Outlaw by Scott McGough :: essays research papers

Outlaw, by Scott McGough tells 2 batchs stories and their adventures through the plane of Kamigawa and how they are tied with the war against the kami ( odours). Toshiro Umezama, a rogue mage-ochimusha (dishonored warrior), has been locomotion with his fellow oath-brother Kobo, an ogre, through the forest, when they accidentally found themselves in a party of kistune (foxfolk) and humans. Michiko Konda, daughter of the daimyo (powerful feudal lord), left the walls of her kingdom and traveled to a great program library in the wizard school, Minamo. When she was separated from her friends, she found herself lead by a foxfire to a kistune city where her sensei, Pearl-Ear was visiting. Sharp-Ear, Pearl-Ears brother, Pearl-Ear, 3 kistune samurai, Michiko, and her 2 friends traveled into the forest to anticipate for the secluded orochi (snakefolk), known for their distrust of anything of the outside world.When Toshi and Kobo ran into Michikos party, they talked for a short while, and t hey were attacked by the orochi. The parties fought well, but were defeated and captured. Toshi escaped and found Kobo dead tied to a tree. He rescues Michiko and flies away on a troth moth. West of the forest in a cave, Toshi holds Michiko for ransom, but he is met by the little Mochi, the Kami of the Cresent Moon. He showed the deuce the reason for the kami war Daimyo Konda took a powerful kami from the inspirit world and used Michikos birth to power the ritual to bring it into the material world. When the two learned this, Toshi decided to be employed to Michiko and promise to admirer her (with correct pay of course). The rest of Michikos party escaped the orochi territory, and tracked the ochimusha to the cave and were followed by the snakes. While the kistune were trying to get Toshi out, Mochi brought out the patron spirit of darkness Myojin of Nights Reach to get Toshi to accept its blessings. As he did, he went out of the cave, killed the snakes and their patron spirit, M yojin of Lifes Web, on his own, with the help of the blessing of the patron of darkness.Outlaw by Scott McGough essays research papers Outlaw, by Scott McGough tells 2 peoples stories and their adventures through the plane of Kamigawa and how they are tied with the war against the kami (spirits). Toshiro Umezama, a rogue mage-ochimusha (dishonored warrior), has been traveling with his fellow oath-brother Kobo, an ogre, through the forest, when they accidentally found themselves in a party of kistune (foxfolk) and humans. Michiko Konda, daughter of the daimyo (powerful feudal lord), left the walls of her kingdom and traveled to a great library in the wizard school, Minamo. When she was separated from her friends, she found herself lead by a foxfire to a kistune city where her sensei, Pearl-Ear was visiting. Sharp-Ear, Pearl-Ears brother, Pearl-Ear, 3 kistune samurai, Michiko, and her 2 friends traveled into the forest to search for the secluded orochi (snakefolk), known for their distrust of anything of the outside world.When Toshi and Kobo ran into Michikos party, they talked for a short while, and they were attacked by the orochi. The parties fought well, but were defeated and captured. Toshi escaped and found Kobo dead tied to a tree. He rescues Michiko and flies away on a battle moth. West of the forest in a cave, Toshi holds Michiko for ransom, but he is met by the little Mochi, the Kami of the Cresent Moon. He showed the two the reason for the kami war Daimyo Konda took a powerful kami from the spirit world and used Michikos birth to power the ritual to bring it into the material world. When the two learned this, Toshi decided to be employed to Michiko and promise to help her (with correct pay of course). The rest of Michikos party escaped the orochi territory, and tracked the ochimusha to the cave and were followed by the snakes. While the kistune were trying to get Toshi out, Mochi brought out the patron spirit of darkness Myojin of Nights Reach to g et Toshi to accept its blessings. As he did, he went out of the cave, killed the snakes and their patron spirit, Myojin of Lifes Web, on his own, with the help of the blessing of the patron of darkness.

Maligning Female Roles in Shakespeares Macbeth :: GCSE English Literature Coursework

Macbeths Female Roles The female roles in William Shakespeares Macbeth are those of the witches, more supernatural than human, noblewoman Macbeth and Lady Macduff, the latter organism presented in a minor, almost insignificant way. This paper will explore the role of Lady Macbeth and only make slight comment on the witches. piece of ass Kemble in Lady Macbeth finds that the main female role could live ended in madness due to the evil tendencies of the lady Lady Macbeth, even in her sleep, has no qualms of conscience her remorse takes none of the tenderer forms akin to repentance, nor the weaker ones allied to fear, from the pursuit of which the tortured soul, seeking where to hide itself, non seldom escapes into the boundless wilderness of madness. A very able article, published rough years ago in the National Review, on the character of Lady Macbeth, insists much upon an opinion that she died of remorse, as some palliation of her crimes, and mitigation of our detestation of them. That she died of wickedness would be, I think, a juster verdict. Remorse is consciousness of guilt . . . and that I think Lady Macbeth never had though the unacknowledged pressure of her great guilt killed her. (116-17) In Memoranda Remarks on the Character of Lady Macbeth, Sarah Siddons comments on how the feminine role of the leading lady is not a typical one as regards attitude Macbeth announces the Kings approach and she, insensible it should seem to all the perils which he has encountered in battle, and to all the happiness of his safe return to her, -- for not one kind word of greeting or congratulations does she offer, -- is so entirely swallowed up by the horrible design, which has probably been suggested to her by his letters, as to have forgotten both the one and the other. It is very remarkable that Macbeth is frequent in expressions of tenderness to his wife, while she never betrays one symptom of affection towards him, till, in the pyrogenous furnace of affli ction, her iron heart is melted down to softness. (56) Clark and Wright in their Introduction to The Complete Works of William Shakespeare contradict the impression that the female protagonist is all strength Lady Macbeth is of a finer and more delicate nature. Having fixed her eye upon the end - the attainment for her husband of Duncans crown - she accepts the inevitable means she nerves herself for the terrible nights make up by artificial stimulants yet she cannot strike the sleeping king who resembles her father.

The Evil Side of The Internet Essay -- Technology Internet Essays

The Evil Side of The Internet In my present employment at the moment, the usage of the Internet is not that important. The unless times that I use the Internet is when I have to do a search for a research paper for school or in need of directions to a new location. I have always found the Internet to be a positive tool that helps with the spread of information in order to make grow a large population. It is cheap and easily accessable by All. The internet was and is a new invention compared to the wheel and fire that has changed the way we skyline the world and has brought doohickey to our finger tips. Information from across the world can be inter-changed within seconds that can help in the field of politics,medicine and personal relationships. However, thither is a darker situation to the internet. This side is one that I would like to focus on in my paper. This negative side of the internet is one that is be mistreat by unbendable folks everytime they copy articles and pi ctures and never give credit to the publisher or their actual authors. The dirty evil side of the internet has buy the farm a magnet for pedophiles and hate crime activists. The problem is that due to freedom of speech thither is not much control that I know most in regards to items being posted on the internet. This device is so easily usable that even kids in middle and high school are observance web sites and call lines in order to say what ever they like and send information to all corners of the world in a second, practically for free. on that point are some(prenominal) issues that have always concerned me in regards to the legal censorships over the internet that I would like to explore in my paper. The reason for my low density began a a few(prenominal) weeks ago when my 8 year old cousin was playing on... ...t you can install which will block out certain sites and keywords. Those recommended by Newsweek Magazine were Cyber Patrol, illuminate Nanny and Cybersitter. It is important to understand that Internet crimes should be dealt with just like real-world crimes. If you believe that your child or other children are being exploited or know of someone who is using child pornography in any way, notify the Police, the FBI or the local Customs Service Office. umpteen times there might even be an award awaiting you. Works Cited Nordland,Rod.,Bartholet,Jeffrey. The Darkest Corner of the Internet. Newsweek. March 19,2001. 44-51 http//www.cyber-rights.org/reports/ http//www.ci.keene.nh.us./police/task_force.htm http//www.eff.org/pub/Groups/BCFE/limit2.html http//www.condemned.org/ http//missingkids.com/cybertip/ http//www.boylink.net/personal.html The Evil Side of The Internet stress -- Technology Internet EssaysThe Evil Side of The Internet In my present employment at the moment, the usage of the Internet is not that important. The only times that I use the Internet is when I have to do a search for a research paper for school or in need of directions to a new location. I have always found the Internet to be a positive tool that helps with the spread of information in order to educate a large population. It is cheap and easily accessable by All. The internet was and is a new invention compared to the wheel and fire that has changed the way we view the world and has brought convenience to our finger tips. Information from across the world can be inter-changed within seconds that can help in the field of politics,medicine and personal relationships. However, there is a darker side to the internet. This side is one that I would like to focus on in my paper. This negative side of the internet is one that is being abused by regular folks everytime they copy articles and pictures and never give credit to the publisher or their actual authors. The dirty evil side of the internet has become a magnet for pedophiles and hate crime activists. The problem is that due to freedom of speech there is not much control that I know about in regards to items being posted on the internet. This device is so easily usable that even kids in middle and high school are posting web sites and chat lines in order to say what ever they like and send information to all corners of the world in a second, practically for free. There are some issues that have always concerned me in regards to the legal censorships over the internet that I would like to explore in my paper. The reason for my curiosity began a few weeks ago when my 8 year old cousin was playing on... ...t you can install which will block out certain sites and keywords. Those recommended by Newsweek Magazine were Cyber Patrol, Net Nanny and Cybersitter. It is important to understand that Internet crimes should be dealt with just like real-world crimes. If you believe that your child or other children are being exploited or know of someone who is using child pornography in any way, notify the Police, the FBI or the local Customs Service Office. Many times there might even be an award awaiting you. Works Cited Nordland,Rod.,Bartholet,Jeffrey. The Darkest Corner of the Internet. Newsweek. March 19,2001. 44-51 http//www.cyber-rights.org/reports/ http//www.ci.keene.nh.us./police/task_force.htm http//www.eff.org/pub/Groups/BCFE/limit2.html http//www.condemned.org/ http//missingkids.com/cybertip/ http//www.boylink.net/personal.html

Deception in Hamlet :: essays research papers

Deception is a recurring theme in hamlet. In a tale of murder, love, and politics, thaumaturgy could have no more than fitting place. The lies and pretensions interweave each other, and there is no character left out of this web. All the central characters have their secrets to hide and mistruths to spread, and this is central to the plot and its progression. poove Claudius deceives all those around him with his mourning and celebrating demeanor, and his strange celebration and waking. He seems to grieve for the brother that he slew, and works to console all others that whitethorn or may not grieve for his brothers death, such as his nephew and step-son juncture. His pretense is great, and forces Hamlet to investigate the truth of the ghosts tale, unraveling the mystery of his starts death and others involvement.Prince Hamlet has perhaps the most devious series of deceptions in the tragedy. He feints madness, in order to soften up the minds of those he seeks to learn culture f rom, by putting them off their guard. Hamlet also sets in motion a plan to discover his uncles guilt in the murder of his father through a play within a play within a play, aptly named The Mousetrap. His clever pretension also leads Polonius astray in his confidence as to the cause of Hamlets supposed strange manner and Ophelia to believe that his love for her has gone with his sanity. Ophelia is also key in the theme of deception in the play. However, she is more so privy to the intentions of others to deceive than to her own. Her lies are merely a sense of self-preservation in a world dominated by men. She deceives Hamlet on her feelings for him at the behest of her father, Polonius, in his scheme to determine the true cause of Hamlets strange behavior. Ophelia in turn is actually herself deceived by Hamlets scheme to feint madness. Essentially she is the channeling of Polonius plot of political investigation, and as used as she may be by all sides, she is not staidly affected b y it towards the end of Act III, other than through the death of her oppressive father.

Retaining Tomorrows Scientists :: Education Learning Gender Essays

Retaining Tomorrows ScientistsI chose to summarize the article Retaining Tomorrows Scientists. This article described a consume through on differences between men and women enrolled in scientific curriculums in college. It looked at how individual characteristics, experiences, and goals affected a persons success rate in graduating. It also explained wherefore women are not as successful as men in completing their science education.For starters, the study showed that women dont seem to be as interested in math and science courses in school. Studies show that boys and girls show equal capabilities in these courses while in elementary school. Girls, however, dont show much interest in them. Therefore, they wage less of these courses in junior and senior high school. This in turn leads to lower rates of women pickings these classes at a college level. Because they dont have the basic association of these subjects, they are reluctant to major in scientific areas.Confidence also plays a major part in women choosing a major. By not taking these classes in high school, women feel that they arent smart enough to select a scientific major. It was shown in this study that math self-confidence is the most influential soothsayer of womens SAT scores, as well as of their decision to pursue math and science fields in college(Sax, 46).Another reason that women are reluctant is the questionable glass ceiling. It has long been known that women earn less than men, and arent promoted as quickly. This is true in the laboratory as well as the office.Lastly, women are often hale to choose between the workplace and the home. Most scientific jobs demand long days and a lot of travel. Women realize this, and it interferes with their desire to have children and a home. though men are also affected, it seems to be easier for men to make that choice.As with any scientific study, there are uncontrollable variables. The variables involved in this study were separated into blocks. Ind ividual characteristics were classified as race, citizenship, parents education, family income, religion, SAT scores, high school academic information, high school activities, reasons for coming to college, degree aspirations, life goals, views, personality types, and expectations or so college( Sax, 49). The second set of characteristics dealt with students intended majors. Since everyones college experience is so different, scientists had to figure in environmental variables, also. These variables were also classified into blocks. The first dealt with financial aid and living arrangements.

Retaining Tomorrows Scientists :: Education Learning Gender Essays

Retaining Tomorrows ScientistsI chose to summarize the article Retaining Tomorrows Scientists. This article described a study done on differences between custody and women enrolled in scientific curriculums in college. It looked at how individual characteristics, experiences, and goals affected a persons success rate in graduating. It also explained why women are not as successful as men in completing their science education.For starters, the study showed that women dont seem to be as interested in math and science courses in school. Studies show that boys and girls show couple capabilities in these courses while in elementary school. Girls, however, dont show much interest in them. Therefore, they take less of these courses in junior and senior racy school. This in turn leads to lower rates of women taking these classes at a college level. Because they dont have the basic knowledge of these subjects, they are reluctant to major in scientific areas. agency also plays a major part in women choosing a major. By not taking these classes in high school, women feel that they arent smart enough to assume a scientific major. It was shown in this study that math self-confidence is the most influential predictor of womens SAT scores, as well as of their decision to follow math and science fields in college(Sax, 46).Another reason that women are reluctant is the so-called glass ceiling. It has long been known that women earn less than men, and arent promoted as quickly. This is true in the laboratory as well as the office.Lastly, women are often forced to choose between the workplace and the home. Most scientific jobs collect long days and a lot of travel. Women realize this, and it interferes with their desire to have children and a home. Though men are also affected, it seems to be easier for men to throw away that choice.As with any scientific study, there are uncontrollable variables. The variables involved in this study were separated into blocks. Individual characteristics were classified as race, citizenship, parents education, family income, religion, SAT scores, high school academic information, high school activities, reasons for coming to college, degree aspirations, life goals, views, personality types, and expectations about college( Sax, 49). The second set of characteristics dealt with students intended majors. Since everyones college experience is so different, scientists had to direct in environmental variables, also. These variables were also classified into blocks. The first dealt with financial aid and living arrangements.

Effects of Globalisation on India China Relations Essay

There is a shift in the nature of the relations between India and chinawargon from a purely territotial perspective in the post-independence period to the economic perspective in the post globalization and liberalization period .This has resulted in deuce positive and negatively charged ramifications because of both state and non-state factors.TRADEThe trade between the two countries has been increasing since the 1990s and has reached $67 billion in the current fiscal. Because of this , many people who ar directly and indirectly involved in the trade pick out benefitted . Mainly the export of primary articles like agricultural products have benefitted the marginal farmers. Globalisation has helped graduation the losses incurred during reduced domestic demand and also because of higher profit margins in the international market.MULTI POLAR WORLDThe importance of developing and industrialized countries after(prenominal) the globalization have increased their bargaining power in the international arena like climate change conferences, reforms in the U.N, reform of quota allocation in the IMF which were dominated by the developed world before.. In all these stages, India and China have acted together against the stance of developed countries and have helped other small countries and island nations jointly put forth their obligations.SECURITYFree movement of labour , capital and enterprise across the world demands better universalized certificate infrastucture.Both India and SCO are against the three security related problems-terrorism, extremism and separatism. India wants to use the Regional Anti-terrorism Structure of the Beijing dominated-Shanghai Cooperation Organisation . Also China can make use of the Indias banking sector for their proposed SCO banking structure. As both countries are interesred in Afghanistans mineral reserves, there is a need for both countries to chart out an emergency plan for dealing with civil state of war like situation after the exit of US and NATO in 2014. Both countries are also involved in maritime security in the Indian ocean and gulf area to protect their trade ships in the high seas from Somali pirates. All this has reduced the importance of territorial border problems in the duologue between the two countries which is now dominated by concentration on areas with mutual interests.NEGATIVE IMPACTSBALANCE OF TRADE Though the trade between the two countries has been increasing, it is highly skewed in favour of China. The trade deficit has reached a high of $27 billion this fiscal. Also many of the sectors like pharmaceutical and micro and small industries are not allowed to do business in China. The fruits of globalization is not being shared equally by all the sectors since it resorts to trade barriers and cooking of cheap subsidy to its electronics sector which unfavourably helps them in the international market.TERRITORIAL PROBLEMSThough there is less border related issues as such, globalizatio n and impertinent investments increases the territorial problem in the other areas like high seas. Investment by an Indian company in partnership with Vietnam in the south China Sea has resulted in regional territorial clashes among China, Vietnam, Philippines, Brunei, Malaysia and Taiwan.SECURITY PROBLEMSThe vulnerability of the state and the people to cyber terrorism and cyber espionage has increased due to the presence of Multi national companies. Recently Huawei and ZTE have been prevented from entering countries like US and Australia due to their indulging in cyber state-sponsored espionage. The security of the India is compromised due to the libealization and globalization. Both should ensure eachother of all possible security related measures during the disproof ministers dialogue. Though Globalization has negative ramifications, it has turned the relations between India and China from negative to positive and has made them cooperate and coordinate on various field and sect ors.The opurtunites provided by new leadership change should be made use of by India to strengthen its interests and relations with China. . As skepticists say, both political and economic considerations are important and both should mutually drive India China relations to the benefit of both sides.

Financial Accounting Exxon Shell Case Essay

Objective Understanding the effect of inventory valuation assumptions on pecuniary statements.Assignment summary You are taking the role of a security analyst who recently started following the Oil and Gas industry. The analyst has a task to draw a comparison of several fiscal indicators for deuce industry leaders Exxon Mobil and Royal Dutch Shell, based on their income statements and balance sheets (attached at the end of this document) as well as the information from the notes to the financial statements summarized below. The cardinal companies appear to be quite similar and are similar in size based on total assets. A private investor notes, however, that some financial ratios appear to be different. Your task is to guide an investor through the basic steps that will help them understand the effect of inventory valuation assumptions on the financial ratios.The following information is based on Exxons and Shells 2011 Annual Reports.Exxon MobilBackground information. Exxon Mobil C orporation was incorporated in the State of New island of Jersey in 1882. Divisions and affiliated companies of ExxonMobil operate or market products in the United States and most other countries of the world. Their principal business is energy, involving exploration for, and production of, crude oil colour and natural gas, manufacture of petroleum products and transportation and sale of crude oil, natural gas, and petroleum products.NOTES TO FINANCIAL STATEMENTSInventories. Crude oil, products, and merchandise inventories are carried at the lower of flow market value or cost (generally determined under the last-in, first-out method LIFO). Inventory costs include expenditures and other charges (including depreciation) directly and indirectly incurred in rescue the inventory to its existing condition and location. Selling expenses and general and administrative expenses are reported as period costs and excluded from inventory cost. Inventories of materials and supplies are valued at cost or less (i.e., lower of cost or market).The aggregate replacement cost of inventories was estimated to exceed their LIFO carrying values by $25.6 one thousand million and $21.3 billion at December 31, 2011, and 2010, respectively (Convert LIFO to FIFO).

Analysis of Passion Diptychs

The front surface has three registers with each(prenominal) crowned by a cusped arcade with five hanging capitals and six recreated apertures which means that the enter of each composition is aligns with a capital. The foremost direct visual intuitive feeling left wing on a beholder is that the diptych is a representation of an ordered chaos. It Is ordered because It Is systematically divided Into three registers on each wing with each register having six recreated apertures equidistant from each other and symmetric.On the contrary, it seems chaotic because unlike some other passion diptychs, each individual registers atomic number 18 not contact inside (or split according to the number of apertures) to explicitly show different scenes. Instead, in most registers in his diptych, different scenes are interposed which makes an interesting narrative and, comparatively, leads to a chaotic On a good way) display In an otherwise neatly bordered and systematic diptych.This type of re presentation, In each composition, excessively portrays a lively sense of movement to the traditional scenes which are otherwise portrayed in an iconic style. This diptych is read left to right across the wings and from the back to the bottom without changing directions. Although it is of a normal directional impulse, the implications of reading the scenes horizontally sakes It easier and provides a potential to understand and meditate on horizontal and vertical relationships between registers.Interestingly, an absence of Interior dividers not only provides more space and thitherfore, more creatively but also leads to an increased scope to form thematic relationships between registers without confusion. The first register is a rather unusual start to a Passion diptych because most of them usually start with the Entry Into Jerusalem or an event that Is directly related to to the death of Christ. However, both, this diptych and the Abbreviated Passion Diptych egging with the Resur rection of Lazarus (fig. 1). Both the diptychs have Mary and Martha thanking messiah for what hes done.In the Dormouse diptych, a disciple or on assister can be seen scratching his encephalon in bewilderment and amazed at the fact that Lazarus has resurrected. Lazarus is half out of the tomb that held him holding the cloak of Jesus, who is condole withly looking at him turn Lazarus does look tired as If woken up from an unfinished sleep. This section of the first register stimulates trust and dependency because Jesus, although hes Ralston someone from he dead, is calm but also compassionate which agrees to the fact that He loved Him and shows His humanity.The next scene in the first register is the Entry to Jerusalem where a person can be seen laying big money his cloak and the throng on the wall, which denotes people in the city watch excitedly for the entry of their Savior. Interestingly, the cuticle of Jesus and his disciples, and the other half- the people and larger than the people hailing his entry. Noticeably, Jesus head is held high, Just as a king nobly receives the respect he is due while he also greets them and accepts their joyous praise.However, this is a sharp contrast from the previous scene The raising of Lazarus which is relatively melancholy and calm, suddenly turning to erupting praise which provides an interesting twist in the prayer of the beholder. act on, the next register shows the Washing of the Apostles Feet . At this instant, Jesus is probably talking to Simon Peter, as is recorded in the gospel of account of prat in which he is initially taken aback and refused to have his foot washed by Jesus but when Jesus insists and gives his reasoning, Peter agrees to it.The mood is very ember and to a degree, awkward, as Jesus is doing something very unexpected of a leader. Incidentally, In stark contrast to the Entry to Jerusalem, where Jesus is being ushered and hailed as King with his head held high, in this scene, Jesus head is t ilted down, and he is missing his outer garment his cloak. In this scene, Jesus is kneeling down before his disciples, humbling himself before them and washing the dogshit of their feet. To the beholder, this reminds him of the nature of Jesus, that he being God and master of the apostles, humbled himself to wash their feet.A viewer s reminded and encouraged in the fact that if Jesus showed that the way of the soil is serving, then he too, must serve willingly. Furthermore, unlike the previous scene where Jesus is a head above the disciples, in this register, he is placed at the akin height showing that he humbled himself to their level. The third register is the event of The Last Supper which consists of two scenes Firstly, Jesus foretelling that one of them would betray him. He is seen dipping the boodle at the same time as Judas, his betrayer (Matthew 2623). Secondly, Peter is seen leaning onJesus breast as He breaks it to him that he will be betrayed and in the process, be denied by Him three generation. Here, ten of the disciples seem a bit merry as they enjoy a feast with Jesus. However, Judas looks at Jesus with a mix of ungodliness and deceitfulness while Peter has his eyes closed, visibly sad that his master is going to be betrayed and that he would deny him three times in the process. The diptych continues onto the Agony in the Garden at Statement where Jesus is praying, fearing for the punishment that he will bear, while his disciples sleep.The three disciples in front of him are Peter, James and John while the other eight are behind Jesus. The trees are curved in order to use the available space and is shown in a smaller scale to the disciples and Jesus creating a background that helps imply that they are in a garden. This scene shows the humanity of Jesus where he is looking up towards heaven, with his arms raised, vast awake, asking for help as he is visibly troubled. Interestingly, there is a contrast between this register and the previ ous one.Unlike the last supper, he disciples here are asleep and hence, to a degree, the mood is a bit dull and dreary. However, for Jesus, it is a tense night as He gains his strength from the Father. This encourages a beholder to get hold His strength in God through with(predicate) prayer when from all around support is waning, lacking or even absent. Onwards, the next register, The Betrayal of Jesus shows three scenes simultaneously with Jesus presented only one time, making an interesting Juxtaposition of various scenes in one register.In the background are two soldiers who are of a reasonably lower height which ivies a more realistic sense of scale to the whole composition. Peter looks on with and Jesus has rebuked him for that act. The disciple next to Simon Peter is seen as restraining him to attack anyone else. Furthermore, the betrayer, Judas Chariot leans in to kiss Jesus while Jesus tilts his head downwards to receive the kiss. Jesus looks at him disappointedly while J udas looks with guilt and remorse as he slowly comes to the fact that he is betraying his master and God.At the same instance, Jesus is healing Mulches who is shown writhing in pain. Onto the next scene in the same sister, Judas Chariot, overcome by his guilt hangs himself on a tree, naked, with his intestines and innards coming out. There is a burst of activity in this diptych as there are a lot of intense activities occurring simultaneously. If the previous register was tense because Jesus was apprehensive of the wrath He would take on, the scenes in this register are even tenser with almost a deceptive calmness that Jesus shows in every composition.Incidentally, this diptych has no scene representing the flagellation of Christ or the trying of Him at a counsel and goes straight ahead, after he betrayal, to the crucifixion of Jesus. In the register containing the crucifixion, two major scenes occur simultaneously. Firstly, Mary is swooning and is supported by women who have come t o see of her son. Secondly, a dead Jesus, flanked by Longings, the Roman soldier who pierced Jesus side, with his spear leaning on his far shoulder, on the left side, who is convinced of his deity and on the right, Stephan, who offered Jesus sour wine to abate his pain.The soldiers flanking him and the women on the left mourn his death radiating sorrow. Moreover, this composition, in n observer, invokes a feeling of gratitude on meditation. Gratitude, because of the humanity of Jesus, who suffered a horrendous death and took on Gods wrath so that all could be redeemed by God through Christ. It also stimulates praise and love when one imagines the degree of humility that Jesus underwent to do what He did on the cross. Interestingly, comparing the bottom two registers, Judas is similar to Jesus hanging on a cross as both have their heads slumped to the left.However, Chrisms torso is bare but his abdomen and loins are covered while Judas torso is covered while his abdomen and loins are bare. Additionally, Judas hands are turned out which is similar to the orientation of the hands of Mary, who is despairing, too. Similarly, there exists other diptych, the Passion diptych in three registers (135()-75) which in form is different from the Dormouse diptych as it has five apertures. Apart from the form of the diptych, this passion diptych varies a lot in wrong of expression from the Dormouse diptych. The Dormouse diptych contains a range of emotions and passions.From somberness to Joyous rapture to an awkward tuition it has it all. However, the Passion diptych in three registers mostly continues along without much changes in individual expressions of horror or happiness, of Joy or sadness. Additionally, unlike the Dormouse diptych, this diptych doesnt have the cruciform halo and doesnt contain scenes such as the Raising of Lazarus and The Hanging of Judas. Furthermore, this diptych also lacks difference in scale and precise proportions that distinguishes itself betw een a good and great diptych.For example, in the last register, the swooning Virgin is seen as tender, restfully go into the hands of the women supporting her. However, in this Passion diptych, it seems like shes standing with her eyes closed. In conclusion, the Dormouse diptych is a wonderful piece of gothic ivory that is unrivalled not only each composition provides and produces and how the visual complexity of this diptych make the study of its images rewarding. Bibliography Lowdown, John, and John Cherry, Medieval Ivories and Works of Art The Thomson Collection at the Art movement of Ontario. British Columbia Skillet Publishing, 2008

Lamb to the Slaughter Essay

Mary Maloney proves to be an interesting component part in this bilgewater. She fits well with the dramatic irony, tone, signism, and the overall alkali of the story because of the brilliant characterization done on her character. Dahl, at the beginning of the story, sets up the premise that the reader should solely empathize with her character. Continuously, he keeps building the guise that she is a sweet, innocent lamb (which is a major motif) only capable of following the followers (previously mentioned under symbols). As the story progresses, the reader realizes that she is basically organism slaughtered by her bungle of a married man. There are three farewells to this slaughter. One is the emotional slaughter that her husband undertakes, which starts to slowly alter her character. The second part is the aftermath of the more physical part of the slaughter where Mary Maloney actually kills her husband with a leg of lamb.The results of this also slaughter her lamb-like char acter even more, and that is the third and final part of this massacre. Instead of being a nave, innocent slave to her husband, she is now a malicious, demented (evident in the latter part of the story where she laughs due to the fact that she got a instruction with murder), and a free woman a woman with no slight implication that she was ever under her husbands power. Dahl makes sure to use tone to describe sound how much her husband defyled her, and how uplifted she was when he was gone. Using dramatic irony, he highlighted the one force out of Maloneys mental spectrum. Overall, Dahl compacted many literary elements in such a short story, yet he composed it into such a way that everything is delicately re modernd upon each other. Without the tone, one wouldnt get such a powerful impact from the irony.Marys characterization would have seemed less(prenominal) severe, and the appraisal of slaughter would be interpreted differently. Dahl uses this story to describe the extreme re sult of a common theme. Our main concern was to question if this was a commendable piece of literature that could convey a theme or a moral decision that could impact anyone. With the evidence previously mentioned, this piece was worthy of the Dahl stool, and that the elements in this story hanged together in a delicate balance. Without one element, his message would not have been conveyed as strongly as it was. orotundMary goes from slaving over her husbands every move, to killing him Expanding more on that, she goes from being a lamb, one who follows, to being the butcher, the one who rules. She finally takes control of her life, as if she has been resurrected from the depths of her despair, ironically, after her husbands death. She goes from being weak to actually being in charge of her life and what she does. The point of a dynamic character is not to just change morally/physically, but to become more complex. Obviously, as this story continued, Mrs. Maloney is a prime example of a complex character. Her name (Mary Maloney), that she has a husband (Patrick Maloney- a police officer), how long she has been pregnant (six months), inferences on her home (rather comely, with a pleasant aura classic feel of a later(a) 20th century house), her status (housewife), and a description of her looks (translucent skin, large, dark, placid eyes), daily habits and personality (before and after her realization). *All occur during the exposition (paragraphs 1-33)Symbolism The purchase order of lamb The lamb in the story is the wife. She does everything for the husband. She gets his slippers, makes him dinner, and slaves over him. And to thank her for all her work, he gives her a divorce. Basically, the reader can obviously see she is the weakest one here. She has no say in ithe has his mind set. Her labors and effortsher life is being torn apart by this guy. He wants it to be a hush-hush affair, for the sake of his job. And shes just the wife to do it. His career will be intact, while hers (the loving housewife) will not be. She is a weak, pathetic lamb, and she is being slaughtered. thence, she just couldnt take it anymore. She fought back, and that resulted in murdering her husband. When killing occurs in a story, its usually significant for some reason. It shows someone overcoming some obstacle. Here, the lamb of a wife overcomes her butcher of a husband (the fact that he is a police officer screams control freak) by killing him.And with it, she kills her status as a lamb. The lamb status has been slaughtered, and a free woman is left. Due to the fact that her husband is leaving her for someone else, while she is pregnant, her innocent, worthless, and helpless self is exaggerated. Though, after the murdering of her husband, this lamb status is slowly crumbling outside to reveal a more strong, take initiative type person. The slaughter This occurs when the police arrive and eat the lamb. That is the slaughter it is the destruction of the leg of lamb. It, the leg of lamb, was the symbol of her meek status, for it was the only reminder of what she had done and what she was like back then. Once that lamb is gone, so is all evidence that she was ever under her husbands power. jeering There are two major examples of irony in this story.1. Dramatic Irony Where Mrs. Maloney feeds the police officers that were investigating her husbands death, and were friends with the late officer, the club of lamb that she used to kill Patrick Maloney. One officer saying that the murder weapon could have been, Probably right under our very noses? (Paragraph 131). 2. Situational Irony The title of the story is itself, a large pun A lamb to the slaughter usually refers to someone who is unaware they are about to be harmed. This is from the idea that lambs are easily led to their slaughter since they trust the one leading them, and they are unaware of what is to become of them. In this story, the husband, Patrick Maloney, is killed like a lamb. H e all told trusts his wife, Mary, and is completely unaware of his impending doom. However, the title is also ironic because it is actually a frozen leg of lamb that is used to slaughter the hapless victim. fortifyIronic- the lamb that was supposed to be served as supper to nourish Patrick was, in the end, the weapon used to kill him. And the said club of lamb was given to the cops to eat at dinner. Tragic- That a couple, who is expecting their first child, end up hurting each other. Patrick wants to destroy his wife mentally, while his wife destroys him physically. Comical- At the end, the sergeants who were supposed to capture the liquidator, unknowingly cooperated with our murderer to destroy the evidence by eating up the murder weapon.Tone played an essential part for the smooth transition from Marys innocence to a charming psychopath. To fit with the desperation of her upcoming divorce, Dahl dwells into the habitual life of Mrs. Maloney and every chronic detail of that perio d of time. He goes into describing every pain second of her life, and elongates those seconds into years when her perfect ritualistic life suffers a runty change that snowballs into something catastrophic. The minute she kills her husband, the story seems to be more uplifting. As if the reader is no longer suffocated by simple, yet overbearing aspects of the couples life. Towards the end of the story, one could even take the tone as somewhat humorous. The childish giggle let out at the end not only emphasized what she had done and serve as a way to ease tension.Theme The prevalent theme is that you should not underestimate the power that the weak may hold. In this story, there was a clear indication how much power Mary held inwardly the relationship between her and her husband. My interpretation was that even though the weak may seem powerless, they can be stronger than those in control when they claim their power. She might just as well have hit him with a firebrand club.(Para graph 42) She swung the leg of lamb so hard it had the strength of a steel club. Women are typically, small and not as strong as men, so being able to strike a man in the head with the force of a steel club is astonishing. She stepped back a pace, waiting, and the funny thing was that he remained standing there for at least four or five seconds, gently swaying. Then he crashed to the carpet.(Paragraph 44) Crashed to the floor, thats how much power she had, when driven by a strong anger. By power came intelligence, as soon as Mary agnise she had killed her husband, she was able to devise a plan in order to ultimately get away with murder. Dont underestimate the weak, because sooner or later, theyll cosmetic surgery to become powerful. In this case, the consequence of such thinking resulted into murder. The control Patrick had on his wife became just an illusion after we saw the capability of Mary.View as multi-pages

Opinion of Macbeth Essay

Shakespeare wrote Macbeth in the 16th century as tri merelye to office James the first. At the start of the text king Dun poop made me believe that anyone could be a good leader, Dun quite a little effectively portrayed this idea because he assign the needs of his country in front of his own. Throughout the text Shakespeare influenced my opinion to change when Macbeth came into causality as he cared about no one just now himself Shakespeare influences re seen well through the techniques soliloquies, irony and contrast.King Dun groundwork is a good leader whose nevertheless concern is his country. Macbeth is the thane of Glamis he is an honorable warrior that has potential to be a good leader. He is described as a peerless kinsmen who doesnt want to risk his status therefore avoids evil, the beginning of the novel makes me believe that anyone can be a good leader that is until the weird sisters foretell Macbeths prophesies one of which states that he is to be king.Macbeths unche cked ambition and persuasion from Lady Macbeth makes him see to kill Duncan and become the King of Scotland. Shakespeare effectively uses contrast to file the effect of ambition and evil on humans, the contrast between Duncan and Macbeth influenced me to change my opinion on the idea that anyone can be a good leader, Shakespeare does this by presenting Duncan as an excellent king, who is very trusting and gullible and although holding a lot of power in his hands he doesnt abuse it and become corrupt by power, In contrast Shakespeare portrays Macbeth as an honorable warrior who would never stoop to murder, but Macbeths unchecked ambition conducts him to battle with his conscious and in conclusion pursue to kill King Duncan.When Macbeth gains power over Scotland he becomes more pachydermal and only cares for his own needs which in contrast is different to King Duncan who only cared for the needs of his country, at the end of the novel Macbeth is disillusioned he has sold his mort al for nothing. This shows contrast between Duncan and Macbeth, Duncan being a good leader and Macbeth being a bloody tyrant. Shakespeare purpose of this contrast is to show that not anyone can be a good leader and that it takes a good person to actually be a good leader.After the death of Duncan, Macbeth looses all decency he no longer consults with his wife who he describes as his partner in crime. He uses his power for his own benefit and not for his country this shows that he is callous and will kill anyone who gets in his way. Shakespeare uses soliloquies through out the text to reveal the inner workings of a characters mind this technique shows that not anyone can be a good leader because in order to be a good leader your thoughts have to be affirmative with your actions. Macbeths thoughts are often all told different to what he is outwardly saying or doing this is seen when he claims to be Duncans loyal subject but secretly is plotting to execute him, he says the bell invit es me, hear it not, Duncan for it is a knell, that summons thee to heaven or to hell.Another example of soliloquies is when Macbeth pretends to be Banquos friend when he says fail it not our feast tonight whilst in his mind he is delegating to get him killed. Throughout the text Shakespeare uses irony to show that some people are not suited to assert power, irony gives the audience insight on something that the characters dont know, irony is well shown after the death of Duncan, when Macbeth pretends to be concerned and alarmed towards the death of Duncan this is seen when he says Had I but dies an hour before this, we as the audience are aware of his remorse and catch on to this double meaning. Soliloquies and irony intergrade effectively to show that Macbeths deceitful and twofaced nature prevents him from being a good leader because in order to be a good leader you must be honest and trustworthy, these are two traits that Macbeth doesnt hold. Shakespeare purpose in this is to s how that a leader cannot have unchecked ambition as this will drive them to turn to darkness in order to keep there power in hold.At the beginning of the text my opinion was that anyone can be a good leader, I came to this conclusion because Duncan was a good leader and Macbeth showed potential in becoming a good leader. Shakespeare influenced my opinion to change to, not anyone can be a good leader and in order to be a good leader you have to be a good person, Shakespeare did this through Macbeth though turned to darkness to gain power and then further abused his power by killing anyone who got in his way, in conclusion Macbeth becomes abloody tyrant who has no one to stand by him.

Developing an English Language Curriculum Essay

The problem at hand involves developing a plan for English actors line that is fit for all people, coming from all over the country even those with knocked out(p) the basic know leadge of the language. The problem entails finding out the posterior of developing such a program, analyzing the content and coverage of such a syllabus, testing the suitability of it to the users, outlining a sample curriculum and finding out the doable outcome of such a curriculum. The problem will withal discuss the likelihood of making compromises, possible compromises, the groups affected and how to counteract the effects of such compromises. theory- ground Background and Analysis Curriculum development for languages has for a good length of time been based on developing language responsiveness, developing confidence and competence in the use of English language, move to instil into the learners the cognitive capability, training learners to develop language imaginative and emotional skills via oral, reading and writing skills. In trying to develop any teaching curriculum, one can focus on the above as guideline. Traditionally, the curriculum activities have been determined by use of a particular set of goals needed to be achieved.Hence one would sit down and contemplate the particular things he wanted to achieve then go ahead and develop a systematic way to end up with the desired results. Failure to achieve these results would be followed by corrective measures to the curriculum. However, further developments to this has led to another way of developing a curriculum based on the path or route used to achieving desired results other than the one based on developing a curriculum on goal basis. A curriculum can be developed on the basis of tasks (Nunan, 1998).One start out focuses on analyzing the psycholinguistics involved in the acquisition of a second language and activation of such in a classroom. The other approach basically focuses on the purpose the learners ne ed the language for. Nunan and Lockwood (1991) have come up with a model to implement the latter approach. This involves allowing learners develop the skills of the language, offer a chance to analyze and listen on how sample tasks are resolved, giving a grammatically instructed guidance for performance of various tasks, and stimulating them to develop skills that are emerging in them via rehearsal.We must however put into consideration the problem at hand that the students will be expected to learn a second language, in this grounds English. Much as they will try to be given the above guidelines we can also be guided by a model suited for them. Two models can be focused as a basis for this (a) The rehearsal rationale path which focuses on what they will be intending to do with the language they are learning. (b) Psycholinguistic model which answers the question on the required mechanisms to acquire a second language.I do therefore propose that such a curriculum would entail cours es that will make the learners be assimilated into a culture of having a positive response to using the English language as pertaining talk on a daily basis, training them how to communicate, write, guess critically and solve problems using the language. Basically, since the language entails being able to read, write (which would demand knowledge on the grammar, use the language mechanics, penmanship and spelling), to listen and speak all these would be part and passel of the curriculum.Arising Effects and Addressing the Problem It is hard to develop a compromise curriculum for everyone. While some would view such changes as only a waste of time and derailing their time in school since they know the basics, the learners would find an luck to assimilate what is necessary to give them an easier time in school. A compromise must however reduce the likelihood of going into what the newcomers can found out for themselves. Since they already have come to study various courses in the un iverse, it can be assumed as well that most of them will be aware of the challenges involved.Instead of say establishing a separate academic year to go through the curriculum, the curriculum can be made to fit into their program as they go through other courses of their study. One can therefore fit in two courses of studying English in their branch year of study. The first course, for example can contain courses for the students to learn communication, writing and reading skills, while in the subsequent term, the second course can entail courses challenging students to opinion critically, analytical skills, interpretation skills, and using the language to formulate ideas.It must be considered that students will have to be exposed to acquiring a second language by presenting one which is a bit more complex that which they have and they will gain maximally. This was a belief in input hypothesis by Krashen (1981, 1982) which has acted on for many researches. The next step would enta il finding out what majority of the learners will be, their background languages and how the curriculum can be suited to opt them.A research will need to be conducted to establish what the current situation is on the ground, necessity of having such a curriculum, its implications to the students already in the institution and how they think they can be helped. It would be of little need to establish a curriculum that only duplicates work and overloads the students. In deed, this can be solved by carrying out an extensive research on the need for it, even before it is designed. Once there is enough evidence that such a curriculum is of necessity, one can go ahead and design it. It would be better to incorporate the views of the intended beneficiaries to this project.The curriculum should be geared towards making sure that the students also benefit in usage of the language in other disciplines other than English itself. Therefore, a good connectivity between English language skills s hould be ensured by the curriculum being implemented. Implementation and Review Once the program has been implemented, there is need to keep on acquiring the feed back from the beneficiaries pertaining various courses, their benefits and what they think can be done to improve on the arising difficulties, analyzing the elements of the feed back and carrying out the corrective measures as pertaining course improvement.Conclusion In the above analysis, I have provided a basis model which can be used in developing an English language curriculum, and sort to solve problems related to its substructure in any learning environment. The implementation and review section seeks to give an outline how one can put into action such a curriculum and review it. Remember that a good curriculum is the one that accomplishes its intended purpose satisfactorily. It does not mean that it is free from difficulties, but these must be dealt with. audienceNCCA (2008) Curriculum Online. Retrieved from, http/ /82. 195. 132. 34/index. asp?locID=399&docID=-1, on September 10, 2008 Krashen, S. (1981). Second language acquisition and second language learning. Oxford Pergamon Press. Krashen, S. (1982). Principles and practice in second language acquisition. Oxford Pergamon Press. Nunan D. (1998). communicative Tasks and the Language Curriculum. Macquarie University Urbana-Champaign University of Illinois. Retrieved from http//www. iei. uiuc. edu/TESOLOnline/texts/nunan/index. html on September 10, 2008. Nunan, D. , & Lockwood, J. (1991). The Australian English course Task based English for post-beginners. Cambridge Cambridge University Press.

The Twilight Saga 3: Eclipse Acknowledgments

I would be very remiss if I did not thank the many people who helped me survive the birthing of another novelMy parents make believe been my rock I dont know how anyone does this without a dads good advice and a moms shoulder to countersign on.My husband and sons have been incredibly long-suffering-anyone else would have had me committed to an asylum long ago. Thanks for keeping me around, guys.My Elizabeth-Elizabeth Eulberg, publicist extraordinaire-has do all the difference to my sanity two on and off the road. Few people are lucky enough to work so closely with their BFF, and I am eternally grateful for the wholesomeness of cheese-loving western girls.Jodi Reamer continues to guide my career with genius and finesse. It is very comforting to know that I am in such good hands.It is also wonderful to have my manuscripts in the right hands. Thanks to Rebecca Davis for being so in tune with the story in my head and helping me find the best ways to talk it. Thanks to Megan Tingley , first for your unwavering faith in my work, and second for polishing that work until it shines. allone at Little, browned and Company Books for Young Readers has taken such awesome care of my creations. I can tell it is a true labor of love for you all, and I appreciate it more than you know. Thank you Chris Murphy, Shawn Foster, Andrew Smith, Stephanie Voros, Gail Doobinin, Tina McIntyre, Ames ONeill,and the many others who have made the surrender series a success.I cant believe how lucky I was to discover Lori Joffs, who somehow manages to be both the fastest and the most meticulous proofreader at the same time. I am thrilled to have a friend and accomplice who is so insightful, talented, and patient with my whining.Lori Joffs again, along with Laura Cristiano, Michaela Child, and Ted Joffs, for creating and maintaining the brightest star in the Twilight online universe, the Twilight Lexicon. I truly appreciate all the hard work you put into providing a happy place for my fa ns to hang out. Thanks also to my outside(a) friends at Crepusculo- es.com for a site so amazing it transcends the language barrier. Kudos as well to Brittany Gardeners fabulous work on the Twilight and New moon by Stephenie Meyer MySpace Group, a fan site so large that the idea of keeping track of it boggles my mind Brittany, you amaze me. Katie and Audrey, Bella Penombra is a thing of beauty.Heather, the Nexus rocks.I cant mention all the amazing sites and their creators here, but thank you very much to for each one of you.Many thanks to my cold readers, Laura Cristiano, Michelle Vieira, Bridget Creviston, and Kimberlee Peterson, for their invaluable input and encouraging enthusiasm.Every writer needs an independent bookstore for a friendIm so grateful for my hometown supporters at Changing Hands Bookstore in Tempe, Arizona, and especially to trustfulness Hochhalter, who has brilliant taste in literature.I am in your debt, rock gods of Muse, for yet another inspiring album.Tha nk you for continuing to create my favorite written material music. I am also grateful to all the other bands on my playlistwho help me through the writers block, and to my new discoveries, Ok Go, Gomez, Placebo, Blue October, and Jacks Mannequin.Most of all, a gargantuan thank-you to all of my fans. I firmly believe that my fans are the most attractive, intelligent, exciting, and dedicated fans in the whole world.I wish I could give you each a big hug and a Porsche 911 Turbo.All rights reserved. Except as permitted under the U.S. Copyright Act of 1976, no part of this publication may be reproduced, distributed, or transmitted in any formor by any means, or stored in a database or retrieval system, without the prior written permission of the publisher.Little, Brown and Company

Crisis Management and Communication in Organizations Essay

1. IntroductionIn the modern changing world a crisis r forth out legislate anywhere. It cannot be expected. And Effective Communication is really authorized when managing a crisis as one mistake through by the Organization can affect the whole Organization itself, its stakeholders and the Industry. It even could threaten public safety, the fiscal position of the institution and the reputation. It can transcend to disruption of operation creating difference of market (W.T Coombs, 2007). Thats where converse comes in handy as lack of parley between the Society and the Organization can lead to distress, this is the where verbal and non verbal communication is really important.Referring to the case of dominoes pizza (New York Times ,2009), when two employs of the dominoes franchise in Conover, N.C, played a scene prank with the food and putting the video on YouTube, the Management waited hoping that it testament blow a mode and that is what went wrong. in that location was no news from them in the first 24 hrs. Instead of answering the queries of the consumers and the media they waited in the hope that it will cool down which never happened (New York Times, 2009). In a situation like this its really important to face the society and tell them whats waiver on, should communicate with them verbally and non verbally or else the society will keep the image of the organization the way they want, skinny or bad.When in crisis after appointing a spokes person, its really important for the spokesperson to be calm and pleasant when confronting the media avoiding nervous habits ensuring the limit of disfluencies such as umhs or uhs, while avoiding fidgeting and pacing (W.T Coombs,2007). There is a good crisis example in 1993 The Pepsi product tempering in 1993 (M.Hubbard,2006).They proved that effective communication in the Organization and effective crisis public relations campaign combining various strategies can quail the hoax(M.Hubbard,2006).When dealing with media regarding a business crisis, its really important for the organization to stick to what they say if the statements presumptuousness by the organization keeps on changing, dealing with the public relations will be a broad(a) disaster. They have to be very clear about what they say avoiding the statements which doesnt make sense retentivity it simple with limited reading for the time being.2. The Crisis 2.1. Communication Tactics It was clear in the case of Dominos pizza (New York Times, 2009) that management wasnt aw atomic number 18 of the situation unless a blogger energeticed the Dominos vice chairperson of communications Tim McIntyre. There was no reaction from the management first as they didnt want to alert more people to the story. And according to the Adage, a trade publication, Dominos response was late as in a situation like this the firm should be responsive to the crisis in the first 24 hrs and dominos took 48 hrs to be fully responsive (R.Flandez, 2009). Just for the sake that more people tycoon be alerted on that point was no issue of formal press release to mainstream press meanwhile the subjective team was busy to form a strategy.After the management came to know of the videos they started to search for the two employs of dominos that were responsible for the videos with the help of bloggers and YouTube, and little that they realized that 70% of the conversation was going on Twitter and YouTube. As the Crisis began and most of the conversations were going on within the Social Networks from dominos they opened a twitter report to be responsive to the consumers and the society, even the President of the dominos pizza Patrick Doyle appeared on a YouTube video and explained the present situation of Dominos and that the remembering where the video was shot were closed and sanitized, for the efforts of Dominos Richard Levick, President of the Levick Communications cave ins an F for the first 24 hrs and an A for the rest (R.Fland ez,2009). By using the kindly Networks dominos managed to handle the situation well.2.2. Goods and Bads During the crisis, It could be clearly seen that even though Dominos was in a bad situation they didnt jump on defending just because they might perpetrate more people and they didnt hold anything like a press conference, which wasnt appropriate during that situation, tho they did upload a video on YouTube and opened a twitter account to defend dominos and to tell people what was going on which was a good thing they did. The YouTube and twitter response was good moreover what about the older generation?, the people who are not on any of these notwithstanding still a fan of dominos, they will only hear what people say considering on that point was no press conference or statement on TV which is a direct source of information to the Public. From dominos if they had got on TV they could have told the public as whole that they are working on the crisis and what they are doing ab out it.Even in the YouTube video the president of Dominos pizza Patrick Doyle stated that the store where the video shot was taken by the pranksters was closed and sanitized (R.Flandez,2009),they could have invited the Media ( TV stations and reporters) to incur the process. Even though the two employs of Dominos were fired after the video they could have managed to get a live statement of what actually happened and why they did it. It could have given extra support to prove the ingenuousness of the whole organization. In the case of Pepsi-Cola in 1993(M.Hubbard,2006) when a man in Tacoma, Washington claimed that he had engraft a syringe in a can of diet Pepsi, the story started spreading like uncivilized fire in the country more claims started arising.Pepsi-Cola announced that they will pursue legal action against anyone do false claims and started work on proving the innocence of Pepsi-Cola, and the claims did turn out to be a hoax. The president of Pepsi Craig Weatherup do a ppearances on TV and gave statements on radio. They even brought in cameras to the Pepsi bottling plant to show the bottling process and proved that there is no way that a foreign object could be inserted in to bottle or can before its sealed(M.Hubbard,2006), which is a very good example of communication in crisis. Dominos did make mistakes but they still managed the situation at a time there was no Social media plat forms or strategy in the Organization (M.Agnes, 2012)3. Recommendations After the incident took place on 13th April 2009.a study conducted by HCD Research found 65% of respondents who were daily customers hesitates to do so after watching the offending video(R.Flandez,2009). Recommendations are many for this kind of situations. Like they could have prepared a communication list of reporters investors and customers, business partners and advisors and give to an official statement instead of waiting without any actions like in the dominos case and as well as admitting th at there is a problem helps to move on with the others steps of the process to overcome the crisis(M.Nowlan, 2006).Many companies give out the phrase no comment and that is not the best thing to do as the public will conclude the situation making the Company guilty. And also respond to the situation as quickly as possible (M.Nowlan, 2006).4.Conclusion As Effective communication plays a major role in the business organization its really important for the organizations to be ready for what might come for them. As one sensation mistake made by them at a time of crisis can lead to a loss which would be difficult to get over. As in the case of Dominos they were nearly out of business, there was couple of things which could have been done from the company side which were neglected in communicating the public. Its important to take action internally but considering the company to be a service provider, issues will derail in a speed that no human can expect it that way. Let this case be a lesson to all the service providers to improve their image for the future.

Fireworks poem Essay

Fireworks a device containing chemicals that create a splendid explosion when lighted. Thats the prototypic definition that comes to mind when the word fireworks is mentioned. However, in the expressionary, it states that there is as well a nonliteral hold still foring for fireworks, which is an flush of anger or other emotions. In Amy Lowells poem, Fireworks, she single-valued functions the noun definition of fireworks to express the figurative meaning of fireworks. passim the poem, Amy reveals how much she hates this person by using descriptive words to describe the spectacular explosions caused by fireworks.Thus, the chief(prenominal) idea of the poem is anger or beefed-up feeling of hostility. Fireworks is an example of a lyrical poem because the poem rhymes and it has a steadfast and continuous rhyme scheme, which is AA, AABB, AABB, AA, AABB, AABB, and AA. A lyrical poem as well as shows emotions and imagination. In this poem, the poet showed emotions by the lines that stated, You hate me and I hate you. The poem also showed imagination because Amy used the noun meaning of fireworks to picture the figurative meaning of fireworks. However, this poem has an irregular meter because each line has a different build of syllables. Also, there isnt a pattern in the stressed and unstressed words.This poem also didnt have any onomatopoeias, consonances and assonances. The poem is written in seven stanzas, which includes four regular quatrains and three regular couplets. The send-off stanza is a couplet that tells the reader the poet hates this person and the person hates the poet too. It also states that they are both courtly about it. The second and third stanzas (quatrains) describe to the reader what happens when the poet sees her enemy. The poets anger is expressed though promising fireworks. The fourth stanza (a couplet) again tells the reader the poet hates her enemy. The fifth and sixth stanzas (quatrains) inform the reader what happens wh en the poets enemy sees the poet.Again, this licking of the enemy is reveal through descriptive fireworks. The terminal stanza (a couplet) talks about the anger the devil creates and the first line of the poem is re-stated again. In this poem, Amy uses a lot of descriptive words to describe the fireworks. The strong descriptive words create a vivid image of fireworks inside the readers head. Amy also chooses to use words like mauve and azure instead of just saying purple and blue.The imagery pictures she created were spits and sparkles in stars and balls, buds into roses and flares and falls, scarlet buttons, pale green disks, silverspirals and asterisks, shoot and tremble in a mist, peppered with mauve and amethyst, saffron cubes, crimson moons, wheels all amaranths and maroons, golden lozenges and spades, arrows of malachites and jades, patens of copper, azure sheaves, glossy leaves. The words Amy used in this poem were carefully chosen to create such detailed pictures.Firewo rks include many a(prenominal) literary terms. As said in the pervious paragraph, this poem has a lot of imagery. The whole poem can also be referred to a metaphor because throughout the poem, it compares anger to fireworks without using the words like or as. In addition, there is alliteration in the poem. In the second stanza, the third line, it says, In spits and sparkles in stars and balls. on that point was a repetition of initial sounds in the three words spits, sparkles and stars. Also, the second stanza, first line and the finish two words burst apart can be an example of a con nonative diction because the dictionary meaning marrow to break apart but it can also mean to check genuinely angry.This can also be an example of a magnification because it is an exaggeration of how angry the poet must be feeling. The fifth stanza, first line and the last two words can also be a connotative diction because the dictionary meaning is to tear apart but in this case, it means to b e furious. This can also be a hyperbole too because it exaggerates anger the poets enemy feels. The last example of a connotative diction is the second stanza, second line and the last two words, which is, blazing heart. The dictionary meaning is a burning heart but can also mean a strong feeling of hostility.The last literary term found is a symbol. The last stanza and the second line states, Such fireworks as we make, we two The word fireworks in this line doesnt mean fireworks (a device containing chemicals that cause a splendid explosion) but instead meaning the problems and furious agreements the poet and her enemy create. severally of the devices the poet used is very important to the poem. The first and most obvious device the poet used was imagery. The poet used many descriptive words that created and showed the readers how the fireworks actually looked like.The main idea of the poem is expressing anger though fireworks so it is very important to show the readers how each o f the fireworks look like. Another device used was the hyperbole. Using a hyperbole exaggerates a word or phrase and can emphases how much the poet hates her enemy and the otherway around. intensional dictions are also important in this poem because they show how the poet and her enemy feel. Last but not least, the metaphor throughout the whole poem is the most significant device used because it compares the poet and her enemys frustration of each other through fireworks.In conclusion, this poem is using the noun definition of fireworks to express the figurative meaning of fireworks. The poem is about the poet hating her enemy and the enemy hating the poet. Throughout the whole poem, their anger towards each other is expressed in the form of fireworks. Therefore, the main idea of this poem is anger or a strong feeling of hostility.

Assignment Meg 5

Dhvani This word convey sound liter bothy, alone does non deal with the fhction of sound in the musical harmonyal sense. The theory was first propounded by Anandavardhana, the ninth snow thinker, in his treatise, Dhavanyaloka (Dhvani+aloka). The Dhvani theory considers the in right away evoked importation or suggestivity as the char spoteristic f a e of literary utterance. This feature separates and de b readines the literary from other kinds of hash come out, and is an exclusively-embracing principle which develops the structure and function of the other signifi laughingstockt regulariseings of literary utterance the aesthetic &e,d or rasa, the figural elan and devices (alamkara), and so on.Related cla spokesperson F aloneacy of Absolute StatementIn Kapoors words, all the subsequent literary theorists in the tradition found the combination of rasa and dhvani theories some(a)(prenominal) adequate and sufficient to analyse the constitution of considering in Indian literature. In his treatise I necessitate mentioned before, Anandavardhana has confrontn a detailed description of structural analysis of indirect meanings. According to him, if we can explain how indirect meanings arise schemaatically, we can claim that all potential meanings inhere in a text. Anandavardhana utilises the termination dhvani to designate the universe of suggestion. The soul of kmya is dhyani, he says). His preference for the term sprang from the eveningt that grammarians before him had l devastation oneselfd the term to de none several concepts. First, to denote the sound structure of sabda or words second, to denote the se publictic aspect of sabda and third, the colonial of the now revealed suggested meaning and the process of suggestion involved. Thus drvuni theory is a theory of meaning (an Indian hermeneutics or sorts), of symbolism. The thrust of this theory is towards claiming a greater value for the metrical composition of suggestion.Anandavardhana integrates the theory of the rasa with his dhvani theory that is, he says that dhvani is the method finished which the effect of rasa is achieved. Rasa is the effect of suggestion. Mimesis For Plato (429-397 B. C. ), poiesis or what we call literary theory or even criticism was an imitation or, mimesis. (Poiesis (GK) translates into rhyme, in side of meat, save if the focalize of these 2 term is precise assorted, for the Greeks nomenclature song had a very small p finesse to play as comp bed to the epic or bid. Plato and Aristotle just theorised not al about lyric oetry, scarce about tr long timedy and comedy, about drama, so Richard Harland suggests the much withdraw use of the legal injury literary theory/criticism for the Greek poiesis). Plato called poiesis an imitation or mimesis because he believed drama to be a reproduction of some social occasion that is not really render, and is at that placefore a dramatisation of the reproduction (Richard Harland, p . 6). What he gist is that in a play or an epic, what happens is this the poet recreates an association, the auditory modality watch that re-created experience, they be in fact encouraged to live by dint of that experience . s if they are physically within the time and quadruplet of that experience. Not altogether this, Plato, overly goes on distinguish amid mimesis and digenesis. Mimesis is the speech of a character directly reproduced, whereas digenesis is a narration of doings and sayings where the poet speaks in his own person and does not try to turn our wariness in another(prenominal) direction by pretending that soineone else is speaking . Plato, quoted in Harland, p. 7). With this distinction between mimesis and digenesis, it is painless for us to discern that drama is entirely mimetc , whereas epic is mi metic unless where dialogue is reproduced rii t e% t. where the poet t r l l s (lie O I, il I ,d i r IV. / $C . I . iiurt, this is what larv called s h c 111 , 1 1 1 t i tclliigr e,petll . l1l*zih owever disapprt . imitation, and i)1 titln,ltiscdd alogue. Mimesis, in Greek judgment in the main meant making of one sort or another. This is well recorded in Plato. Plato gave a new metaphysical and epistemological perspective to mimesis, enlargening its meaning from making by human hands to making by universal force.Yet, mimesis, not only in Platos definition scarcely in the use of the concept in the whole of western tradition, always retained the sense of not only making, provided of making a copy of some original which was never totally independent of the model. (Gupt 93). In Platonic theory, all art (techne) has been interpreted to mean some kind of manipulation close to craft. In the Sophist, Plato has divide techne into acquisitive, productive and creative categories of which the last brings into existence things not existing before.However, the highest art, in the scheme of Plato is not music or poetry, but statecraft, which is compared to the making of a tragedy in the Laws (817B) and to sculpture in the Republic (420C). only production, in a general way, is mimesis. In the Greek usage, there was not only the term mimesis but others much(prenominal) as mithexis (participation), homoiosis, ( manageness) and paraplesia (likeness) and which were close to the meaning, of mimesis. These terms were also used to yield the relationship between an im age (eidolon) and its archetype.Moreoer, not only are physical objects imitated by pictures of them, but the essences of things are imitated also by names that we give to those things. For example, the essence or the dogness of a dog is imitated by the name dog given to that creature (Cratylus 423-24). Similarly, reality is imitated or mimetised by thought, eternity by time (Timaeus 38b). The musician imitates divine harmony, the good man imitates the virtues, the wise legislator imitates the course of study of God in constructing his state, god (demiourgos) imitates the Forms in the making of Ws world. With Aristotle the concept of mimesis chthoniangoes a major trans mixtureation.It retains the condition of world a copy of a model, but the Platonic denigration is reversed. This reversal is based on a metaphysical revision. The permanent reality is not transcedental in Aristotles opinion. When an artist makes an object, he incorporates certain universal elements in it but he does fall short of any absolute model of dniversality. Because of the universality contained in art, in Aristotles watch out, art, as all other imitation leads to knowledge. The plea incontestable that mimesis provides is on account of knowledge that is acquired with mimesis, even though this knowledge is of incidents And since learning and admiring are attractive, all things connected with them moldiness also. be pleasant for instance, a nominate of imitation, such(prenominal) as painting, sculpture, Toetry, and all that is well imitated, even if the object of imitation is not pleasant for it is not this that causes pleasure or the reverse, but the inference that the imitation and the object imitated are identical, so that the upshot is that we learn something. (Rhetoric I, xi, 1371 b trans. Freese qtd. by Beardsley 57) similarly possessing didactic capacity mimesis is defined as a congenial likeness.Aristotle defines the pleasure giving quality of mimesis in the Poetics, as follows First, the instinct of imitation is implanted in man from childhood, one difference between him and other animals being that he is the most imitative of living creatures, and through imitation learns his earliest lessons and no less universal is the pleasure felt in things imitated. Thus the agent why men enjoy seeing a likeness is, that in contemplating it they find themselves learning or inferring, and saying perhaps, Ah, that is he. Imitation, and then, is one instinct of our nature. (Poetics IV. 1-6 ) As a corollary it follows that the artist is no liar, but on the contrary, leads us to Truth. However, Aristotle seems to surrender limited his vision when it comes to enumerating the objects of imitation. In Plato, all creation was an imitation of Forms, which were transcendental. For Aristotle, though the Form (eidos) of either object existed, it was not a transcendental reality but something within personality which Nature itself tends to attain. Further, it is say that for Aristotle, Art helps Nature in this endeavour of attaining the perfection of Form.This interpretation of Aristotles metaphysics has been based upon his two oft-quoted sayings, Art imitates Nature (Physics iii. 2 I94a 21. ) and the artist may imitate things as they ought to be (Poetics XXXV I). Amplifying from this neverthelesscher has concluded If wekxpand Aristotles root in the light of his own system, fine art eliminates what is transient and particular and reveals the permanent and essential features of the original. It discovers form (eidos) towards which an object tends, the result which nature strives to attain. (150) There is little in the literary productions of Aristotle that can explicitly sustain such a conclusion. This discovery of the form (eidos) in objects tends to make Aristotle into a shadow of Plato. Aristotle admits that there is something permanent and stick out in art, but that something could be called eidos, is beyond substantiation from Aristotles writings. Similarly, the dictum, art imitates nature, has given rise to many interpretations over the centuries. It has been argued that the irrner principle of Nature is what art imitates.But if we follow out his thought, his (Aristotles) reply would appear to be something of this kind. Nature is a living and creative energy, which by a sort of instinctive antecedent works in every individual object towards a specific end (Butcher 155). The teleological and structural pattern of tragedy seems to have been transferred on to Nature by Butcher. This was a typical nineteenth hundred view of Aristotelian philosophy. Since the Renaissance, divers(prenominal) definitions of Nature have been foisted upon Aristotles dictum, art imitates Nature.For the purpose of drama, the most disastrous one was that of realism, which having captured fiction by techniques of portraiture, landscape, and caricature, transferred these on to drama. Aristotle was clear that a e purpose of imitation in drama, was to provide proper pleasure by imitating exercise. Mimesis of men in action was mimesis of all human life history. Through music, the artist imitates, anger and mildness as well as courage or temperance (Politics v. viii. 5. 1341 8) and ethical qualities and emotions. Similarly, he says, Dance,imitates character, emotions and action (Poetics 1. 5).We should be content to note that in drama he applied the general theory ef mimesis, which he thought, was both for the s&e of pleasure and knowledge. But even the Aristotelian affirmation of pleasure in art was not sufficient to free art from being constantly compared with its original, that is the worldly objects. This originally Platonic habit, has been fast(a) throughout western criticism which repeatedly gauges art in terms of how truthfully or realistically it represents the world, how much of an understanding of the world can it bring to us, one way or another. , 3. 3 THE MEDIA OF MIMESIS 3. 3. 1 Rhythm, Language, and Haniony After stating that epic poetry, tragedy, comedy, dithyrambic poetry, flute or lyre playing are all modes of mimesis, Aristotle states that mimesis in different arl forms is achieved differently, and that the object and manner of mimesis is different in each case ( Poetics 1 2-4 ). He states that the three media for all arts are as follows For there are persons who, by conscious act or genuine habit, imitate and represent various objects through the medium of colour and fonn, or again , by vox so in the arts preceding(prenominal) mentioned, taken as a whole, the imitation is produced by daily round, verbiage and harmony, either singly or combined. Poetics 14 ) Leaving aside painting and sculpture which use colour and other forms (materials), the arts of performance like music, dance and drama, use rhythm, language and harmony. Flute and lyre use rhythm and notes only, and dancing uses only rhythm. But for Aristotle, rhythm is not a mere beat or a division of time, but movement with regularity, be it theemere movement of the body or that of notes. That is why, dancing, he says, imitates characteG emotion and action by rhythmical movement (15). - song or verse whether creative or informative imitates through language alone, but dithyrambic and elegiac poetry, tragedy and comedy use all three means. In dithyrambic and elegiac poetry all three means are used together, but in tragedy and comedy now one means is employed, now Aristotles Theory of Imitation Classical Cdtkisrn another (15). What is true of tragedy and comedy can be ta ken as true of all drama, satyr plays included. Aristotles brevity of plan has prevented him from saying anything but about the manner in which rhythm, language and harmony are employed in drama.About the details of language (lexis) one can gather quite a a couple of(prenominal) things from Aristotles comments on language which he categorised as one of the six elements of tragedy. But the nature of harmony (which he called melopoiia and enumerated as another element of tragedy) is hardly touched upon by him. So is rhythm never mentioned again in the Poetics. No wonder, then, that one has to look elsewhere to gather information about the use of music in the Greek theatre. Aristotle perhaps took musical employment in drama for granted and, therefore, refrained from stating anything further about it.But the result of what may have been for him a redundancy, was disastrous for the post-Renaissance readers of the Poetics. The practical art of theatre-music being extinct, the Europeans theorize a picture of Greek drama in which there was hardly any place for rhythm or music. Greek drama was envisaged as a primarily rhetorical affair (an impression built by Roman tragedies) far removed from the balance of optic and aural channels of theatrical reflectivity that ancient drama depends so much upon.But if Aristotle left out the details of musical application he was at least explicit in stating it as a medium of mimesis. However, he not only neglected but left out from his description of tragedy the visual content of Greek performances represent by the physical movements and complex gestures of the actors and the chorus. More than their mask and costume, the Greek actors had a repertoire of highly horny gestures, just as the chorus members had a repertoire of a variety of dances to create complex visual effects. CatharsisThere has been a sustained attack to postulate that purgation could be a common and basic aesthetic experience. But the very meaning of cath arsis has been a source of conflicting interpretations. In the nineteenth century one major way of looking at catharsis was to take it as a medical checkup term transferred to poetical criticism. Cleansing (kenosis) in the Hippocratic writings denotes the entire removal of healthy but surplus humours Catharsis is the removal of the afflictions or excesses (ta lupounta) and the like of qualitatively alien matter (But cher 253). This principle of imbalance of vital forces later on called humours, as the primary cause of disease, is of purely Indian origin. As demonstrated by Filliozat, the science was well formulated in India as early as the Atharva Veda and travelled t o Greece through Persia). According to the Hippocratic theory, an imbalance among the elements of air , bile (of two kinds) and quietness causes each and every disease. The cure lying in subduing the overswollen element and restoring the balance between the four elements. Besides this well-stated medicinal doctrine , there was also the practice of curing madness through musical catharsis.The patients were make to try to certain melodies which made them fall back into their normal state, as if they had undergone a medical or aperient (cathartic) treatment (Politics V. viii. 7. 1342 a IS qtd. in Butcher 249). It is further added that not only is catharsis achieved musically but that those who are liable to blessing and fear, and in general, persons of emotional temperament pass through a like experience they all undergo a catharsis of some kind and feel a pleasant time out (Butcher 251).The nature of catharsis described in the Politics should be true for the Poetics, as Aristotle himself has stated that his observations are of a general nature in the former treatise but shall be much detailed in a later work. Therefore, those who presumed that tragic catharsis like musical catharsis restores normally healthy emotional state, were not so wrong. But this rather clinical definition of cathar sis does not satisfy the literary theorists. As early as Butcher it was felt there was more to it. But the word, as taken up by Aristotle into his terminology of art, has probably a further meaning.It expresses not 6nly a fact of psychology or of pathology, but a principle of art (253). The tragic pity and fear he postulated, in real life contain a morbid and disturbing I element As the tragic action progresses, the lower forms of emotion are found to have been transmuted into more refined forms (254). He further postulated that this finish is also a change of the personal emotion to the universal. Purged of the petty interest of the self (261) emotion now becomes a representation of the universal, so that the net result is a noble emotional satisfaction (267).It is not troublesome to discern that catharsis is equated with aesthetic pleasure in which noble emotional satisfaction is an essential feature, But whatever may have been the indirect effect of the repeated functioning of catharsis, we may confidently say that Aristotle in his definition of tragedy is intellection, not only of any remote result, but of the immediate end of the art, of the Aristotles Theory of aesthetic function it fulfils (Butcher 269). Tragedy -Part IJ In my opinion, to raise the balancing function of catharsis to the train of . universalisation is to stretch the concept too far.CertC,-rlyt, he restorative function of catharsis may bring relief such as a sick person feels upon recovery. But it is a presumption on the part of Butcher that universalisation takes place because the element purged from the dramatic emotion is that of personal petty interest of the self (261). The Aristotelian catharsis, or for that matter the whole tradition of catharsis, by music or Dionysian orgies, has personal cure or satisfaction as its end. Inner restoration, but not the enjoyment of a new aesthetic element, can at best be the purpose of catharsis. The factors of enjoyment, of oikeia hedone, a re ifferent as stated former. . Other than regarding it as purgational, there has been another mjowr ay of interpreting catharsis. The dual concept of purity and impurity which pervaded the physical, moral, religious and spiritual life of the Greeks was the most deepseated factor governing their daily activities. The duality of defilement (miasma) and purgation (catharsis) was part of the Indo-European judgment system. We find that in Greek plays, all tragic action is dependent on acts of transgression such as the murder of a kin, sexual defilement, affronts to deities, and so on.These acts brought pollution (miasma) upon the booster dose and the people around him. In Greek religion there were prescriptions for expiation of such crimes, just as in India rituals were prescribed for purge of pollution. In tragedies, the very ritual of expiation was often enacted, as in the Oresteia. In most plays, the protagonist was expelled from the community by death or banishment there was expu lsion (kenosis) of the sinner and purification (catharsis) of a given location, city, grove or household. Whereas in some plays, as in the Oresteia, this round of drinks was shown in ,- itP n. 1, . teness, in other playh it was shown partially. In some other plays as in Hecabe or Women of Troy, there is only miasma and no katharsis. Looked at in this way, tragedy was a depiction of the cycle of miasma and catharsis. To my thinker, the one-year law of tragedy was to reaffm the miasrnacatharsis duality, which was a major cultural value of ancient Greek society. In all ancient societies the purpose of retelling the myths, particularly on festive occasions, was many-fold it was to preserve and transmit the stories, to re-state the beliefs they enshrined, and $0 relive the behavior patterns sanctified by tradition.The retelling always had a ritual significance even if it took the form of dramatic enactment for the purpose of entertainment. Entertainment and ritual were intertwined i n ancient theatre. In this manner, tragedy was a reliving of the pollution-purity cycle by both the actors and the spectators. The community, the protagonist, hisher acts, and the fire emotions of the audience, all underwent a catharsis. In his analysis,of catharsis, Gerald Else has rightly grasped the spiritual significance that catharsis had for the Greeks, but he restricts the scope of purgation to the acts of the protagonist.For Else, contriteness makes the hero eligible to the spectators pity, and this pity along with the heros remorse proves that the act of transgression was actually a pure (cufharos) act. Thus catharsis is the process of proving purity. As Else puts it The obscenity inheres in a conscious intention to kill a person who is a close kin. An unconscious(p) intention to do so, i. e, in intention to do so without being aware of the kinship as Oedipus did not know that he killed his father would therefore be pure, catharos. But purity must be proved to our satis faction.Catharsis would then be the process of proving that the act was pure in that sense. How is such a thing proved ? According to Nicomachean Ethics (3,2, 11 lob19 and 11 1 la20 ), by the remorse of the doer, which shows that if he had cognise the facts he would not have done the turn. In Oedipus, the thing which establishes this to our satisfaction is Oedipus self blinding. It, then, effects a purification of the tragic deed and so makes Oedipus eligible to our pity. (Else 98) From this interpretation it seems that Else does not believe that catharsis enefits the audience and their emotions in anyway. In his variant of the famous passage , in the Poetics, catharsis is purification of the tragic deed and not of the emotions of the spectators. This goes against all other instances of catharsis as mentioned by Plato and Aristotle. The examples they have givenindicate a change in the mental state of the spectators or music listeners. Besides, it is nowhere indicated by Aristotle that pity in tragedy was aroused for the purpose of regenerating and purifying the sin and the sinner.He is more concerned with showing how we can feel pity for the protagonist. This facial expression in us is more capable of providing catharsis to us rather than just providing that the act of the hero was catharos. If the concept of catharsis is to have any general utility, it must be persumed that the cycle of pollution and purgation (miasma and catharsis) effects an emotional catharsis in the audience as well. A harmonious view of catharsis which combines its spiritual, clinical and aesthetic effects is more in keeping with the unified approach of the ancients. Biographia Literaria Biographia Literaria was begun by its author as a literary autobiography but ended up in discussions about Kant, and Schelling and Coleridges perceptive criticism of Wordsworths poetry and a comprehensive statement on creative imagination which constitutes his most signal contribution to literary cri ticism and theory. As was his wont, oler ridge has let his awe-inspiringly respectable mind slacken on aestheiics, its philosophical foundations and its practical application in an almost desultory manner.The result is a mine of inexhaustible potential called Biographia Literaria to which critics of all shades of opinion have turned for help and inspiration and very seldom has any one of them been disap tear downed. Arthur Symons justly described the work as rthe greatest book of English criticism. Coleridge has sometimes been accused of borrowing from the Germans, particularly from Kant, Sckelliangd the Schlegels, but most of his ideas were originally arrived at and, in my case. the system into which these ideas were fttA as the creation of his own great mind. Coleridges whole aesthetic his definition of poetry, his idea of the poet, and h s poetical criticism revolve around his theory of creative imagination. From this point of view chapters XI11 and XIV of Biographin Literrr ialr e most signticant. The statement of the theory of imagination in Biographia Litercrria is preceded by a prolix and, at time, abstruegnlosophical discourse in the form of certain theses or propositions whose crs is Coleridges attempt to define Nature and Self.Nature the sum of all that is object is passive and unconscious while Self or Intelligence the sum of all that is stateive is vital and conscious. All knowledge is the product of the coalescence of the subject and the object. This coalescence leads to the act of creation, I AM. It is in this state of self-consciousness that object ar. d subject, being and knowledge, are identical and the reality of the one life in us and abroad is experienced and affirmed and chaos is converted into z cosmos. What happens is that the Self or Spirit views itself in all objects which as objects are dead and finite.Coleridges theory of creativeymagination is fundamentally grounded ir, ihis perception. Hence Coleridges view of the . =lagin ation approximates to the riecvso l Schelling and Kant. Like Coleridge they recognise the interdependence of subject and object as complemental aspects of a single reality. Also they all agree about the self conceived 2s a totality thought and feeling in their original identity and not as an abstraction. Thomas Steams Eliot (1888-1965) is probably the best cognize and most influential English poet of the twentieth century. His work as a critic is equally significant. l7. S.Eliots full of life output was quite diverse he wrote theoretical piecesas well as studeso f particular authors. Tradition and the Individual Talent (1919) clearly expresses Eliots concepts about poetry and the importance of tradition. Eliot emphasizes the need for critical thinking criticism is as inevitable as breathing. He feels that it is unfortunate that the word tradition is mentioned only with pejorative implications, as when we call some poet too traditional. He questions the habit of praising a poet p rimarily for those elements in his work which are more individual and differentiate him Erom others. ccordingto T. S. Eliot, even the most individual separate of a poets work may be those which are most alive with the influence of his poetic ancestors. Eliot stresses the objective and intellectual element. The whole of past literature will be in the bones of the poet with the true historical sense, a feeling that the whole of the literature of Europe from Homer and within it the whole of the literiture of his own hoidenish has a simultaneous existence and composes a simultaneous order. No poet has his complete meaning alone. For proper evaluation, you must set a poet, for contrast and comparison, among the dead poets.Eliot envisages a dynamic relationship between past and present writers. The existing monuments form an ideal order amgng themselves, which is modified by the introduction of the new (the really new) work of art among them. An artist can be judged only by the stand ards of thepast this does not mean the standards of dead critics. It means a judgement when two things, the old and the new, are measured by each other. To some extent, this resembles Matthew Arnolds measuring stick the ideal order formed by the existing monuments provide the standard, a land of touchstone, for evaluation.As with Arnolds touchstones, Eliots ideal order is subjective and in need of modification from time to time. T. S. Eliot Eliot lays stress on the artist knowing the mind of Europe the mind of his own countrya mind which he learns in time to be much more important than his own . private mind. But he does not mean pedantic knowledge, he means a consciousness of the past, and some persons have a greater sensitiveness to this historical awareness. As Eliot states, with epigrammatic brevity, Some can absorb knowledge, the more tardy New reproval must sweat for it. Shakespeare acquired more essential history from Plutarch than ost men could from the whole British Mu seum. Throughout Eliots poetry and criticism, we find this emphasis on the artist surrendering himself to some larger authority. His later political and religious writings too valorized authority. It is interesting that Eliot always worked within his own cultural space religion meant Christianity, while literature, elaboration and history meant exclusively European literature, culture or history. Tradition, for Eliot, means an awareness of the history of Europe, not as dead facts but as a11 ever-changing yet changeless presence, constantly interacting subconsciously with the individual poet.He wants the poet to link his personality with the tradition. The progress of the artist is a continual self-sacrifice, a continual extinction of personality. He suggests the affinity of the catalyst in a scientific laboratory for this process of depersonalization. The mind of the poet is a medium in which experiences can enter into new combinations. When oxygen and sulphur dioxide are mixed in the presence of a filament of platinum, they form sulfuric acid. This combination takes place only in the presence of platinum, which is the catalyst. But the sulphuric acid shows no trace of platinum, which remains unaffected.The catalyst facilitates the chemical change, but does not participate in it, and remains unchanged. Eliot compares the mind of the poet to the shred of platinum, which will digest and transmute the. passions which are its material. Eliot shifts the critical focus from the poet to the poetry, and declares, Honest criticism and sensitive appreciation are directed not upon the poet but upon the poetry. Eliot sees the poets mind as a receptacle for seizing and stonng up numberless feelings,phrases, images, which remain there until all the particles which can unite to form a new compound are present together. He says that concepts like sublimity, greatness or passion of emotion are irrelevant. It is not the greatness of the emotion that matters, but the int ensity of the artistic process, the pressure under which the artistic hsion takes place, that is important. In this way he rejects the Romantic emphasis on genius and the exceptional mind. Eliot refutes the idea that poetry is the expression of the personality of the poet. Experiences important for the man may have no place in his poems, and vice-versa. The emotions occasioned by events in the personal life of the poet are not important.What matters is the emotion transmuted into poetry, the feelings expressed in the poetry. Emotions which he has never experienced will serve his turn as well as those familiar to him. Eliot says that Wordsworths formula is wrong. (Iam sure you would remember Wordsworths comments on poetry in the Preface to the Lyrical Ballads Poetry is the spontaneous overflow of powerful feeling it takes its origins from emotion recollected in tranquility. ) For Eliot, poetryls not recollection of feeling, it is a new thing resulting from the concentration of a very great number of experiences . . it is a concentration which does not happen consciously or of deliberation. Eliot believes that Poetry is not a turning loose of emotion, but an escape fiom emotion it is not the expression of personality, but an escape from personality. For him, the emotion of art is impersonal, and the artist can achieve this impersonality only by cultivating the historical sense, by belng conscious of the tradition It is now generally believed that Eliots idea of tradition is rather narrow in two respects.First, hes talking of simply the poetic tradition and neglects the fact that even the poetic tradition is a complex amalgam of written and oral poetry and the elements that go into them. It was only in later writings that he realised the fact that in ibc making of verse many elements are involved. In his wntlngs on poetic drama he glves evidence of having broadened his scope. Second, Eliot is neglecting other traditions that go into social formations. When he i atrr wrote Religion and Literature, he gives more scope to non-poebc elements of tradition. On these considerations one can say that he developshis ideas on tradition T.S. Eliot throughout his literary career right up to the time he wrote Notes Towards a Definition of Culture in which traditionis more luxurious than in his earlier writings. Dissociation of aesthesia is a literary term first used by T. S. Eliot in his essay The Metaphysical Poets1 It refers to the way in which intellectual thought was separated from the experience of feeling in seventeenth century poetry. Eliot used the term to describe the manner by which the nature and spunk of English poetry changed between the time of Donne or Lord Herbert of Cherbury and the time of Tennyson and Browning. In this essay, Eliot attempts to define the metaphysical poet and in doing so to determine the metaphysical poets era as well as his obvious qualities. We may express the difference by the following theory The poets of the seventeenth century, the successors of the dramatists of the sixteenth, possessed a machine of sensitivity which could devour any kind of experience. They are simple, artificial, difficult, or fantastic, as their predecessors were no less nor more than Dante, Guido Cavalcanti, Guinicelli, or Cino.In the seventeenth century a dissociation of sensibility set in, from which we have never retrieve and this dissociation, as is natural, was aggravated by the influence of the two most powerful poets of the century, Milton and Dryden. Theory of dissociation of sensibility The theory of dissociation of sensibility rests largely upon Eliots description of the disparity in style that exists between the metaphysical poets of the sixteenth and early seventeenth century and the poets of the late seventeenth century onward.In The Metaphysical Poets, 1 Eliot claims that the earlier grouping of poets were constantly amalgamating disparate experience and thus expressing their thoughts through th e experience of feeling, while the later poets did not unite their thoughts with their emotive experiences and therefore expressed thought separately from feeling. He explains that the dissociation of sensibility is the reason for the difference between the intellectual and the reflective poet. The earlier intellectual poet, Eliot writes, possessed a mechanism of sensibility which could devour any kind of experience. When the dissociation of sensibility occurred, the poets revolted against the ratiocinative, the descriptive they thought and felt by fits, fed up(p) they reflected. Thus dissociation of sensibility is the point at which and the manner by which this change in poetic method and style occurred it is defined by Eliot as the loss of star united with thought. Eliot uses John Donnes poetry as the most prominent example of united sensibility and thought. He writes, a thought to Donne was an experience it modified his sensibility. Eliots apparent appreciation of Donnes abil ity to unify intellectual thought and the sensation of feeling demonstrates that he believes dissociation of sensibility to be a hindrance in the progression of poetry. Eliot asserts that disrespect the progress of refined language, the separation between thought and emotion led to the end of an era of poetry that was more mature and that would wear better than the poetry that followed. deconstruction Deconstruction has been variously presentehs a philosophical position, a political or intellectual stance or just simply as a strategy of reading.As students of literature and literary theory, we should be interested in its power as a mode of reading therefore most of the points about Deconstruction in this Block will be made through instances of reading literature and philosophy. Let us begin here with a simple reading of Derrida describing a general strategy of Deconstruction Every philosophical argument is structured in terms of rivalrys and in this traditional philosophical oppo sition we have not a peaceful co-existence of facing terms but a violent hierarchy.One of the terms dominates the other (axiologically, logically etc. ), occupies the commanding position. To deconstruct the opposition is above all, at a particular moment to reverse the hierarchy. Deconstruction, Derrida implies, looks upon a text as inherently riddled with hierarchical oppositions. A deconstructive reading uncovers not only these hierarchical oppositions but also shows that the superior term in the opposition can be seen as inferior. When we put together some other strategies of Deconstruction outlined in Derridas writings, a working definition begins to emerge. To deconstruct a discourse is to show how it undermines the philosophy it asserts, or the hierarchical opposition on which it relies, by identifying in the text and then dismantling the rhetorical operations that produce the supposed ground of argument, the key concept or premise. This commentary by Jonathan Culler is comp rehensive. So, let us treat it as a companion to the description by Derrida cited above in order to advance our working idea of Deconstruction. Broadly speaking Derrida and Culler are making these points 1. Deconstruction is a searching out or dismantling operation conducted on a discourse to show . How the discourse itself undermines the argument (philosophy) it asserts. 3. One way of doing it is to see how the argument is structured/emailprotected, that is investigate its rhetorical side or argumentative strategy. As Derrida argues, this struchkis often the product of a hierarchy in which two debate terms are presented as superior and inferior. Deconstruction then pulls the carpet from below the superior by showing the limited basis of its superiority and thus reverses the hierarchy, making the superior, inferior. 4. This reversed hierarchy is again unclouded to the same deconstructive operadon.In a way, Deconstruction is a permanent act of destabilization. .So, Deconstruction points to a fallacy not in. the way the first or second hierarchy is constructed but in the very process of creating hierarchies in human thought (which as I have stated earlier, is indispensable to most if not all human arguments or thought. ). Deconstruction does not lead us from a faulty to a meliorate way of thinking I or writing. Rather it shows us the limitations of human thought operating through I language even while harboring the same limitations itself.Every deconstructive operation relies on the same principle it sets out to deconstruct and is thus open to deconstruction itself. Yet, Deconstruction is not simply about reversing hierarchieMough it is one of the I things a deconstructive analysis achieves. Fundamentally, it is a way of understanding the structure of a discourse, locating its controlling revolve around and identifying the unfounded assumptions on which it relies to function as a discourse. It may be compared to a probing operation that uncovers fault line s in a discourse, which may include ideological assumptions and suppositions .