according to Jones, means people who believe that â€Å"this world of ours is only physical† (Jones, 2006). Since technology has become embedded into our system of ‘physicality’, the impact of technology on our consciousness can be explained through the impact of communication, inf ormation or other technology on our consciousness. Descartes treated body and mind of a man separately. He believed that body is inanimate object that acts only at the behest of the mind. It is also known as Cartesian dualism. He says that one cannot find out the nature of physical things without the participation of ‘intelligence’ which instead of ‘seeing’ judges them do be so. The mind therefore understands and recognizes other objects like technology because of its inherent ability to represent complex structures rather than relying on sensation and imagination (Descartes, 1901). The theory of dualism, though controversial at that time, was much appreciated and even corroborated by the later philosophers. Kim, through his theory of causal closure and overdetermination, has tried to correlate mind and body. The

Gender Relationships in Shakespeares Plays

Gender Relationships in Shakespeares Plays The subject of gender relationships within the work of Shakespeare became a matter of lively debate during the last quarter of the twentieth century and continues to be an area that attracts much scholarship and controversy. Perceptions that early modern society was antithetical to any exercise of power by women must be counterbalanced by the knowledge that, until 1603, a woman, Queen Elizabeth, held the ultimate power in England. Recent research has increasingly revealed that across this society a significant number of women held economic and social power and so the idea that Shakespeare reflects a society in which women area powerless and oppressed group is one which must be treated with somecaution. Shakespeares work presents a wide variety of female characters and the ways in which they have been perceived has altered over the four hundred years since the plays and poems were written. Play scripts areparticularly susceptible to re-interpretation and in many ways such interpretations reflect as much about their own historical period asabout the one in which the plays were originally written. Each age finds its own relationship with Shakespeare and so it could be arguedthat the question of whether Shakespeares women are regarded as strongor weak is inevitably influenced as much by the gender issues of the present time as by the time in which they were originally created. It is important not to assume that we can read Shakespeares women characters as examples of how women were treated in the period in which the work was written (Barker Kamps, 1995, 5), but rather to use the information that we have about the early modern period in order to see the characterisation of fictional ch aracters as they relate to the constraints which operated on real women of the period.It is also necessary to be aware that, with any dramatic texts, the interventions of actors, directors and current audience expectationscan radically alter the ways in which fictional characters are judged. It is the intention of this dissertation to give a brief introduction to the conventional views of women during the early modern period. Some scholars, such as Lisa Jardine (1989), Jean E. Howard (1988) and Juliet Dusinberre (1996), have argued that the way in which Shakespeare created women characters was in part determined by the fact that they were represented by boy players on the stage. However, it is hoped that by including a discussion of the narrative poem, The Rape of Lucrece, which was not intended for stage production, this dissertation will emphasise a continuity among Shakespeares female characters that goes beyond the necessities of the stage. The discussion will also focus on three of Shakespeares great tragedies, written during at the peak of his career, when his work had become popular amongst a large audience. The popularity of Hamlet, King Lear and Macbeth has enduredover four centuries and these plays continue to reach wide audiencesand have a significant influenc e on current views of Shakespeares women. In early modern England, notions about female gender roles tended to be constructed by two forms of discourse: the theological and themedical. Theological sermons and pamphlets emphasised the biblicalinjunctions that women should be silent and obedient and that they were subject to the authority of their husbands. Callaghan (1989, 9) arguesthat Renaissance society was profoundly hierarchical and that the chain of authority extended from God, via the monarch, to men and women who were expected to conduct their household relationships inconformity with the idea that women were subject the authority of their fathers and husbands. Belsey (1985, 9) emphasises that men and women are not symmetrically defined. Man, the centre and hero of liberal humanism, was produced in contradistinction to the objects of his knowledge, and in terms of the relations of power in the economy and the state. Woman was produced in contradistinction to man,and in terms of the relations of power in the family. These relationships were worked out in the public and private spheres in the requirement that, in terms of the economy and the state,women should be voiceless, and within the family they should be subjec tto their husbands, fathers and other male relatives. Thus, Newman (1991, 134) argues: Talk in women then is dangerous because it is perceived as ausurpation of multiple forms of authority, a threat to order and malesovereignty, to masculine control of commodity exchange, to a desiredhegemonic male sexuality. The extent of this perceived threat may begauged by the strict delegation of the talking woman to the carefullydefined and delimited spheres of private and domestic life in which thehusband was exhorted to rule. In early modern medical texts, the classical theories of Galen andAristotle, in which the female was regarded as in imperfect version of the male, predominated. Aughterson, (1995, 42) argues that the Galenictheories of the humours †¦ effectively continued to assign woman aninferior physiological state to that of man. Howard (2003, 419)observes that men and women were not assumed to be innately different,but rather were viewed as more perfect and less perfect versions of thesame prototype. From these constructions of physiological theory camethe idea that male and female were so intimately related that they werepotentially capable of transmutation: Stories exist from the early modern period recording cases in which,when women supposedly became overheated in running or jumping, malegenitalia would erupt from inside their bodies. (Howard, 2003, 419). That Shakespeare was aware of these ideas and utilised them in hischaracterisations of men and women is demonstrated when Hamlet isconcerned about his feminisation (Rose, 1995, 116), and when LadyMacbeth refutes her femininity: Come, you Spirits / That tend onmortal thoughts, unsex me here (Macbeth I.v.40-41). The term weaker vessel originates from the Bible and can beeffectively seen to straddle both theological and the physiologicaltheories about the relationships between women and men, as isillustrated from the following extract from a homily, dated 1562,designed to be the required reading at marriage ceremonies: St Peter giveth his precept saying: you husbands deal with yourwives according to knowledge, giving honour to the wife as unto theweaker vessel, and as unto them that are heirs also of the grace oflife, that your prayers be not hindered [1 Peter 3). †¦ For the womanis a weak creature, not endued with like strength and constancy ofmind, therefore they be the sooner disquieted, and they be the moreprone to all weak affections and dispositions of the mind, more thanmen be, and lighter they be, and more vain in their fancies andopinions. (An Homily of the State of Matrimony, 1562, from Aughterson, 1995, 23.) This essentially conservative and restrictive view of women was held,in spite of, or perhaps because of the upheaval and unrest of Englandat that time. Early modern England was a society in transition and thedisquiet that came with modernisation often led to reactive measuresdesigned to uphold the status quo. The sumptuary laws, in which modesof dress were prescribed in order to maintain class differences, can beread as an attempt to rein back an increasing level of socialmobility. Similarly, the discourse of gender difference has beeninterpreted as an essentially conservative reaction to social change: Time and again in these plays, we see crucial social problemspresented in relation to a central conflict involving genderopposition. Furthermore, since that opposition entails a fundamentalhierarchy (male superiority and female subordination), its function, interms of the dominant ideology is to reinforce the status quo. Yetthis function is problematic. Female inferiority was not an undebatedcultural given. It was fiercely contested†¦Callaghan (1989, p.11): Recent research supports this argument. The discourse of malesuperiority and female subordination must be seen in a historicalcontext in which a significant number of women had influence in thewider society. There were many wealthy women who wielded greateconomic power; some women participated in the workplace through guildmembership; a significant number of households were headed by women;and a number of women in various part of the country also participatedin parliamentary elections (Rackin, 19-20). It is necessary,therefore, to balance this kind of historical evidence against therhetorical evidence that we find in contemporary texts. The attempt toprescribe and define female roles and responsibilities reflects ananxious reaction to social change, an attempt to arrest progress andestablish a conservative status quo. These anxieties and the contestedground concerning the acceptable role of women in early modern societyinevitably affects the presentation of women in the plays and poe try ofthe period. In reading Shakespeares texts, it is possible to discoveraspects of the discourse of patriarchal authority as well as evidenceof womens power as agents in their own destinies. Whilst the notionof woman as the weaker vessel often informs the construction ofcharacter in Shakespeares work, I intend to argue that a closeexamination reveals that, in spite of the social restraints placed uponthem, these women often reveal a strength that goes beyond anythingthat may be expected. 2 The Rape of Lucrece Shakespeares narrative poem, The Rape of Lucrece, is based onclassical sources in Livy and Ovid and so there are some necessaryconstraints upon the actual plot of the poem. For example, Lucrecessuicide derives from the source materials and, in the context of LivysThe History of Rome from Its Foundation, this event is instrumental inending the reign of kings and instituting the Roman Republic. It isnecessary, therefore, to understand that the classical story primarilyexemplifies the abuse of tyrannical rulers and has a deeply politicalsignificance. While St Augustine later argued that the suicide ofLucrece was, from a Christian theological standpoint, culpable,nonetheless in the classical world Lucreces death was celebrated asboth tragic and heroic (Hendricks, 2000). We must, therefore,distinguish between the story that Shakespeare inherited and what hehas done with it as a narrative: to discuss Lucreces suicide as thoughit were an optional plot device is to misunderstand the nature o f thesource material. It is a given that Lucrece will commit suicide, butthe way in which Shakespeare has constructed the narrative and the waythat he has characterised the participants in this story carries aweight of significance. The poem concentrates not so much on theexternal events of the story, but on the internal experience of thecharacters or, as Maus (1986, 67) comments, the poem concentrates notupon action but upon what happens in the interstices between theâ€Å"important† moments when two people [make] important decisions. There are two significant tropes within this poem that are crucial tothe portrayal of Lucreces character and are pertinent to the questionof her strength. One of these tropes has been discussed by CoppeliaKahn (1995, 42) where she argues that Shakespeare clearly blames menfor exercising several kinds of unfair advantages over women and thathe leans heavily on the traditional conception of womans physical,moral and intellectual inferiority to ma n. She is referring to thepassage in which men are compared with marble and women with wax: For men have marble, women waxen minds, And therefore are they formed as marble will. The weak oppressed, thimpression of strange kinds Is formed in them by force, by fraud, or skill. Then call them not the authors of their ill, No more than wax shall be accounted evil Wherein is stamped the semblance of a devil. (1240-1246) Kahn (1995, 23) argues that Lucrece is the victim of a patriarchalsystem and that Shakespeare uses the patriarchy of the classical worldto mirror his contemporary society. The trope of the marble and thewax therefore emphasises the pliability of women and their inability tohave any control over their destiny in a patriarchal society that soseverely restricts their power to act, or even to take moralresponsibility for themselves. In Kahns reading, Lucrece does,indeed, seem to have taken a waxlike impression of societys valueswith respect to her status as her husbands possession and the way inwhich she sees herself as a de-valued object when she is tainted orstained by rape. However, the poem also proposes an alternativetrope that seems crucial to an understanding of the nature of women.At the pivotal moment when Tarquin has entered Lucreces bedroom anddisclosed his intention to rape her, Shakespeare introduces a picturethat may call into question the comparable strengths of men and wo men:that of the marble and the water. Until this moment, the poem is constructed to show the readerTarquins point of view. One stanza particularly creates a directidentification between the reader and Tarquin: So that in ventring ill we leave to be The things we are for that which we expect; And this ambitious foul infirmity, In having much, torments us with defect Of that we have: so we do neglect The thing we have; and all, for want of wit, Make something nothing by augmenting it. (148-154) By using we †¦ we †¦ we †¦ us †¦ we †¦we †¦ we, Shakespeare removes thespace between Tarquin and the reader, implicating the reader in thekind of rash risk-taking action where Tarquin is shown pawning hishonour to obtain his lust (156). Similarly, in Tarquins inner debateregarding whether he should carry out his intention to rape Lucrece(181-301) and in his reaction when he sees her asleep (365-441), thereader has full access to his thoughts and emotions, while Lucrece ispresented as an object whose external attributes are described inextensive detail yet to whose inner experience there is no access.The blazon description of Lucrece as she sleeps does indeed bear outNancy Vickerss (1985, 96) assertion that the canonical legacy ofdescription in praise of beauty is, after all, a legacy shapedpredominantly by male imagination for the male imagination; it is, inlarge part, the product of men talking to men about women. The firstthird of the poem does, indeed , present Lucrece as a silent presence, athing talked about, but apparently without a voice of her own. Yet the crucial turning point of the poem occurs when she is awoken byTarquin. This act of awakening coincides with the sudden access thatis given to the reader to Lucreces inner experience and her voice inthe poem. Until this point, the poem attributes some reported speechto her, but the first time when her words are recorded as direct speechoccurs in the stanza which begins Quoth she†¦ (575). From this pointonward, the narrative becomes intensely concerned with Lucreces innerexperience, in her perception of the harm done to herself and herhusband as well as in her decision to commit suicide. Hercontemplation of a painting of the siege of Troy similarly enables thereader to identify with her as a person who is imaginatively engagedwith a work of art and as a person who is able to argue about moral andphilosophical issues in her own mind. It is at this point of apparent trans formation in the readersperception of Lucrece when Shakespeare introduces his second tropewhich, I believe, is crucial to the portrayal of Lucrece, when thepoems narrator comments: Tears harden lust, though marble wear withraining (560). Although this is ostensibly a comment on Lucrecesinability to deflect Tarquin from his course by her tears and pleas, itsimultaneously proposes that even the hardness and permanence of marblecan be worn down by something as seemingly soft as water. The Galenichumoural system opposed the wet, female humour with the dry, malehumour and so this picture of water that eventually erodes marble canbe seen not just as an inversion of the hard = strong / soft = weakequation, but also as a specific reference to the wet and dry humoursof men and women. When viewed in the long term, water is stronger thanmarble and this image is re-iterated, when Lucrece herself takes up theimage: For stones dissolved to water do convert (592). AlthoughLucreces pleas for mercy are ineffective in this moment, her wordsnevertheless alert the reader to the relative strengths of stone andwater in the longer term and later her realisation that Time can wastehuge stones with little water drops (959) leads her to curse Tarquin: Disturb his hours of rest with restless trances; Afflict him in his bed with bedrid groans; Let there bechance him pitiful mischances To make him moan, but pity not his moans. Stone him with hardned hearts harder than stones, And let mild women to him lose their mildness, Wilder to him than tigers in their wildness. (967-973) . Atthis point, then, Lucreces line of thought has linked the image ofhearts harder than stones with the reversal of mild women who are nolonger helpless prey, but instead predatory tigers. In the early partof the poem, Lucrece is persistently depicted as a passive victim andthis is emphasised by twin images of predator and prey, such as thenight owl and the dove (360), a serpent and a sleeping woman (362-3), afalcon and a fowl (506-7), a cockatrice and a hind (540-3), a cat and amouse (554-5), a wolf and a lamb (679). Although Lucrece is physicallyunable to protect herself from Tarquin, after he leaves, this imageryis no longer used and Lucrece gains an active voice and a moralpresence that eventually lead her to the act of suicide. Henricks(2000, 115), comments that Shakespeare gives Lucrece a psychologicalcomplexity, interiority and self-awareness. The presentation of Lucreces moral complexity seems to be at oddswith the men in the narrative. Her husband is depicted as a man who isat fault from his initial boasting of his wife as a materialpossession, thereby exposing her to thieves (29-35), and he is laterdescribed as the hopeless merchant of this loss (1659). His finalignominy is the ridiculous squabble with Lucretius over ownership: The one doth call her his, the other his; Yet neither may possess the claim they lay. The father says, Shes mine. O mine she is, Replies her husband: do not take away My sorrows interest; let no mourner say He weeps for her, for she was only mine, And only must be wailed by Collatine. (1793-1799) Brutus takes the knife from Lucreces side and burying in Lucrecewound his follys show (1810), he begins to admonish Collatine andLucretius. In this way, her death is presented as having a redemptivesignificance, not only for Brutus, but also for Rome itself. Although,within the Christian theological tradition, suicide is condemned,nonetheless Shakespeare deliberately chose as his theme a story inwhich a suicide has a positive political effect and is placed within aheroic tradition. The Rape of Lucrece depicts a woman in her most vulnerable moment whois unable to resist her enemy. Yet it could be argued that she trulyfinds a way of fulfilling her assertion that I am the mistress of myfate (1069). Lucrece, though she is entirely situated within apatriarchal discourse that constructs her as her husbands possession,is neither silent nor weak. Finally, like water on marble, she has asubtle strength. 3. Hamlet In the play, Hamlet, Shakespeare presents the audience with two femalecharacters who are quite unlike Lucrece. It has been noted thatLucrece undergoes a transition from her initial silence and is given avoice and an interior life that dominates more than half of the poem.Yet Gertrude and Ophelia, in contrast, are chiefly characterised byhaving very little to say. Showalter (1985, 78) says of Ophelia: She appears in only five of the plays twenty scenes; the pre-playcourse of her love story with Hamlet is known only by a few ambiguousflashbacks. Her tragedy is subordinated in the play; unlike Hamlet,she does not struggle with moral choices or alternatives. Lisa Jardine (1995, 316) makes a similar point about Gertrude, thatshe speaks fewer lines than any other major character in the play.It is therefore incumbent upon the audience or reader to fill in thegaps for these characters, who say so little for themselves. It may beargued that both Gertrude and Ophelia are presented as conforming to anearly modern stereotype of correct feminine behaviour and that theirpresence within a patriarchal society has had the effect of deprivingthem of the opportunity for either action or speech. It seems that Ophelia is the character who most epitomises theposition of a woman who is controlled by the patriarchal structuresaround her. She is presented as a woman of virtue who is obedient toher father and brother. Her reticence in the first scene in which shespeaks is effectively demonstrated by an extreme economy of words.When Laertes departs for France, her speeches are limited to halflines, single lines and pairs of lines as she receives instructionsf rom Polonius and Laertes regarding her behaviour. Although PhyllisRackin (2000, 22) has recently questioned the scholarly consensus thatrespectable women were expected to stay at home, that they wereeconomically dependent on fathers and husbands, and that they weresubjected to constant surveillance by jealous men, obsessively anxiousabout their sexual fidelity, it is nonetheless true that both fatherand brother are preoccupied by the risk of Ophelia losing her virginityand thus ruining herself and bringing dishonour to her male relatives.Ophelia has only one speech of longer than two lines in which toexpress her reaction to these instructions, but her initial obedienceturns into a comment upon male hypocrisy: I shall theffect of this good lesson keep As watchman to my heart. But good my brother, Do not as some ungracious pastors do, Show me the steep and thorny way to heaven, Whiles like a puffd and reckless libertine Himself the primrose path of dalliance treads, And recks not his own rede. (I.iii.45-51) Poloniuss subsequent conversation with Ophelia confirms this view,but he is plain about her responsibilities to him and unapologeticabout the double standards that operate in this society. He begins byreferring to the need for Ophelia to protect her own honour (I.iii.97),but he then moves on to his real concern: Tender yourself more dearly/ Or †¦ youll tender me a fool (I.iii107-109). Shortly afterwards hestates: For the Lord Hamlet, Believe so much in him that he is young, And with a larger tether may he walk Than may be given you. (I.iii.122-126) Ophelia has the last line in this scene and it is at least outwardly- an expression of compliance: I shall obey, my lord (I.iii.136).However, her conversation with Polonius makes it clear that she hasbeen conducting a relationship with Hamlet for which she had not soughther fathers prior permission. This is perhaps an example of thecomplexities of courtship and marriage that existed in early modernEngland. On one hand, there is evidence that arranged marriage wasprobably still the norm in practice, even though marrying for lovebecomes the ideal on stage (Belsey, 2002, 129); but on the other handthere is also evidence that a more uncertain situation existed wherepreliminary decisions were made by the young people; the parents wereusually brought into the discussion only later'(Amussen, 1999, 94) .Ophelias behaviour suggests that the latter was a more accuratedescription of her situation. Ophelias ability to express herself continues to be severelyrestricted throughout the scene in w hich she is confronted by Hamlet(III.i) and in the Mouse Trap scene (III.ii). However, she doeseventually find a voice, and it is through her madness that she isfinally able to confront the ultimate embodiment of male authority: theking. Ophelias use of folk songs as a way of expressing a sexualisedsensibility is in stark contrast to the verbal control of her earlierscenes, yet the meaning of her words carries the same message, asHattaway (2002, 114) comments: what is significant is its exposure ofthe double standard: a man gains honour among his own sex by virtue ofsexual conquests, while by the same activity a woman loses hers. Thiscontradiction can be seen as central to the character of Ophelia and itultimately destroys her. Showalter (1985, 91) comments that somefeminists have regarded Ophelias madness as a form of protest andrebellion. For many feminist theorists, she states, the madwomanis a heroine, a powerful figure who rebels against the family and thesocial order. It is al so possible, however, to argue that Opheliascryptic comments on her plight are contained by her madness and thatany attempt to operate outside of the strictures of patriarchy isforeclosed by her death. Ophelias madness has proved to be apowerful symbol of female insanity over the last four centuries: wecould provide a manual of female insanity by chronicling illustrationsof Ophelia; this is so because the illustrations of Ophelia have playeda major role in the theoretical construction of female insanity'(Showalter, 1985, 80). With the benefit of four hundred years ofhindsight, therefore, Ophelias madness has attained a symbolicsignificance which is a contested site of meaning. Gertrudes part in the play has also provoked a great deal of commentand controversy. Jardine (1995, 316) comments upon the phenomenon ofblame that has become attached to Gertrude. Hamlets apparentobsession with her behaviour has been the subject of muchpsychoanalytical interpretation. However, the recent empha sis onviewing early modern literature within a historicist framework haspresented an alternative to the essentially anachronistic process ofapplying a nineteenth century theoretical framework to a seventeenthcentury play. With a greater historical awareness, it is possible toview Hamlets concerns in a different way: the anxiety about hismothers behaviour that preoccupies him and distracts him from hisostensible duty to avenge the death of his father can be explained byhis mothers apparently unfeminine and inappropriate sexuality.Hamlet describes Gertrudes relationship with Claudius as hot, lustfuland bestial: Nay, but to live In the rank sweat of an enseamed bed, Stewd in corruption, honeying and making love Over the nasty sty! (III.iv.91-94) Disgusted by the physical evidence Gertrudes sexuality, Hamlet hasthree issues with his mothers behaviour: he has identified that she ishot (a sign of masculinity in Galens humoural system), he is concernedat the speed with which she has transferred her affiliation from oldHamlet to Claudius (thus refuting the requirement that women should beconstant); and she also seems to behave with too much liberty. As isclear from Poloniuss rebuke to Ophelia, men could be permitted agreater freedom, but a womans freedom to act was severelycircumscribed. Gertrudes lack of restraint is seen by Hamlet asdangerous, both socially and politically. Hamlet is therefore dismayedby the fact that his mother is behaving in such a way as to go beyondthe conventional requirements of feminine behaviour and that she is, inhis eyes, encroaching onto male territory. Though it is true thatGertrude does not have many lines, her role is crucial to Hamletsstate of mind and to his ability to act in a way that he perce ives asmanly. In marrying Claudius, Gertrude has also retained politicalpower as queen and this has almost certainly had the effect of barringHamlet from inheriting the throne from his dead father. It can beargued, then, that in her relationship with Hamlet she has a level ofpersonal and political power that is the cause of his inability to takethe action that feels is necessary to avenge the death of his father. Gertrude and Ophelia, though they have relatively few lines, both havepivotal roles to play in Hamlet. Their influence over the outcome ofthe play is far in excess of the number of lines spoken by them. Bothof them are seen to go beyond what was the conventionally idealisedfeminine roles ascribed to them by early modern society. That theirbehaviour causes anxiety in the male characters in the play is clear:Laertes, Polonius, Claudius and Hamlet are all preoccupied by theirbehaviour, yet are unable to exert the necessary control thatpatriarchal power structures require of th em. Although the socialnorms of patriarchy are clearly inscribed into this play, the womencharacters display a level of non-conformity that enables them tosubvert the power structures that seek to restrain them. Shakespearehas inscribed into this play a complexity of characterisation in bothGertrude and Ophelia that denies the simplistic category of femaleweakness into which their society might have tried to fit them. 4. King Lear Ann Thompson (1991, 125) has commented on the difficulties thatthis play creates in that too much critical attention has turned KingLear into a play exclusively or primarily about male power, butKathleen McLuskie (1985, 103) argues that the text containspossibilities for subverting these meanings and the potential forreconstructing them in feminist terms. In the opening scene of theplay, we are presented with what McLuskie refers to as a love test,based on the structure of a folk tale. The King creates a situationwhereby the fate of his kingdom and his daughters depends upon theirverbal declarations of love. However, if the ideal type of womanhood,as defined in early modern society, lies in its silence and modestrestraint, is could be argued that Lear is tempting his daughters intoerror by requiring such public verbal displays. He exposes hisdaughters to the unseemliness of a living woman conveying her feelingsin a public format (Barker Kamps, 1995, 4). Shakespeare is thusproblemati sing Lears behaviour from the outset: he embarks upon acourse that demands that his daughters prove their love by floutingpatriarchal conventions. The women are thus trapped: whatever they sayor do not say, they run the risk of disobedience, either to theirfather or to the wider requirements of proper feminine behaviour. In Lears three daughters and their responses to this situation, weare presented with alternative types of female behaviour and the playalso focuses attention on their agency as it relates to the patriarchalstructures within which they operate. The play could be said to be anillustration of the weakness and folly of two old men Lear andGloucester who, as their physical powers diminish, lose their socialand political powers as well. Just as the source of womens weaknesscan be traced to their bodies, so it might be argued that a bodilydecline in old men renders them weak and vulnerable. In the subsequentpower struggle, Goneril, Regan and Cordelia all make choices tha tgovern their future and that determine the course of the subsequentdrama. Although this leads to the depiction of Goneril and Regan aspredatory adulteresses, whilst Cordelia ultimately becomes a victim whois unable to survive, it is nonetheless true to say that all three ofthese women seize opportunities to make their own choices anddecisions. From the outset, Cordelia is characterised as the pictureof modest womanly constraint, as she punctuates her sisters smoothrendition of filial loyalty with comments such as: What shall Cordeliaspeak? Love and be silent (I.i.61) and Then poor Cordelia! / And yetnot so; since I am sure my loves / More ponderous than my tongue'(I.i.75-77). Cordelias virtue lies in her observation of duty andobedience and she is aware that every adult woman must divide her dutyand obedience between her husband and her father. Though this stanceis shown to place her in a double bind that leads to exile and thendeath, yet she has exercised her own choice and has re sisted pressurefrom her father to take another course. In choosing the path of truthto herself, she has become her own moral arbiter and is the first ofthe three daughters to openly rebel against her father

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Introduction Although tempting, rapid weight loss that's not monitored by a doctor can have serious consequences. In addition to dehydration, nutritional deficiencies, heart problems, and developing gallstones and overtraining syndrome, the drastic measures required to lose weight fast are hard to maintain. MayoClinic.com states that fast weight loss is often gained back quick, and tends to be water weight and muscle tissue, not fat. They recommend losing no more than 2 pounds a week. (See References 1, 2 and 3) How Much, How Fast Fast weight loss at the expert-recommended rate of 2 pounds a week, requires that you accumulate a daily deficit of 1,000 calories. After one week, this adds up to 7,000 calories, and since there are 3,500 calories in 1 pound of fat, you will lose 2 pounds. This means that you can lose 10 to 15 pounds in about 5 to 7 weeks, give or take a few days. Gradual weight loss at a rate of 2 pounds a week gives you time to get used to the lifestyle changes you're making, which should pertain to diet and exercise. (See References 1) Effective Dietary Changes Reducing...

My first day at a new school Essay

The first day if a new school is very difficult because you don’t know any one and u feel all alone. Most kids do good because they are a people person which can help because they talk to people and know were or how to get around from talking to other kids. There are also kids that don’t talk as much to other people they don’t know either because there shy .So this I how I overcame the obstacles on my first day. The most memorable first day I had was when I went to Kenny Guinn middle school. I knew no one in my home room so I sat there for a moment and the teacher began to call roll call then after that passed the kids in the class began to talk and so nothing. the teachers got their attention and explained rules and regulations. shortly after that some kid s started getting kinda loud so the teacher got their attention he sent one of the three to another class and his friend threw a paper airplane instead of the teacher doing something to punish he made a funny remark about the kid. The bell sone rang and we all got up and head off to our next class remember the first class I had was science,at first I was about the tenth student in the classroom I noticed one of my friends walked in the classroom and sat next to me . I told him how frustrated I was and he told me to â€Å"just don’t worry about it and calm down†. so after he convinced me to calm down and I began to relax. The teacher then started her lesson plan, then she explained her classroom rules and regulations shortly after that she told us what we were going to do the rest of the school year. When she had finished, the class began to talk. that was when I realized my friend that was sitting next to me, as I mentioned earlier had the next class with me. dong dong dong the bell has just rang so we headed for our next class, that next class was math. and he began to do the same as the first teacher then that class ended so we my friend and I went to lunch. The most exciting part of the hole day was the lunch period .Were I got lucky enough to meet most of my friends there that day so that was a big relief. I ate some lunch that help because the hole day I was feeling kind of sick so that helped me replenish my self, then we all started talking to one another  after a short amount of time we all got confused so then we laughed at ore selves for being so stupid. then I diced to walk over to this girl I liked after being convinced that nothing terrible can happen and it won’t be the end of the world so I did it and I then had a date to the dance thing they were having, the school was throwing it for the new year. So the day has gone smoothly and not too difficult in anyway or manner. Soon after lunch ended we/all the kids went to class then I went to my next class the same routine was used for the lesion plane for the last four class and once that was over it was a little frustrating to find my buss but then I found it just in time and when I got home I said hi to my dad and then had something to eat. And I learned if I was to ask someone I don’t know can still help me and being shy has its down falls.

Free Essays on Favorite Song

, but I feel the music. That’s what’s important.... Free Essays on Favorite Song Free Essays on Favorite Song My favorite song in the whole world would have to be â€Å"Hey Lover† from LL Cool J’s 1995 album titled, â€Å"Mr. Smith.† The song is a pleasant collaboration of Mr. Smith and Boyz II Men. I love the way the song immediately grabs you on the opening note of the jazzy guitar. Followed by the melodic voices of Boyz II Men, you instantly get into a relaxed and laid back mood. In the song, LL Cool J raps about how he falls victim of a serious crush on a lady in his neighborhood. He is very graphic in explaining this crush and you will soon find yourself reminiscing about the crush or two you’ve had in the past (or present). I can remember a crush I had in 12th grade whenever I hear the song.. The music of the record is comprised of a jazz guitar, which riffs a melancholy note every 10 seconds. The electric bass guitar deeply hums a soulful note in the background. Percussion is the lifeline of the song and keeps a sleek but steady pace throughout the song. Add the rhythmic voices of Boyz II Men and the sensitive, smooth, but confident voice and lyrics of LL Cool J and you have a masterpiece. I have many favorites but this one in particular is great because it is one of the few rap/r&b collaborations that is on my favorites list. I am a true lover of music. I hear not only music or words, but I feel the music. That’s what’s important....

New Technology essays

New Technology essays There was new technology released on Monday by Intel Corporation. It was a trio of new chipsets intended to make the richness and speed of digital media, gaming, and broadband for its Pentium 4 and Celeron processor users much better. They are trying to find ways to stay in the market with chipmakers. Intels new lineup, comes at a time when this semiconductor company is struggling to keep its chipset revenue from taking a deeper nosedive. It includes the Intel 845G, 845E, and 845GL, all with built-in graphics and faster data transfer capabilities. The 845 and 845GL are intended for Intel's Celeron processor, whereas the 845G is aimed at more business PCs and home PCs with Pentium 4 processors. This trio of chipsets is already available on the retail market. The chipsets include Hi-Speed Universal Serial Bus (USB) 2.0, a data transport technology that enables faster connections to digital devices and increases bandwidth up to 40 times more than the average USB 1.1 interface. With this type of technology, you can see that Intel is trying to stay alive in a market where even they arent having much luck. Intel is trying to meet the current popularity of digital devices. This includes digital cameras, which balances the overall platform performance of the Pentium 4 processor's speed and makes it easier for users to edit and play digital video, view and edit family photos, handle larger digital files, play games, and listen to music. This will help to reach, gamers and home PC users. All of Intels new chipsets enable surround-sound capabilities with 20-bit audio. Intel has integrated graphics called Intel Extreme Graphics with the Intel 845G. Additionally, USB 2.0 enables users to burn CDs six times faster than normal, and back up data 11 times faster. This will help Intel to grab a share of that market with their new product. Intel has some interesting estimates t ...

Water Cycle Assignment Example | Topics and Well Written Essays - 500 words

Water Cycle - Assignment Example The water then return to the ground inform of liquid (rain) or solid (snow, sleet) precipitation. The water that results from the rain flows back into rivers as surface runoff and groundwater. The stages involved in the water cycle include evaporation, condensation, precipitation, and runoff and groundwater flow. Evaporation occurs when the sun radiant energy heats up the water from the surface changing it into vapor. The vapor enters the atmosphere in a gaseous form. Transpiration is also part of the process whereby plants releases water through the leaves after intake in the roots. When both evaporation and transpiration occur, evapotranspiration emerges (Gardner, 2011). Evaporation acts as a purification process. The salty water from the sea or ocean evaporates into steam that is pure water. After the clouds form, the water drops from the atmosphere in form of rain, snow, hail or sleet in a process called precipitation. Clouds are an important part of the precipitation process because raindrops are the drops of the cloud that had condensed from vapor. As condensation adds more water to the cloud particles, gravity pulls them down which results into precipitation. When the rain hits the ground, much of the water infiltrates into the ground becoming groundwater. This will depend on the terrain where the rain drops. If the surface has more openings (cracks, joints), then more infiltration will occur. However, if the water does not infiltrate the soil, then it flows on the surface as runoff. The water flows into rivers that later empties back into the ocean and the whole water cycle begins again. UAE is a country with hyper-arid climate that is associated with high temperatures and infrequent irregular low rainfall. This means that it experiences high evaporation that lead to less rainfall and therefore low groundwater. The water cycle therefore does not favor much the country that meant that they had to

Different Color, Different Treatment (Research Paper) Research Paper

Different Color, Different Treatment ( ) - Research Paper Example Many of these spheres are defined by stereotypes. Those stereotypes determine the nature of the space that is inhabited. How someone reacts to the others around them must be understood through the culturally developed stereotypes that define the potential of the experience that someone has in coming into contact with others on the street. The experience of the American street is a place where visceral prejudices come alive. Where in social gatherings prejudices can be dampened, set aside in order to create relationships that cross boundaries and develop into meaningful interactions, when one encounters an unknown person on a street, the only framework in which to define the potential of that experience is through culturally developed ‘types’. The unfortunate consequence of these types is that the nature of some are automatically considered to have a negative connotation. The concept of the young African American male brings forth a sense of fear, the nature of his repres entation in culture being angry and violent. The media represents the young African American male through concepts that have developed through stereotyping that occurs on television, through music videos, and through past prejudices that created the concept of the militant angry young African American youth. ... This, of course, is not limited to the African American male. There are many stereotypes that become prominent in public spaces when encounters are not framed through introductions. Part of the problem is the high level of population condensed into cities in which most of the people have no interconnections to one another. Because the nature of modern life has created smaller and more intimate conditions of community, there are far more strangers in the world than were once part of American life. In addition, with some of the more prominent crime sprees that have happened, including terrorist acts, more people are now considered ‘enemies’ which creates a type of anxiety that ends in a hyper vigilance that performs as a barrier between people. Being open to interactions with strangers leaves one open and vulnerable to ‘dangers’ that are perceived through the many communications that have framed ‘types’ for their ‘inclinations’ toward s creating chaos. Prejudice In 1954, Gordon Allport wrote a seminal book on the nature of prejudice and how it affects human relationships. He states as he begins to define the concept of prejudice that â€Å"No corner of the world is free from group scorn†, which is an appropriate way in looking at the nature of prejudice. Society groups people into categories in order to impose order upon the integration of multiple cultural backgrounds that ends in differences that can be visually seen in ethnic qualities. The way in which language is used to define groups, by suggesting that someone is African American, Native American, or Asian American, suggests that when someone has ethnic markers, this places them in a different social groups. However, it is important