Slain :: English Literature Essays

Slain The monster roared, its fury sparked a thousand tongues of fire from its hide. With one almighty sweep it sent Ryanna’s father flying over the top of the volcano, the wind ceased, the spell failed, and the monster drew itself to its full one hundred feet once again. â€Å"NOOOOOOOO!† Ryanna’s mother screamed in agony and despair, and with a snarl that sounded more like a wolf than a woman, she dashed forwards, a shower of electricity falling around her. With a thrust of her arm and a word, she hurled a massive bolt of thunder at the monster. It was knocked off its feet and landed with an earth shattering crash. Ryanna’s mother, however, had performed a spell that was beyond her power and endurance. She fell and landed on her back, blood flowing from her nose, ears, eyes and mouth at the same time. She remained there motionlessly until little six–year–old Ryanna toddled over. To her, it was just all a magic show that her parents put on for her, as they always did. Her mother looked at her through her bloody eyes while she smiled delightedly and clapped the tiny little hands. Her mother smiled back weakly, and with tremendous effort, she pulled out a small, silver, beautifully decorated pendant. Ryanna’s big, emerald, green eyes opened wide as she slipped it around her neck. â€Å"Guard this well, my child,† she said, and they were the last words she ever spoke. Ryanna waited patiently for her mother to speak again. When she didn’t, Ryanna bent over and gently stroke her stone cold, once beautiful face. Still there was no response, and Ryanna began to panic. She squeezed her mother’s arm as hard as her small hands could, and pulled on her hair. Ryanna began to scream. â€Å"MOTHER!† she cried in between sobs. The dead woman did not answer, but there was a loud, deep grunt. Ryanna turned to see the monster rise, now so angry that its eyes turned livid red. With a stamp of its feet, the monster split the mountainside and Ryanna had just enough time to dodge as her mother’s lifeless body disappeared into a bubbling lake of lava. The monster turned on her, red eyes flashing, and with an ear–splitting roar, it shot a huge jet of flames at the child. As the hot, burning mass came at her, something clicked inside Ryanna, it was a terrible rage, and a thirst for vengeance.

Forward the Foundation Chapter 12

13 Up and down. Up and down. Up and down. Gleb Andorin watched Gambol Deen Namarti trudging up and down. Namarti was obviously unable to sit still under the driving force of the violence of his passion. Andorin thought: He's not the brightest man in the Empire or even in the movement, not the shrewdest, certainly not the most capable of rational thought. He has to be held back constantly-but he's driven as none of the rest of us are. We would give up, let go, but he won't. Push, pull, prod, kick. Well, maybe we need someone like that. We must have someone like that or nothing will ever happen. Namarti stopped, as though he felt Andorin's eyes boring into his back. He turned around and said, â€Å"If you're going to lecture me again on Kaspalov, don't bother.† Andorin shrugged lightly. â€Å"Why bother lecturing you? The deed is done. The harm-if any-has been done.† â€Å"What harm, Andorin? What harm? If I had not done it, then we would have been harmed. The man was on the edge of being a traitor. Within a month, he would have gone running â€Å" â€Å"I know. I was there. I heard what he said.† â€Å"Then you understand there was no choice. No choice. You don't think I liked to have an old comrade killed, do you? I had no choice.† â€Å"Very well. You had no choice.† Namarti resumed his tramping, then turned again. â€Å"Andorin, do you believe in gods?† Andorin stared, â€Å"In what?† â€Å"In gods.† â€Å"I never heard the word. What is it?† Namarti said, â€Å"It's not Galactic Standard. Supernatural influences. How's that?† â€Å"Oh, supernatural influences. Why didn't you say so? No, I don't believe in that sort of thing. By definition, something is supernatural if it exists outside the laws of nature and nothing exists outside the laws of nature. Are you turning into a mystic?† Andorin asked it as though he were joking, but his eyes narrowed with sudden concern. Namarti stared him down. Those blazing eyes of his could stare anyone down. â€Å"Don't be a fool. I've been reading about it. Trillions of people believe in supernatural influences.† â€Å"I know,† said Andorin. â€Å"They always have.† â€Å"They've done so since before the beginning of history. The word ‘gods' is of unknown origin. It is, apparently, a hangover from some primeval language of which no trace any longer exists, except that word. Do you know how many different varieties of beliefs there are in various kinds of gods?† â€Å"Approximately as many as the varieties of fools among the Galactic population, I should say.† Namarti ignored that. â€Å"Some people think the word dates back to the time when all humanity existed on but a single world.† â€Å"Itself a mythological concept. That's just as lunatic as the notion of supernatural influences. There never was one original human world.† â€Å"There would have to be, Andorin,† said Namarti, annoyed. â€Å"Human beings can't have evolved on different worlds and ended as a single species.† â€Å"Even so, there's no effective human world. It can't be located, it can't he defined, so it can't be spoken of sensibly, so it effectively doesn't exist.† â€Å"These gods,† said Namarti, continuing to follow his own line of thought, â€Å"are supposed to protect humanity and keep it safe or at least to care for those portions of humanity that know how to make use of the gods. At a time when there was only one human world, it makes sense to suppose they would be particularly interested in caring for that one tiny world with a few people. They would care for such a world as though they were big brothers-or parents.† â€Å"Very nice of them. I'd like to see them try to handle the entire Empire.† â€Å"What if they could? What if they were infinite?† â€Å"What if the Sun were frozen? What's the use of ‘what if?† â€Å"I'm just speculating. Just thinking. Haven't you ever let your mind wander freely? Do you always keep everything on a leash?† â€Å"I should imagine that's the safest way, keeping it on a leash. What does your wandering mind tell you, Chief?† Namarti's eyes flashed at the other, as though he suspected sarcasm, but Andorin's face remained good-natured and blank. Namarti said, â€Å"What my mind is telling me is this-If there are gods, they must be on our side.† â€Å"Wonderful-if true. Where's the evidence?† â€Å"Evidence? Without the gods, it would just be a coincidence, I suppose, but a very useful one.† Suddenly Namarti yawned and sat down, looking exhausted. Good, thought Andorin. His galloping mind has finally wound itself down and he may talk sense now. â€Å"This matter of internal breakdown of the infrastructure-† said Namarti, his voice distinctly lower. Andorin interrupted. â€Å"You know, Chief, Kaspalov was not entirely wrong about this. The longer we keep it up, the greater the chance that Imperial forces will discover the cause. The whole program must, sooner or later, explode in our faces.† â€Å"Not yet. So far, everything is exploding in the Imperial face. The unrest on Trantor is something I can feel.† He raised his hands, rubbing his fingers together. â€Å"I can feel it. And we are almost through. We are ready for the next step.† Andorin smiled humorlessly. â€Å"I'm not asking for details, Chief. Kaspalov did and look where that got him. I am not Kaspalov.† â€Å"It's precisely because you're not Kaspalov that I can tell you. And because I know something now I didn't then.† â€Å"I presume,† said Andorin, only half-believing what he was saying, â€Å"that you intend a strike on the Imperial Palace grounds.† Namarti looked up. â€Å"Of course. What else is there to do? The problem, however, is how to penetrate the grounds effectively. I have my sources of information there, but they are only spies. I'll need men of action on the spot.† â€Å"To get men of action into the most heavily guarded region in all the galaxy will not be easy.† â€Å"Of course not. That's what has been giving me an unbearable headache till now-and then the gods intervened.† Andorin said gently (it was taking all his self-restraint to keep from showing his disgust), â€Å"I don't think we need a metaphysical discussion. What has happened-leaving the gods to one side?† â€Å"My information is that His Gracious and Ever to Be Beloved Emperor Cleon I has decided to appoint a new Chief Gardener. This is the first new appointee in nearly a quarter of a century.† â€Å"And if so?† â€Å"Do you see no significance?† Andorin thought for a moment. â€Å"I am not a favorite of your gods. I don't see any significance.† â€Å"If you have a new Chief Gardener, Andorin, the situation is the same as having a new administrator of any other type-the same as if you had a new First Minister or a new Emperor. The new Chief Gardener will certainly want his own staff. He will force into retirement what he considers dead wood and will hire younger gardeners by the hundreds.† â€Å"That's possible.† â€Å"It's more than possible. It's certain. Exactly that happened when the present Chief Gardener was appointed and the same when his predecessor was appointed and so on. Hundreds of strangers from the Outer Worlds-â€Å" â€Å"Why from the Outer Worlds?† â€Å"Use your brains-if you have any, Andorin. What do Trantorians know about gardening when they've lived under domes all their lives, tending potted plants, zoos, and carefully arranged crops of grains and fruit trees? What do they know about life in the wild?† â€Å"Ahhh. Now I understand.† â€Å"So there will be these strangers flooding the grounds. They will be carefully checked, I presume, but they won't be as tightly screened as they would be if they were Trantorians. And that means, surely, that we should be able to supply just a few of our own people, with false identifications, and get them inside. Even if some are screened out, a few might make it-a few must make it. Our people will enter, despite the supertight security established since the failed coup in the early days of First Minister Seldon.† (He virtually spat out the name, as he always did.) â€Å"We'll finally have our chance.† Now it was Andorin who felt dizzy, as if he'd fallen into a spinning vortex. â€Å"It seems odd for me to say so, Chief, but there is something to this ‘gods' business after all, because I have been waiting to tell you something that I now see fits in perfectly.† Namarti stared at the other suspiciously and looked around the room, as though he suddenly feared for security. But such fear was groundless. The room was located deep in an old-fashioned residential complex and was well shielded. No one could overhear and no one, even with detailed directions, could find it easily-nor get through the layers of protection provided by loyal members of the organization. Namarti said, â€Å"What are you talking about?† â€Å"I've found a man for you. A young man-very naive. A quite likable fellow, the kind you feel you can trust as soon as you see him. He's got an open face, wide-open eyes; he's lived in Dahl; he's an enthusiast for equality; he thinks Joranum was the greatest thing since Dahlite cokeicers; and I'm sure we can easily talk him into doing anything for the cause.† â€Å"For the cause?† said Namarti, whose suspicions were not in the least alleviated. â€Å"Is he one of us?† â€Å"Actually, he's not one of anything. He's got some vague notions in his head that Joranum wanted sector equality.† â€Å"That was his lure. Sure.† â€Å"It's ours, too, but the kid believes it. He talks about equality and popular participation in government. He even mentioned democracy.† Namarti snickered. â€Å"In twenty thousand years, democracy has never been used for very long without falling apart.† â€Å"Yes, but that's not our concern. It's what drives the young man and I tell you, Chief, I knew we had our tool just about the moment I saw him, but I didn't know how we could possibly use him. Now I know. We can get him onto the Imperial Palace grounds as a gardener.† â€Å"How? Does he know anything about gardening?† â€Å"No. I'm sure he doesn't. He's never worked at anything but unskilled labor. He's operating a hauler right now and I think that he had to be taught how to do that. Still, if we can get him in as a gardener's helper, if he just knows how to hold a pair of shears, then we've got it.† â€Å"Got what?† â€Å"Got someone who can approach anyone we wish-and do so without raising the flutter of a suspicion-and get close enough to strike. I'm telling you he simply exudes a kind of honorable stupidity, a kind of foolish virtue that inspires confidence.† â€Å"And he'll do what we tell him to do?† â€Å"Absolutely.† â€Å"How did you meet this person?† â€Å"It wasn't I. It was Manella who really spotted him.† â€Å"Who?† â€Å"Manella. Manella Dubanqua.† â€Å"Oh. That friend of yours.† Namarti's face twisted into a look of prissy disapproval. â€Å"She's the friend of many people,† said Andorin tolerantly. â€Å"That's one of the things that makes her so useful. She can weigh a man quickly and with very little to go on. She talked to this fellow because she was attracted to him at sight-and I assure you that Manella is not one who is usually attracted by anything but the bottom line-so, you see, this man is rather unusual. She talked to this fellow-his name is Planchet, by the way-and then told me, ‘I have a live one for you, Gleb.' I'll trust her on the matter of live ones any day of the week.† Namarti said slyly, â€Å"And what do you think this wonderful tool of yours would do once he had the run of the grounds, eh, Andorin?† Andorin took a deep breath. â€Å"What else? If we do everything right, he will dispose of our dear Emperor Cleon, First of that Name, for us.† Namarti's face blazed into anger. â€Å"What? Are you mad? Why should we want to kill Cleon? He's our hold on the government. He's the facade behind which we can rule. He's our passport to legitimacy. Where are your brains? We need him as a figurehead. He won't interfere with us and we'll be stronger for his existence.† Andorin's fair face turned blotchy red and his good humor finally exploded. â€Å"What do you have in mind, then? What are you planning? I'm getting tired of always having to second-guess.† Namarti raised his hand. â€Å"All right. All right. Calm down. I meant no harm. But think a bit, will you? Who destroyed Joranum? Who destroyed our hopes ten years ago? It was that mathematician. And it is he who rules the Empire now with his idiotic talk about psychohistory. Cleon is nothing. It is Hari Seldon we must destroy. It is Hari Seldon whom I've been turning into an object of ridicule with these constant breakdowns. The miseries they entail are placed at his doorstep. It is all being interpreted as his inefficiency, his incapacity.† There was a trace of spittle in the corners of Namarti's mouth. â€Å"When he's cut down, there will be a cheer from the Empire that will drown out every holovision report for hours. It won't even matter if they know who did it.† He raised his hand and let it drop, as if he were plunging a knife into someone's heart. â€Å"We will be looked upon as heroes of the Empire, as saviors. Eh? Eh? Do you think your youngster can cut down Hari Seldon?† Andorin had recovered his sense of equanimity-at least outwardly. â€Å"I'm sure he would,† he said with forced lightness. â€Å"For Cleon, he might have some respect; the Emperor has a mystical aura about him, as you know.† (He stressed the â€Å"you† faintly and Namarti scowled.) â€Å"He would have no such feelings about Seldon.† Inwardly, however, Andorin was furious. This was not what he wanted. He was being betrayed. 14 Manella brushed the hair out of her eyes and smiled up at Raych. â€Å"I told you it wouldn't cost you any credits.† Raych blinked and scratched at his bare shoulder. â€Å"But are you going to ask me for some now?† She shrugged and smiled rather impishly. â€Å"Why should I?† â€Å"Why shouldn't you?† â€Å"Because I'm allowed to take my own pleasure sometimes.† â€Å"With me?† â€Å"There's no one else here.† There was a long pause and then Manella said soothingly, â€Å"Besides, you don't have that many credits anyway. How's the job?† Raych said, â€Å"Ain't much but better than nothing. Lots better. Did you tell that guy to get me one?† Manella shook her head slowly. â€Å"You mean Gleb Andorin? I didn't tell him to do anything. I just said he might be interested in you.† â€Å"Is he going to be annoyed because you and I-â€Å" â€Å"Why should he? None of his business. And none of yours, either.† â€Å"What's he do? I mean, what does he work at?† â€Å"I don't think he works at anything. He's rich. He's a relative of the old Mayors.† â€Å"Of Wye?† â€Å"Right. He doesn't like the Imperial government. None of those old Mayor people do. He says Cleon should-â€Å" She stopped suddenly and said, â€Å"I'm talking too much. Don't you go repeating anything I say.† â€Å"Me? I ain't heard you say nothing at all. And I ain't going to.† â€Å"All right.† â€Å"But what about Andorin? Is he high up in Joranumite business? Is he an important guy there?† â€Å"I wouldn't know.† â€Å"Don't he ever talk about that kind of stuff?† â€Å"Not to me.† â€Å"Oh,† said Raych, trying not to sound annoyed. Manella looked at him shrewdly. â€Å"Why are you so interested?† â€Å"I want to get in with them. I figure I'll get higher up that way. Better job. More credits. You know.† â€Å"Maybe Andorin will help you. He likes you. I know that much.† â€Å"Could you make him like me more?† â€Å"I can try. I don't know why he shouldn't. I like you. I like you more than I like him.† â€Å"Thank you, Manella. I like you, too. A lot.† He ran his hand down the side of her body and wished ardently that he could concentrate more on her and less on his assignment. 15 â€Å"Gleb Andorin,† said Hari Seldon wearily, rubbing his eyes. â€Å"And who is he?† asked Dors Venabili, her mood as cold as it had teen every day since Raych had left. â€Å"Until a few days ago I never heard of him,† said Seldon. â€Å"That's the trouble with trying to run a world of forty billion people. You never hear of anyone, except for the few who obtrude themselves on your notice. With all the computerized information in the world, Trantor remains a planet of anonymities. We can drag up people with their reference numbers and their statistics, but whom do we drag up? Add twenty-five million Outer Worlds and the wonder is that the Galactic Empire has remained a working phenomenon for all these millennia. Frankly I think it has existed only because it very largely runs itself. And now it is finally running down.† â€Å"So much for philosophizing, Hari,† said Dors. â€Å"Who is this Andorin?† â€Å"Someone I admit I ought to have known about. I managed to cajole the security establishment into calling up some files on him. He's a member of the Wyan Mayoralty family-the most prominent member, in fact-so the security people have kept tabs on him. They think he has ambitions but is too much of a playboy to do anything about them.† â€Å"And is he involved with the Joranumites?† Seldon made an uncertain gesture. â€Å"I'm under the impression that the security establishment knows nothing about the Joranumites. That may mean that the Joranumites no longer exist or that, if they do, they are of no importance. It may also mean that the security establishment just isn't interested. Nor is there any way in which I can force it to be interested. I'm only thankful the officers give me any information at all. And I am the First Minister.† â€Å"Is it possible that you're not a very good First Minister?† said Dors, dryly. â€Å"That's more than possible. It's probably been generations since there's been an appointee less suited to the job than myself. But that has nothing to do with the security establishment. It's a totally independent arm of the government. I doubt that Cleon himself knows much about it, though, in theory, the security officers are supposed to report to him through their director. Believe me, if we only knew more about the security establishment, we'd be trying to stick its actions into our psychohistorical equations, such as they are.† â€Å"Are the security officers on our side, at least?† â€Å"I believe so, but I can't swear to it.† â€Å"And why are you interested in this what's-his-name?† â€Å"Gleb Andorin. Because I received a roundabout message from Raych.† Dors's eyes flashed. â€Å"Why didn't you tell me? Is he all right?† â€Å"As far as I know, but I hope he doesn't try any further messages. If he's caught communicating, he won't be all right. In any case, he has made contact with Andorin.† â€Å"And the Joranumites, too?† â€Å"I don't think so. It would sound unlikely, for the connection is not something that would make sense. The Joranumite movement is predominantly lower-class-a proletarian movement, so to speak. And Andorin is an aristocrat of aristocrats. What would he be doing with the Joranumites?† â€Å"If he's of the Wyan Mayoralty family, he might aspire to the Imperial throne, might he not?† â€Å"They've been aspiring for generations. You remember Rashelle, I trust. She was Andorin's aunt.† â€Å"Then he might be using the Joranumites as a stepping-stone, don't you think?† â€Å"If they exist. And if they do-and if a stepping-stone is what Andorin wants-I think he'd find himself playing a dangerous game. The Joranumites-if they exist-would have their own plans and a man like Andorin may find he's simply riding a greti-â€Å" â€Å"What's a greti?† â€Å"Some extinct animal of a ferocious type, I think. It's just a proverbial phrase back on Helicon. If you ride a greti, you find you can't get off, for then it will eat you.† Seldon paused. â€Å"One more thing. Raych seems to be involved with a woman who knows Andorin and through whom, he thinks, he may get important information. I'm telling you this now so that you won't accuse me afterward of keeping anything from you.† Dors frowned. â€Å"A woman?† â€Å"One, I gather, who knows a great many men who will talk to her unwisely, sometimes, under intimate circumstances.† â€Å"One of those.† Her frown deepened. â€Å"I don't like the thought of Raych-â€Å" â€Å"Come, come. Raych is thirty years old and undoubtedly has much experience. You can leave this woman-or any woman, I think-safely to Raych's good sense.† He turned toward Dors with a look so worn, so weary, and said, â€Å"Do you think I like this? Do you think I like any of this?† And Dors could find nothing to say.

Saint Martin De Porres High School - 1392 Words

Literature Review Dominique L. Aaron Ohio University Saint Martin de Porres High School in Cleveland, Ohio is a co-ed catholic college preparatory institution on a mission to provide a quality education and invaluable work experience to inner city youth. The vision Saint Martin de Porres High School has for each student is to attend a college or university. Thus far their goal has been achieved; however the school does not guarantee your student a baccalaureate degree. Saint Martin students usually fall under the category of first-generation college students. Their lack of knowledge and experience about higher education sets them at a disadvantage when it comes to academic success and graduation completion. Formal research has yet to be conducted on the success of Saint Martin de Porres High School students. Due to personal ties with Saint Martin de Porres High School, it is necessary to look into these issues to preserve the longevity of Saint Martin and to ensure the success of its graduates beyond high school graduation. So why aren’t Saint Martin de Porres alumni completing college? What practices have Saint Martin de Porres administrators delayed implementing? Is it the responsibility of Saint Martin to thoroughly educate students on what to expect after high school? These are all questions that come to mind while searching for research on how to improve academic success and graduation completion among Saint Martin graduates. Thus far, the

Utilizing Solution Focused Brief Therapy with Domestic...

Introduction Domestic violence is one of the most pressing issues facing social workers today. It occurs between individuals of all ages and nationalities, at all socioeconomic levels, and in families from all types of religious and non-religious backgrounds (Straus Gelles, 1990; Carter McGoldrick, 1999). Domestic violence remains a significant social and public health problem affecting not just the couple but the entire family as well. Increased parental conflict negatively impacts children’s academic, behavioral and social-emotional functioning and the parents’ well being (Carlson, 2000; Carter McGoldrick, 1999; Lyon, 1998). The overall rate of incident has been found to be similar for city, suburban, and rural†¦show more content†¦In the same manner, in relation to the ecological framework family factors would refer to the processes in the family such as family environment, family interaction, family stressors, and parenting skills. Family stress in co njunction with financial difficulties, chronic poverty and unemployment is one major area that could overwhelm a family’s capacity to function. The stresses and strains of socioeconomic hardship are associated with higher rates of domestic violence (Kaufman Kantor Straus, 1999). Community factors refer to the community in which the family lives, the peer groups of the family members, the formal and informal supports, the availability of jobs, the availability and access to community services (i.e. transportation, mental health services, health care, shelters). Increased levels of neighborhood crime and family poverty can impact and increase the risk and co-occurrence of domestic violence and child maltreatment (Andrews, 1996). At the societal level, the established laws and policies in relations to domestic violence may in fact fail to protect the victim and consequently re-victimize her. 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Why NYU Thesis Statement - 1335 Words

Why NYU? Two summers ago, I designed and executed my own experiments focused on cell adhesion and its implications in the metastasis of cancer. When I fixed my cells for the first time in the Dictyostelium Discoideum lab, I was scared. I was even more scared when I told my mentor I bleached my cells with the spinning disk confocal microscope. However, it was through the endless trials and errors that I discovered a love for biology and seeking answers to the unknown. Through the College of Arts and Science at NYU, I hope to pursue a Global Public Health/Science major concentrated in Genetics and Genomics. This past summer, I participated in the Minority Introduction to Engineering and Science Program (MITES) at MIT, and I had the†¦show more content†¦As a dynamic learner, I would love to travel and get a taste of the NYU cosmopolitan experience elsewhere. In a setting such as Abu Dhabi, I would take advantage of the world-class research university with its over six-hundred courses, w hile also enjoying events such as the Pink Run and the Abu Dhabi Festival. All in all, NYU will provide me with a worthwhile college experience, prompting personal and intellectual growth as I delve into the realm of STEM and engage with a global, interconnected community of scholars. What factors influenced your decision to apply to Barnard College and why do you think the College would be a good match for you? (100-250 words) â€Å"There’s nothing a Barnard woman can’t do.† I hear microaggressions more often than I should. Constant reminders of my ‘responsibilities’ as a woman drive me insane, as it is implied that I should relinquish my aspirations of being a women in STEM to assume my ‘role.’ Alongside Barnard, I hope to transcend stereotypes and be surrounded by a community that sees my gender as a form of empowerment rather than a hindrance to my goals. I wish to be a part of Barnard’s long tradition of perceptive women to increase my independence, confidence, and resourcefulness in the classroom. I refuse to be silenced, as I hope to accomplish what’s deemed impossible. I hope to merge my interests in biology and biomedical engineering to propelShow MoreRelatedYoung Adults : Gender Equality And Marriage3766 Words   |  16 Pagesalso aim to find out whether the current trends are going to continue forth into the future to benefit the society based on the results that I receive. I gathered my findings by sending out two surveys and taking interviews of my fellow students at NYU. It was interesting to gather results of the young adults perspectives and wishes. I found out that most young adults wish to delay marriage and aim for higher gender equality in the future but the reasons for delaying marriages and how they plan toRead Moredsfsdsfs4469 Words   |  18 Pages 4 Forms and styles 4.1 Cause and effect 4.2 Classification and division 4.3 Compare and contrast 4.4 Descriptive 4.5 Dialectic 4.6 Exemplification 4.7 Familiar 4.8 History (thesis) 4.9 Narrative 4.10 Critical 4.11 Economics 4.12 Other logical structures 5 Magazine or newspaper 6 Employment 7 Non-literary types 7.1 Visual Arts 7.2 Music 7.3 Film Read MoreInternational Management67196 Words   |  269 Pagesthe eighth edition of International Management: Culture, Strategy, and Behavior. Whereas other texts stress culture, strategy, or behavior, we feel that our emphasis on all three critical dimensions and the resulting synergy has been a primary reason why the previous editions have been the market-leading international management text. Specifically, v vi Preface this edition has the following chapter distribution: environment (three chapters), culture (four chapters), strategy (four chapters)Read More_x000C_Introduction to Statistics and Data Analysis355457 Words   |  1422 Pagesfaraway places. He is especially proud of his wife, Carol, a retired elementary school teacher, his daughter Allison, who works for the Center for Women and Excellence in Boston, and his daughter Teri, who is ï ¬ nishing a graduate program in education at NYU. ROXY PECK is Associate Dean of the College of Science and Mathematics and Professor of Statistics at California Polytechnic State University, San Luis Obispo. Roxy has been on the faculty at Cal Poly since 1979, serving for six years as Chair of

Romantic Era Poet John Keats Essay Example For Students

Romantic Era Poet: John Keats Essay In order to truly understand the genius behind Keats work, it is important to first understand how he began his writing career. His life began in Mortgage, London, England on the 31st of October in 1795. The oldest of four children, he was born to keepers of a London livery stable that sadly, both died during his younger years (Holder 559). He had, what many would identify as, little to no advantages in life, advantages that would help bring out his poetic ingeniousness, and all of these disadvantages started with him having to overcome these early tragic deaths (559-560). At the age of eight, Keats father was killed in a horse accident. Only a few years later, his mother was killed as well, however, the details surrounding her death are not as clear, but many assume that it was from complications of Tuberculosis (560). Following the death of his mother, Keats grandmother appointed two London merchants, Richard Abbey and John Rowland Sandals as guardians (561). Abbey took a majority of the responsibility. Abbey withdrew Keats from the school at which he was attending, Enfield, and started his training with an apothecary-surgeon (Clarke 1). Although this is quite efferent than the path that one would expect from the writer of Bright Star, Keats went on to gain his certificate in 1816 and would soon discover his true love for writing was waiting Just around the corner (1). Leading into his great career, Keats met a man named Leigh Hunt, the editor of The Examiner, who published some of Keats sonnets. Hunt also introduced Keats to a circle of literary men, including the poets Percy Byes Shelley and William Wordsmith. (Clarke 1) These inspiring people influenced Keats to write his first set of poems with the name of Poems by John Keats and it was published in the year 817 (1). The poems received much criticism but Skates literary merit prevailed. In 1818, Keats finally finished his epic of poems that was a compilation of four books (Merrimac 1). He soon took on the task of caring for his brother who was suffering from tuberculosis. While tending to his brothers health, he met a unique woman who he would soon fall in love w ith (Clarke 1). Frances, Fanny, Brawny was the name of the woman, and shortly after they were already engaged (Merrimac 1). Soon after he fell in love with Fanny, in the years of 1818 and 1819, he wrote some of his greatest otter (Clarke 1). He wrote one of his more famous sonnets to her titled Bright Star, would I were steadfast as thou art (Merrimac 1). Keats then continued to work on Hyperfine until the death of his brother which caused him to stop working. In 1819, he picked up his last piece and rewrote it as The Fall of Hyperfine (Clarke 1). In, that same autumn Keats contracted tuberculosis, and by the following February he felt that death was already upon him, referring to the present as his posthumous existence (1). Keats then became very sickly and in 1820 published his next volume of poetry. Next he ventured to Rome with a painter named Joseph Severe. While enjoying his endeavors in Rome, he fell into a great depression and refused to read or write to Fanny because he believed that it would cause them both too much pain (Merrimac 1). One of the greatest Romantic Era poets died that cold winter night on February 3rd 1821 (1). His poems reflect many things such as the pain and problem that he endured in his short years and ultimately his own physical and spiritual suffering in love and illness (1). Keats poetry took a turn in a new direction toward the middle of his short life. One poem that exemplifies this specific change is Bright Star. His Earlier poems are more concerned with self-consciousness and personal matter but his later work, such as Bright Star! Would I Were Steadfast as Thou Art, include a more harmonious acceptance of nature for what it is, beyond the self interpretation of it (Gale 45). Cultural diversity EssayI believe that he wanted to express his true feelings for Fanny. He did so by incorporating all of his wonderful tactics to make the poem strong and well built. He then placed himself into the poem and thought of things in ways that others would not. Keats brilliance has been shown throughout all of his poetry. Bright Star was written proof that Fanny was Keats one and only. He uses many ways to emphasize the meaning of Bright Star. For example he uses figurative language to help make the poem flow more easily and bring out its uniqueness. In most of his poems he uses a great amount of figurative language. In Bright Star every stanza uses complex structures to traumatized the poem. Also, the overall strength of each stanza brings out the well-built tone of this poem. In this poem Keats uses alliteration, imagery, personification, oxymoron, and repetition. Breaking down Keats poem by each stanza reveals that by the end of the poem he understands his wish cannot be true. In the beginning of the poem Keats expresses how he desires to be as steadfast as a star. But by the end he realized this cannot be achieved by a human because the world is constantly changing. The steadfastness of the star is emphasized in the beginning lines. Keats desires to be like this star but in lines two through eight it is shown that he is nothing like the star. The star is alone and cannot live in the beauty of the earth. Keats goes on to define his terms of steadfastness in a world unlike the stars. By the end of the poem he is content with the way things are. Bright Star is a well thought out poem. If I was given the change anything in this poem I would not change one thing. This poem is well thought out and structured great. Keats way of writing is fantastic. He defines things in ways others would not see things as. This poem should be celebrated and learned in class because it is a good example of romantic poetry. The language and the connotation of each stanza are so strong that the poems meaning is greatly emphasized. Although the poem might hard to understand at first, if taught in classrooms children could break down ND comprehend the poem. Also, when kids are taught about figurative language Keats poem should be used as a prime example. Overall John Keats had a short life but contributed a lot to our world of literacy. Although Keats did not start his career as a poet it is miracle that he could switch to the career he wanted and be amazing at it. Many of Keats poems have been called some of the greatest poems of time and I believe Bright Star is one of them. Keats didnt Just love to write he also understood how to write and was very successful. He used a lot of figurative language and had well-built poems. He tended to write with complex thoughts.

The musical techniques Essay Example

The musical techniques Essay There is only one similarity between the two films in the musical techniques which occurs when Miss Havisham asks to see some play, when both films have a small crescendo and both use many notes in a short time which really makes an impact. There is a large build up in questioning, as if to ask, What is your fancy? Making this moment in the film very suspicious where Miss Havisham could either be a complete psychopath with a sick bordering on perverted mind or just an over-interested old woman. Both films use music to build suspense but the 1946 version uses considerably more music than Jarrold, however, the music Jarrold does use is very effective. As Pip enters the room in Leans version, there is an enormous crescendo on the brass and strings which gets louder as the door opens and more of the room is revealed and only quietens when Miss Havisham talks, and increases further until you actually see Miss Havisham, when it comes to an abrupt halt, this music builds tension and really gets the viewer going because nobody has any idea of what is lying behind the door. We will write a custom essay sample on The musical techniques specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on The musical techniques specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on The musical techniques specifically for you FOR ONLY $16.38 $13.9/page Hire Writer There is total silence as Pip and Miss Havisham talk, making the scene spooky and totally unpredictable. As Miss Havisham puts her hand on her heart and makes the viewer feel sympathetic towards her, there is some sad, depressing music on the strings and a small trill (alarm sound) to increase this potential sadness. A very delicate, melodic piece of music is played on the woodwind until the end which creates a sense of confusion and slight bewilderment. This is in contrast with Jarrolds 1999 version where a quiet, magical, mysterious piece is played using a piano which emphasises the questioning aurora of the room, i.e. the room used to be so beautiful and involved in the happiest day of a life and now it is almost discarded and uncared for. As the camera shows the purposely stopped clocks, a cymbal is hit gently to emphasise them and this noise is weird which is a perfect match with the clocks. As Pip opens the jewellery box, the music completely stops which makes the viewer expect Miss Havisham to appear at that point but Jarrold keeps us in suspense, and keeps us hanging on the end of our seats for a little longer. From the point of Pip entering to him opening the box, there is a constant drone in the background which makes the viewer think another person is present besides Pip; this coincides brilliantly with the high camera shots mentioned in the last paragraph. When Pip is looking in the mirror, there is a roll on the kettle drums to create a sweeping sound as Miss Havisham appears. A very ghost like noise, for a very ghost like person. The notes on the piano get quicker at this stage, as does Pips heart rate and leaves us with the question, Is Miss Havisham going to shout? Lean and Jarrold use a few visual effect similarities with almost identical characteristics. The main similarity in both extracts is that lots of shadow is used to create corners that cant be seen and cast shadows that add to mystery and makes the viewer question what is hiding behind the cover of darkness.  The 1946 version takes a much darker, silhouetted approach, to bring out Pips pathetic appearance in comparison to the room. Lean creates a silhouette of Pip as he enters, from dark to light as he walks into the room, showing Pip as a patronised young boy, lost in a huge and scary room, again, Pip looks patronised by his silhouette, at this point the spotlight focuses on Miss Havisham, portraying her as the main part of the room, and then jumps to Pips face as he starts talking. As Estella enters, she walks into the spotlight. When the card game appears on screen, the spotlight focuses on Miss Havisham even though she doesnt speak; this is done for three reasons. Firstly, to show Miss Havishams expression when Pip is being insulted. Secondly, to prove that Miss Havisham is still the most important person in the room even when she has no participation in the main activity (the card game) and the light draws the viewers attention to this. And finally, it adds to the dominance of Estella and Pip, that she is that much greater she must be the focal point. This is in contrast with Jarrolds ideas, which predominantly has brighter lights and a lighter atmosphere, however, the amount of shadow he does use is very effective. Jarrold begins by putting a spotlight on the door before Pip enters, this is simply to point the door out to the audience, and show it is the entrance. The rooms interior is quite dark and lit only by candles; this creates a vast amount of tension, which is added to by Pips position in a dark shadowed area. Pip creates long shadows, making the whole process of fumbling around the room a lot scarier, elongated, twisted shadows build up creepiness and mystery. When Pip sees Miss Havisham, full light is on both of their faces to show both reactions at once. When a long shot shows Miss Havisham and Pip fully, Pip is stood in her shadow which shows power over Pip and makes a very daunting image of control. Pips face is only half lit up which again creates tension as we dont totally know what facial expressions Pip is making. When Miss Havisham tells Estella what Pip said about her, the spotlight zooms onto Pip showing his mortified and embarrassed expression and how he reacts when he realises he has been used. Estella is shown in the dark during this as she is not involved in the conversation. I think both extracts build up mystery, tension, confusion and audience questioning superbly. Both have used their independent filming techniques to create as good an interpretation of the book as possible and although both are very different, both get the important points across well. Each scene has portrayed each character as they should be, i.e. over-confident, snobbish Estella, unconfident Pip and powerful, intimidating Miss Havisham. The rooms appeared totally different, Jarrolds interpretation was much more glamorous and pretty at one point and Leans was dull and old, and, I agree more with Jarrold, the room, like Miss Havisham, was beautiful at some point but is now messy and discarded, and Jarrold shows this perfectly. Miss Havisham appeared much stricter in Leans version, and I have to say I dont agree and think Jarrolds Miss Havisham was better played. Although very different filming techniques were used, both portrayed all the necessary emotions very well. Both directors use totally different approaches in all aspects, but it is necessary to look a little deeper into the reasons for using each option. Although Jarrold uses a lighter approach to shadow techniques and his silhouettes arent as bold, the effects put across to the viewer are very strong and portray the correct atmosphere for Pips belittlement. The music used by Jarrold is minimal compared to Leans interpretation but the delicate tune is more of a background noise that increases tension to a greater amount than a full orchestral approach, it just sits in the back of the audiences mind and is almost spooky.