Media - A Fine Line Between Reporting the News and Creating the News Research Paper

Media - A Fine Line Between Reporting the News and Creating the News - Research Paper Example In actual sense, the journalists are the one that create the news by making them happen newsworthy. Most news organizations deliver news to the people, but they cannot always be where the news. This has led them to use the techniques of creating that could have happened. Through journalistic beats, we find the creation and reporting of news having a clear line to fill the pressures with news demand (Kenneth 45). To support this view, journalist beats being places where news events are usually expected to happen hence providing them with a steady stream of news. The crime report is usually created but not reported, example is the one that was on Toronto Star page A8 (Richard A8). This story is an example of news collected from provincial police officers and reported making it as though the journalist was at the courthouse. This excerpt from Toronto stars exhibits the way news is created and made to be reported. The w audience cannot question the news worthiness hence a fine line betwe en creating the news and reporting the news (Schudson

Drug Addiction Among Young People Essay Example for Free

Drug Addiction Among Young People Essay Many young people today get addicted to drugs – they become dependant on various types of mind-altering or stimulating medicines or illegal ones. Addiction often comes hand-in-hand with narcotic effects, whether they are strong or light. It is only a question of time when you get addicted. You gradually become destroyed on all the levels of your health. And this is sad. It turns out to be sadder when you come to know that typical age range of drug addicts is from 15 to 30 years. People of this age represent the main working group in a country, they are both core and roots of a society. The addiction is also wide-spread geographically – you can find people having problems with drugs everywhere, not only in low-life countries, but in well-developed ones too. First of all, young people are especially vulnerable to different sorts of illegal things. Usually it all starts in schools. Children from problematic backgrounds often go into alcohol and then into drugs. First comes the psychological addiction and then physical – you want and you need. They destroy you and then destroy you harder as you get more tolerant to substances. The biggest group of addicts are students as they get off their families and there is no one over them to control. Plus, the spirit of freedom often blinds them and then they cannot get rid of their addiction. The life of addicts becomes spoiled in all spheres – social, as they need to communicate with other addicts, they lose their contacts with families and friends; economical – as they spend all their money on drugs (which are usually very expensive), addicts start to earn their money illegally (running rackets, prostitution, etc.) – all these problems are incidental if to compare them to health problems – drugs are primary dangerous to people health. Opiates like heroin are the most murderous drugs – they waste away your physical resources and supress your hearts work. Heroin is even more dangerous as the form of injections is the most appropriate for achieving  the narcotic effect. Here comes the AIDS. This disease is often called epidemy of our century as there is no treatment and effects are hard to resist and it is lethal.

History of Barbados :: Essays Papers

The island of Barbados was first inhabited by an Amerindian migrant group called the Saladoid-Barrancoid around 350 to 650 AD. Their ancestors are believed to be from the Orinoco Basin in South America. The Spanish were the first Europeans to land on the island in the sixteenth century and reported the Amerindian settlement. However, when the Portuguese explorer, Pedro a Campus landed there in 1536, he claimed that the island was uninhabited. The original inhabitants, the Saladoid-Barrancoid, spoke a language which later became known as Arawakan. They were considered to be skilled farmers and fisherman while also excelling in ceramic crafts. They traded throughout the Caribbean area, which is known because artifacts of the Saladiod-Barrancoid have been found not only on Barbados, but also on neighboring islands. The slave population of Barbados increased greatly between 1643 and 1666. In 1643 the island had 6,400 slaves, and by 1666 they had over 50,000. The wealth of the planter class on the island was becoming more evident. The prosperity of the sugar industry within Barbados lasted until the early 1700s. The island of Jamaica and some of the Leeward Islands gained prosperity within the sugar industry. The diminishing sugar industry within Barbados was most directly related to their soil, which began to wear out. Barbados also faced problems with insects and drought. The life of those who worked on the plantations was not good. They endured hot temperatures, disease, and were at the mercy of their master. On almost every sugar-producing island, the death rate was higher than the birth rate, and it was known that those that worked on the sugar producing islands were up for a much harsher life than those taken to places like North America. Since the slaves died too quickly to reproduce, the plantation owners were constantly forced to bring more slaves in.

Why Did Chartism Fail in the 19th Century

In this essay it will be necessary to examine the reason why Chartism failed during the 17th century. Chartists were formed during 1838, 6 years after the ‘great’ reform act was passed. When a group of men met in a local pub and were extremely angry about how badly the reform act was making so little changes, so they made a list of things they thought were eligible for voting rules and branded themselves ‘The Chartists’ and they were out to change how the MP’s were elected throughout Great Britain. The five main men in this debate were Thomas Attwood, William Lovett, Fergus O’Connor, Francis Place and John Frost. Francis, Thomas and William all believed peaceful methods were accepted and the right thing to do, however, on the opposing side was Fergus and John who were certain that violence was the way forward to get political and social changes. I think this point about the chartists is long term because, the men had to settle their differences to come to an agreement on what the next stage would be, therefore the negative side to this would be the disagreement but the positive being the fact they had two smaller groups to hold the public’s different opinions, I think the long term cause of disagreement was the reason for failure. Throughout the Chartism event, the Chartists set up 3 petitions for the general public to sign, and in total they gained 10,296,710 signatures. The first petition was set up in 1839 with 1. million signatures and it was almost 3 miles long, however, it was rejected. But then in 1842, 3 years later, they made yet another petition with a 3. 3 million signatures, but yet again, it was rejected. Finally, in 1848 they made a third petition with a staggering 5. 5 million signatures and yes, it was rejected despite all the hard work and names. These short term causes, I believe, didn’t contribute to the failure of Chartism as the reliability of this source is not good as we don’t know if the figures are exact and compared to the previous point, this is less reliable. Another reason I think that Chartism in the 17th century failed is that on the 10th April 1848, the Chartism demonstration day, only 20,000 people turned up due to the unexpected rain fall that day. Therefore they didn’t get as much popularity and votes as expected and couldn’t get the voting rights they had initially hoped for. This trigger cause I presume was not one of the main reasons Chartism failed as the previous points are more understandable and useful than this one. In conclusion, I believe that the main reason that Chartism in the 17th century failed is because the 5 men who led the organisation all had different views and ideas on how to win the public’s vote; 3 of the men believed that peaceful communications were the way forward and the other 2 men reckoned that violence and abuse was going to win the public and government over. Also as this is what I believe to be the most reliable and useful statement it makes more sense as to why they did not get the rights they wanted originally.

The Twilight Saga 3: Eclipse Chapter 26. ETHICS

THE COUNTER IN ALICE'S BATHROOM WAS COVERED WITH a thousand different products, all claiming to beautify a person's surface. Since everyone in this house was both perfect and impermeable, I could only assume that she'd bought most of these things with me in mind. I read the labels numbly, struck by the waste. I was careful never to look in the long mirror. Alice combed through my hair with a slow, rhythmic motion. â€Å"That's enough, Alice,† I said tonelessly. â€Å"I want to go back to La Push.† How many hours had I waited for Charlie to finally leave Billy's house so that I could see Jacob? Each minute, not knowing if Jacob was still breathing or not, had seemed like ten lifetimes. And then, when at last I'd been allowed to go, to see for myself that Jacob was alive, the time had gone so quickly. I felt like I'd barely caught my breath before Alice was calling Edward, insisting that I keep up this ridiculous sleepover faade. It seemed so insignificant. . . . â€Å"Jacob's still unconscious,† Alice answered. â€Å"Carlisle or Edward will call when he's awake. Anyway, you need to go see Charlie. He was there at Billy's house, he saw that Carlisle and Edward are back in from their trip, and he's bound to be suspicious when you get home.† I already had my story memorized and corroborated. â€Å"I don't care. I want to be there when Jacob wakes up.† â€Å"You need to think of Charlie now. You've had a long day – sorry, I know that doesn't begin to cover it – but that doesn't mean that you can shirk your responsibilities.† Her voice was serious, almost chiding. â€Å"It's more important now than ever that Charlie stays safely in the dark. Play your role first, Bella, and then you can do what you want second. Part of being a Cullen is being meticulously responsible.† Of course she was right. And if not for this same reason – a reason that was more powerful than all my fear and pain and guilt – Carlisle would never have been able to talk me into leaving Jacob's side, unconscious or not. â€Å"Go home,† Alice ordered. â€Å"Talk to Charlie. Flesh out your alibi. Keep him safe.† I stood, and the blood flowed down to my feet, stinging like the pricks of a thousand needles. I'd been sitting still for a long time. â€Å"That dress is adorable on you,† Alice cooed. â€Å"Huh? Oh. Er – thanks again for the clothes,† I mumbled out of courtesy rather than real gratitude. â€Å"You need the evidence,† Alice said, her eyes innocent and wide. â€Å"What's a shopping trip without a new outfit? It's very flattering, if I do say so myself.† I blinked, unable to remember what she'd dressed me in. I couldn't keep my thoughts from skittering away every few seconds, insects running from the light. . . . â€Å"Jacob is fine, Bella,† Alice said, easily interpreting my preoccupation. â€Å"There's no hurry. If you realized how much extra morphine Carlisle had to give him – what with his temperature burning it off so quickly – you would know that he's going to be out for a while.† At least he wasn't in any pain. Not yet. â€Å"Is there anything you want to talk about before you leave?† Alice asked sympathetically. â€Å"You must be more than a little traumatized.† I knew what she was curious about. But I had other questions. â€Å"Will I be like that?† I asked her, my voice subdued. â€Å"Like that girl Bree in the meadow?† There were many things I needed to think of, but I couldn't seem to get her out of my head, the newborn whose other life was now – abruptly – over. Her face, twisted with desire for my blood, lingered behind my eyelids. Alice stroked my arm. â€Å"Everyone is different. But something like that, yes.† I was very still, trying to imagine. â€Å"It passes,† she promised. â€Å"How soon?† She shrugged. â€Å"A few years, maybe less. It might be different for you. I've never seen anyone go through this who's chosen it beforehand. It should be interesting to see how that affects you.† â€Å"Interesting,† I repeated. â€Å"We'll keep you out of trouble.† â€Å"I know that. I trust you.† My voice was monotone, dead. Alice's forehead puckered. â€Å"If you're worried about Carlisle and Edward, I'm sure they'll be fine. I believe Sam is beginning to trust us . . . well, to trust Carlisle, at least. It's a good thing, too. I imagine the atmosphere got a little tense when Carlisle had to rebreak the fractures -â€Å" â€Å"Please, Alice.† â€Å"Sorry.† I took a deep breath to steady myself. Jacob had begun healing too quickly, and some of his bones had set wrong. He'd been out cold for the process, but it was still hard to think about. â€Å"Alice, can I ask you a question? About the future?† She was suddenly wary. â€Å"You know I don't see everything.† â€Å"It's not that, exactly. But you do see my future, sometimes. Why is that, do you think, when nothing else works on me? Not what Jane can do, or Edward or Aro . . .† My sentence trailed off with my interest level. My curiosity on this point was fleeting, heavily overshadowed by more pressing emotions. Alice, however, found the question very interesting. â€Å"Jasper, too, Bella – his talent works on your body just as well as it does on anyone else's. That's the difference, do you see it? Jasper's abilities affect the body physically. He really does calm your system down, or excite it. It's not an illusion. And I see visions of outcomes, not the reasons and thoughts behind the decisions that create them. It's outside the mind, not an illusion, either; reality, or at least one version of it. But Jane and Edward and Aro and Demetri – they work inside the mind. Jane only creates an illusion of pain. She doesn't really hurt your body, you only think you feel it. You see, Bella? You are safe inside your mind. No one can reach you there. It's no wonder that Aro was so curious about your future abilities.† She watched my face to see if I was following her logic. In truth, her words had all started to run together, the syllables and sounds losing their meaning. I couldn't concentrate on them. Still, I nodded. Trying to look like I got it. She wasn't fooled. She stroked my cheek and murmured, â€Å"He's going to be okay, Bella. I don't need a vision to know that. Are you ready to go?† â€Å"One more thing. Can I ask you another question about the future? I don't want specifics, just an overview.† â€Å"I'll do my best,† she said, doubtful again. â€Å"Can you still see me becoming a vampire?† â€Å"Oh, that's easy. Sure, I do.† I nodded slowly. She examined my face, her eyes unfathomable. â€Å"Don't you know your own mind, Bella?† â€Å"I do. I just wanted to be sure.† â€Å"I'm only as sure as you are, Bella. You know that. If you were to change your mind, what I see would change . . . or disappear, in your case.† I sighed. â€Å"That isn't going to happen, though.† She put her arms around me. â€Å"I'm sorry. I can't really empathize. My first memory is of seeing Jasper's face in my future; I always knew that he was where my life was headed. But I can sympathize. I'm so sorry you have to choose between two good things.† I shook off her arms. â€Å"Don't feel sorry for me.† There were people who deserved sympathy. I wasn't one of them. And there wasn't any choice to make – there was just breaking a good heart to attend to now. â€Å"I'll go deal with Charlie.† I drove my truck home, where Charlie was waiting just as suspiciously as Alice had expected. â€Å"Hey, Bella. How was your shopping trip?† he greeted me when I walked into the kitchen. He had his arms folded over his chest, his eyes on my face. â€Å"Long,† I said dully. â€Å"We just got back.† Charlie assessed my mood. â€Å"I guess you already heard about Jake, then?† â€Å"Yes. The rest of the Cullens beat us home. Esme told us where Carlisle and Edward were.† â€Å"Are you okay?† â€Å"Worried about Jake. As soon as I make dinner, I'm going down to La Push.† â€Å"I told you those motorcycles were dangerous. I hope this makes you realize that I wasn't kidding around.† I nodded as I started pulling things out of the fridge. Charlie settled himself in at the table. He seemed to be in a more talkative mood than usual. â€Å"I don't think you need to worry about Jake too much. Anyone who can cuss with that kind of energy is going to recover.† â€Å"Jake was awake when you saw him?† I asked, spinning to look at him. â€Å"Oh, yeah, he was awake. You should have heard him – actually, it's better you didn't. I don't think there was anyone in La Push who couldn't hear him. I don't know where he picked up that vocabulary, but I hope he hasn't been using that kind of language around you.† â€Å"He had a pretty good excuse today. How did he look?† â€Å"Messed up. His friends carried him in. Good thing they're big boys, 'cause that kid's an armful. Carlisle said his right leg is broken, and his right arm. Pretty much the whole right side of his body got crushed when he wrecked that damn bike.† Charlie shook his head. â€Å"If I ever hear of you riding again, Bella -â€Å" â€Å"No problem there, Dad. You won't. Do you really think Jake's okay?† â€Å"Sure, Bella, don't worry. He was himself enough to tease me.† â€Å"Tease you?† I echoed in shock. â€Å"Yeah – in between insulting somebody's mother and taking the Lord's name in vain, he said, ‘Bet you're glad she loves Cullen instead of me today, huh, Charlie?'† I turned back to the fridge so that he couldn't see my face. â€Å"And I couldn't argue. Edward's more mature than Jacob when it comes to your safety, I'll give him that much.† â€Å"Jacob's plenty mature,† I muttered defensively. â€Å"I'm sure this wasn't his fault.† â€Å"Weird day today,† Charlie mused after a minute. â€Å"You know, I don't put much stock in that superstitious crap, but it was odd. . . . It was like Billy knew something bad was going to happen to Jake. He was nervous as a turkey on Thanksgiving all morning. I don't think he heard anything I said to him. â€Å"And then, weirder than that – remember back in February and March when we had all that trouble with the wolves?† I bent down to get a frying pan out of the cupboard, and hid there an extra second or two. â€Å"Yeah,† I mumbled. â€Å"I hope we're not going to have a problem with that again. This morning, we were out in the boat, and Billy wasn't paying any attention to me or the fish, when all of a sudden, you could hear wolves yowling in the woods. More than one, and, boy, was it loud. Sounded like they were right there in the village. Weirdest part was, Billy turned the boat around and headed straight back to the harbor like they were calling to him personally. Didn't even hear me ask what he was doing. â€Å"The noise stopped before we got the boat docked. But all of a sudden Billy was in the biggest hurry not to miss the game, though we had hours still. He was mumbling some nonsense about an earlier showing . . . of a live game? I tell you, Bella, it was odd. â€Å"Well, he found some game he said he wanted to watch, but then he just ignored it. He was on the phone the whole time, calling Sue, and Emily, and your friend Quil's grandpa. Couldn't quite make out what he was looking for – he just chatted real casual with them. â€Å"Then the howling started again right outside the house. I've never heard anything like it – I had goose bumps on my arms. I asked Billy – had to shout over the noise – if he'd been setting traps in his yard. It sounded like the animal was in serious pain.† I winced, but Charlie was so caught up in his story that he didn't notice. â€Å"‘Course I forgot all about that till just this minute, 'cause that's when Jake made it home. One minute it was that wolf yowling, and then you couldn't hear it anymore – Jake's cussing drowned it right out. Got a set of lungs on him, that boy does.† Charlie paused for a minute, his face thoughtful. â€Å"Funny that some good should come out of this mess. I didn't think they were ever going to get over that fool prejudice they have against the Cullens down there. But somebody called Carlisle, and Billy was real grateful when he showed up. I thought we should get Jake up to the hospital, but Billy wanted to keep him home, and Carlisle agreed. I guess Carlisle knows what's best. Generous of him to sign up for such a long stretch of house calls.† â€Å"And . . .† he paused, as if unwilling to say something. He sighed, and then continued. â€Å"And Edward was really . . . nice. He seemed as worried about Jacob as you are – like that was his brother lying there. The look in his eyes . . .† Charlie shook his head. â€Å"He's a decent guy, Bella. I'll try to remember that. No promises, though.† He grinned at me. â€Å"I won't hold you to it,† I mumbled. Charlie stretched his legs and groaned. â€Å"It's nice to be home. You wouldn't believe how crowded Billy's little place gets. Seven of Jake's friends all squished themselves into that little front room – I could hardly breathe. Have you ever noticed how big those Quileute kids all are?† â€Å"Yeah, I have.† Charlie stared at me, his eyes abruptly more focused. â€Å"Really, Bella, Carlisle said Jake will be up and around in no time. Said it looked a lot worse than it was. He's going to be fine.† I just nodded. Jacob had looked so . . . strangely fragile when I'd hurried down to see him as soon as Charlie had left. He'd had braces everywhere – Carlisle said there was no point in plaster, as fast as he was healing. His face had been pale and drawn, deeply unconscious though he was at the time. Breakable. Huge as he was, he'd looked very breakable. Maybe that had just been my imagination, coupled with the knowledge that I was going to have to break him. If only I could be struck by lightning and be split in two. Preferably painfully. For the first time, giving up being human felt like a true sacrifice. Like it might be too much to lose. I put Charlie's dinner on the table next to his elbow and headed for the door. â€Å"Er, Bella? Could you wait just a second?† â€Å"Did I forget something?† I asked, eyeing his plate. â€Å"No, no. I just . . . want to ask a favor.† Charlie frowned and looked at the floor. â€Å"Have a seat – this won't take long.† I sat across from him, a little confused. I tried to focus. â€Å"What do you need, Dad?† â€Å"Here's the gist of it, Bella.† Charlie flushed. â€Å"Maybe I'm just feeling . . . superstitious after hanging out with Billy while he was being so strange all day. But I have this . . . hunch. I feel like . . . I'm going to lose you soon.† â€Å"Don't be silly, Dad,† I mumbled guiltily. â€Å"You want me to go to school, don't you?† â€Å"Just promise me one thing.† I was hesitant, ready to rescind. â€Å"Okay . . .† â€Å"Will you tell me before you do anything major? Before you run off with him or something?† â€Å"Dad . . . ,† I moaned. â€Å"I'm serious. I won't kick up a fuss. Just give me some advance notice. Give me a chance to hug you goodbye.† Cringing mentally, I held up my hand. â€Å"This is silly. But, if it makes you happy, . . . I promise.† â€Å"Thanks, Bella,† he said. â€Å"I love you, kid.† â€Å"I love you, too, Dad.† I touched his shoulder, and then shoved away from the table. â€Å"If you need anything, I'll be at Billy's.† I didn't look back as I ran out. This was just perfect, just what I needed right now. I grumbled to myself all the way to La Push. Carlisle's black Mercedes was not in front of Billy's house. That was both good and bad. Obviously, I needed to talk to Jacob alone. Yet I still wished I could somehow hold Edward's hand, like I had before, when Jacob was unconscious. Impossible. But I missed Edward – it had seemed like a very long afternoon alone with Alice. I supposed that made my answer quite obvious. I already knew that I couldn't live without Edward. That fact wasn't going to make this any less painful. I tapped quietly on the front door. â€Å"Come in, Bella,† Billy said. The roar of my truck was easy to recognize. I let myself in. â€Å"Hey, Billy. Is he awake?† I asked. â€Å"He woke up about a half hour ago, just before the doctor left. Go on in. I think he's been waiting for you.† I flinched, and then took a deep breath. â€Å"Thanks.† I hesitated at the door to Jacob's room, not sure whether to knock. I decided to peek first, hoping – coward that I was – that maybe he'd gone back to sleep. I felt like I could use just a few more minutes. I opened the door a crack and leaned hesitantly in. Jacob was waiting for me, his face calm and smooth. The haggard, gaunt look was gone, but only a careful blankness took its place. There was no animation in his dark eyes. It was hard to look at his face, knowing that I loved him. It made more of a difference than I would have thought. I wondered if it had always been this hard for him, all this time. Thankfully, someone had covered him with a quilt. It was a relief not to have to see the extent of the damage. I stepped in and shut the door quietly behind me. â€Å"Hi, Jake,† I murmured. He didn't answer at first. He looked at my face for a long moment. Then, with some effort, he rearranged his expression into a slightly mocking smile. â€Å"Yeah, I sort of thought it might be like that.† He sighed. â€Å"Today has definitely taken a turn for the worse. First I pick the wrong place, miss the best fight, and Seth gets all the glory. Then Leah has to be an idiot trying to prove she's as tough as the rest of us and I have to be the idiot who saves her. And now this.† He waved his left hand toward me where I hesitated by the door. â€Å"How are you feeling?† I mumbled. What a stupid question. â€Å"A little stoned. Dr. Fang isn't sure how much pain medication I need, so he's going with trial and error. Think he overdid it.† â€Å"But you're not in pain.† â€Å"No. At least, I can't feel my injuries,† he said, smiling mockingly again. I bit my lip. I was never going to get through this. Why didn't anyone ever try to kill me when I wanted to die? The wry humor left his face, and his eyes warmed up. His forehead creased, like he was worried. â€Å"How about you?† he asked, sounding really concerned. â€Å"Are you okay?† â€Å"Me?† I stared at him. Maybe he had taken too many drugs. â€Å"Why?† â€Å"Well, I mean, I was pretty sure that he wouldn't actually hurt you, but I wasn't sure how bad it was going to be. I've been going a little crazy with worrying about you ever since I woke up. I didn't know if you were going to be allowed to visit or anything. The suspense was terrible. How did it go? Was he mean to you? I'm sorry if it was bad. I didn't mean for you to have to go through that alone. I was thinking I'd be there. . . .† It took me a minute to even understand. He babbled on, looking more and more awkward, until I got what he was saying. Then I hurried to reassure him. â€Å"No, no, Jake! I'm fine. Too fine, really. Of course he wasn't mean. I wish!† His eyes widened in what looked like horror. â€Å"What?† â€Å"He wasn't even mad at me – he wasn't even mad at you! He's so unselfish it makes me feel even worse. I wish he would have yelled at me or something. It's not like I don't deserve . . . well, much worse that getting yelled at. But he doesn't care. He just wants me to be happy.† â€Å"He wasn't mad?† Jacob asked, incredulous. â€Å"No. He was . . . much too kind.† Jacob stared for another minute, and then he suddenly frowned. â€Å"Well, damn!† he growled. â€Å"What's wrong, Jake? Does it hurt?† My hands fluttered uselessly as I looked around for his medication. â€Å"No,† he grumbled in a disgusted tone. â€Å"I can't believe this! He didn't give you an ultimatum or anything?† â€Å"Not even close – what's wrong with you?† He scowled and shook his head. â€Å"I was sort of counting on his reaction. Damn it all. He's better than I thought.† The way he said it, though angrier, reminded me of Edward's tribute to Jacob's lack of ethics in the tent this morning. Which meant that Jake was still hoping, still fighting. I winced as that stabbed deep. â€Å"He's not playing any game, Jake,† I said quietly. â€Å"You bet he is. He's playing every bit as hard as I am, only he knows what he's doing and I don't. Don't blame me because he's a better manipulator than I am – I haven't been around long enough to learn all his tricks.† â€Å"He isn't manipulating me!† â€Å"Yes, he is! When are you going to wake up and realize that he's not a perfect as you think he is?† â€Å"At least he didn't threaten to kill himself to make me kiss him,† I snapped. As soon as the words were out, I flushed with chagrin. â€Å"Wait. Pretend that didn't slip out. I swore to myself that I wasn't going to say anything about that.† He took a deep breath. When he spoke, he was calmer. â€Å"Why not?† â€Å"Because I didn't come here to blame you for anything.† â€Å"It's true, though,† he said evenly. â€Å"I did do that.† â€Å"I don't care, Jake. I'm not mad.† He smiled. â€Å"I don't care, either. I knew you'd forgive me, and I'm glad I did it. I'd do it again. At least I have that much. At least I made you see that you do love me. That's worth something.† â€Å"Is it? Is it really better than if I was still in the dark?† â€Å"Don't you think you ought to know how you feel – just so that it doesn't take you by surprise someday when it's too late and you're a married vampire?† I shook my head. â€Å"No – I didn't mean better for me. I meant better for you. Does it make things better or worse for you, having me know that I'm in love with you? When it doesn't make a difference either way. Would it have been better, easier for you, if I never clued in?† He took my question as seriously as I'd meant it, thinking carefully before he answered. â€Å"Yes, it's better to have you know,† hefinally decided. â€Å"If you hadn't figured it out . . . I'd have always wondered if your decision would have been different if you had. Now I know. I did everything I could.† He dragged in an unsteady breath, and closed his eyes. This time I did not – could not – resist the urge to comfort him. I crossed the small room and kneeled by his head, afraid to sit on the bed in case I jostled it and hurt him, and leaned in to touch my forehead to his cheek. Jacob sighed, and put his hand on my hair, holding me there. â€Å"I'm so sorry, Jake.† â€Å"I always knew this was a long shot. It's not your fault, Bella.† â€Å"Not you, too,† I moaned. â€Å"Please.† He pulled away to look at me. â€Å"What?† â€Å"It is my fault. And I'm so sick of being told it's not.† He grinned. It didn't touch his eyes. â€Å"You want me to haul you over the coals?† â€Å"Actually . . . I think I do.† He pursed his lips as he measured how much I meant it. A smile flashed across his face briefly, and then he twisted his expression into a fierce scowl. â€Å"Kissing me back like that was inexcusable.† He spit the words at me. â€Å"If you knew you were just going to take it back, maybe you shouldn't have been quite so convincing about it.† I winced and nodded. â€Å"I'm so sorry.† â€Å"Sorry doesn't make anything better, Bella. What were you thinking?† â€Å"I wasn't,† I whispered. â€Å"You should have told me to go die. That's what you want.† â€Å"No, Jacob,† I whimpered, fighting against the budding tears. â€Å"No! Never.† â€Å"You're not crying?† he demanded, his voice suddenly back to its normal tone. He twitched impatiently on the bed. â€Å"Yeah,† I muttered, laughing weakly at myself through the tears that were suddenly sobs. He shifted his weight, throwing his good leg off the bed as if he were going to try to stand. â€Å"What are you doing?† I demanded through the tears. â€Å"Lie down, you idiot, you'll hurt yourself!† I jumped to my feet and pushed his good shoulder down with two hands. He surrendered, leaning back with a gasp of pain, but he grabbed me around my waist and pulled me down on the bed, against his good side. I curled up there, trying to stifle the silly sobs against his hot skin. â€Å"I can't believe you're crying,† he mumbled. â€Å"You know I just said those things because you wanted me to. I didn't mean them.† His hand rubbed against my shoulders. â€Å"I know.† I took a deep, ragged breath, trying to control myself. How did I end up being the one crying while he did the comforting? â€Å"It's all still true, though. Thanks for saying it out loud.† â€Å"Do I get points for making you cry?† â€Å"Sure, Jake.† I tried to smile. â€Å"As many as you want.† â€Å"Don't worry, Bella, honey. It's all going to work out.† â€Å"I don't see how,† I muttered. He patted the top of my head. â€Å"I'm going to give in and be good.† â€Å"More games?† I wondered, tilting my chin so that I could see his face. â€Å"Maybe.† He laughed with a bit of effort, and then winced. â€Å"But I'm going to try.† I frowned. â€Å"Don't be so pessimistic,† he complained. â€Å"Give me a little credit.† â€Å"What do you mean by ‘be good'?† â€Å"I'll be your friend, Bella,† he said quietly. â€Å"I won't ask for more than that.† â€Å"I think it's too late for that, Jake. How can we be friends, when we love each other like this?† He looked at the ceiling, his stare intent, as if he were reading something that was written there. â€Å"Maybe . . . it will have to be a long-distance friendship.† I clenched my teeth together, glad he wasn't looking at my face, fighting against the sobs that threatened to overtake me again. I needed to be strong, and I had no idea how. . . . â€Å"You know that story in the Bible?† Jacob asked suddenly, still reading the blank ceiling. â€Å"The one with the king and the two women fighting over the baby?† â€Å"Sure. King Solomon.† â€Å"That's right. King Solomon,† he repeated. â€Å"And he said, cut the kid in half . . . but it was only a test. Just to see who would give up their share to protect it.† â€Å"Yeah, I remember.† He looked back at my face. â€Å"I'm not going to cut you in half anymore, Bella.† I understood what he was saying. He was telling me that he loved me the most, that his surrender proved it. I wanted to defend Edward, to tell Jacob how Edward would do the same thing if I wanted, if I would let him. I was the one who wouldn't renounce my claim there. But there was no point in starting an argument that would only hurt him more. I closed my eyes, willing myself to control the pain. I couldn't impose that on him. We were quiet for a moment. He seemed to be waiting for me to say something; I was trying to think of something to say. â€Å"Can I tell you what the worst part is?† he asked hesitantly when I said nothing. â€Å"Do you mind? I am going to be good.† â€Å"Will it help?† I whispered. â€Å"It might. It couldn't hurt.† â€Å"What's the worst part, then?† â€Å"The worse part is knowing what would have been.† â€Å"What might have been.† I sighed. â€Å"No.† Jacob shook his head. â€Å"I'm exactly right for you, Bella. It would have been effortless for us – comfortable, easy as breathing. I was the natural path your life would have taken. . . .† He stared into space for a moment, and I waited. â€Å"If the world was the way it was supposed to be, if there were no monsters and no magic . . .† I could see what he saw, and I knew that he was right. If the world was the sane place it was supposed to be, Jacob and I would have been together. And we would have been happy. He was my soul mate in that world – would have been my soul mate still if his claim had not been overshadowed by something stronger, something so strong that it could not exist in a rational world. Was it out there for Jacob, too? Something that would trump a soul mate? I had to believe that it was. Two futures, two soul mates . . . too much for any one person. And so unfair that I wouldn't be the only one to pay for it. Jacob's pain seemed too high a price. Cringing at the thought of that price, I wondered if I would have wavered, if I hadn't lost Edward once. If I didn't know what it was like to live without him. I wasn't sure. That knowledge was so deep a part of me, I couldn't imagine how I would feel without it. â€Å"He's like a drug for you, Bella.† His voice was still gentle, not at all critical. â€Å"I see that you can't live without him now. It's too late. But I would have been healthier for you. Not a drug; I would have been the air, the sun.† The corner of my mouth turned up in a wistful half-smile. â€Å"I used to think of you that way, you know. Like the sun. My personal sun. You balanced out the clouds nicely for me.† He sighed. â€Å"The clouds I can handle. But I can't fight with an eclipse.† I touched his face, laying my hand against his cheek. He exhaled at my touch and closed his eyes. It was very quiet. For a minute I could hear the beating of his heart, slow and even. â€Å"Tell me the worst part for you,† he whispered. â€Å"I think that might be a bad idea.† â€Å"Please.† â€Å"I think it will hurt.† â€Å"Please.† How could I deny him anything at this point? â€Å"The worst part . . .† I hesitated, and then let words spill out in a flood of truth. â€Å"The worst part is that I saw the whole thing – our whole life. And I want it bad, Jake, I want it all. I want to stay right here and never move. I want to love you and make you happy. And I can't, and it's killing me. It's like Sam and Emily, Jake – I never had a choice. I always knew nothing would change. Maybe that's why I was fighting against you so hard.† He seemed to be concentrating on breathing evenly. â€Å"I knew I shouldn't have told you that.† He shook his head slowly. â€Å"No. I'm glad you did. Thank you.† He kissed the top of my head, and then he sighed. â€Å"I'll be good now.† I looked up, and he was smiling. â€Å"So you're going to get married, huh?† â€Å"We don't have to talk about that.† â€Å"I'd like to know some of the details. I don't know when I'll talk to you again.† I had to wait for a minute before I could speak. When I was pretty sure that my voice wouldn't break, I answered his question. â€Å"It's not really my idea . . . but, yes. It means a lot to him. I figure, why not?† Jake nodded. â€Å"That's true. It's not such a big thing – in comparison.† His voice was very calm, very practical. I stared at him, curious about how he was managing, and that ruined it. He met my eyes for a second, and then twisted his head away. I waited to speak until his breathing was under control. â€Å"Yes. In comparison,† I agreed. â€Å"How long do you have left?† â€Å"That depends on how long it takes Alice to pull a wedding together.† I suppressed a groan, imagining what Alice would do. â€Å"Before or after?† he asked quietly. I knew what he meant. â€Å"After.† He nodded. This was a relief to him. I wondered how many sleepless nights the thought of my graduation had given him. â€Å"Are you scared?† he whispered. â€Å"Yes,† I whispered back. â€Å"What are you afraid of?† I could barely hear his voice now. He stared down at my hands. â€Å"Lots of things.† I worked to make my voice lighter, but I stayed honest. â€Å"I've never been much of a masochist, so I'm not looking forward to the pain. And I wish there was some way to keep him away – I don't want him to suffer with me, but I don't think there's any way around it. There's dealing with Charlie, too, and Rene. . . . And then afterward, I hope I'll be able to control myself soon. Maybe I'll be such a menace that the pack will have to take me out.† He looked up with a disapproving expression. â€Å"I'd hamstring any one of my brothers who tried.† â€Å"Thanks.† He smiled halfheartedly. Then he frowned. â€Å"But isn't it more dangerous than that? In all of the stories, they say it's too hard . . . they lose control . . . people die. . . .† He gulped. â€Å"No, I'm not afraid of that. Silly Jacob – don't you know better than to believe vampire stories?† He obviously didn't appreciate my attempt at humor. â€Å"Well, anyway, lots to worry about. But worth it, in the end.† He nodded unwillingly, and I knew that he in no way agreed with me. I stretched my neck up to whisper in his ear, laying my cheek against his warm skin. â€Å"You know I love you.† â€Å"I know,† he breathed, his arm tightening automatically around my waist. â€Å"You know how much I wish it was enough.† â€Å"Yes.† â€Å"I'll always be waiting in the wings, Bella,† he promised, lightening his tone and loosening his arm. I pulled away with a dull, dragging sense of loss, feeling the tearing separation as I left a part of me behind, there on the bed next to him. â€Å"You'll always have that spare option if you want it.† I made an effort to smile. â€Å"Until my heart stops beating.† He grinned back. â€Å"You know, I think maybe I'd still take you – maybe. I guess that depends on how much you stink.† â€Å"Should I come back to see you? Or would you rather I didn't?† â€Å"I'll think it through and get back to you,† he said. â€Å"I might need the company to keep from going crazy. The vampire surgeon extraordinaire says I can't phase until he gives the okay – it might mess up the way the bones are set.† Jacob made a face. â€Å"Be good and do what Carlisle tells you to do. You'll get well faster.† â€Å"Sure, sure.† â€Å"I wonder when it will happen,† I said. â€Å"When the right girl is going to catch your eye.† â€Å"Don't get your hopes up, Bella.† Jacob's voice was abruptly sour. â€Å"Though I'm sure it would be a relief for you.† â€Å"Maybe, maybe not. I probably won't think she's good enough for you. I wonder how jealous I'll be.† â€Å"That part might be kind of fun,† he admitted. â€Å"Let me know if you want me to come back, and I'll be here,† I promised. With a sigh, he turned his cheek toward me. I leaned in and kissed his face softly. â€Å"Love you, Jacob.† He laughed lightly. â€Å"Love you more.† He watched me walk out of his room with an unfathomable expression in his black eyes.

Shakespeare’s Brilliant Use of Symbolism Essays

Shakespeare’s Brilliant Use of Symbolism Essays Shakespeare’s Brilliant Use of Symbolism Paper Shakespeare’s Brilliant Use of Symbolism Paper â€Å"To be or not to be that is the question† (Kittredge, 993). This is one of William Shakespeare’s best known and used quotes. Many who use it do not even know what piece it is taken from, or what exactly it means. It just sounds like a cool, tragic, Shakespearean quote to use to sound more intelligent. And that is the sad truth. Shakespeare’s works are filled with quotes, soliloquies, and experts, like this one, that are filled with innuendos, imagery, word choice, etc. One very important literary technique used by Shakespeare, in all of his works, is his symbolism, which portrayed Shakespeare’s life, time period, and messages he wished to get across to his audience. He also used his symbolism to satirize whomever he wished. Shakespeare’s works would not be complete without his symbolism, which is used throughout all of his works. One example of William Shakespeare’s brilliant use of symbolism can be seen in the play Macbeth. In this play Shakespeare uses symbolism to represent the overall theme of murder. The contrast of light and dark throughout the play symbolizes the good and evil that is being battled. During the time that Macbeth was written the king was associated with the sun. A sunset, then, represented the king’s death or overthrow of his rule in power. When shall we three meet again . . . and That will be ere the set of sun. (Shakespeare, Act I, Scene I, ll 1 and 5), are quotes that symbolize and foreshadow the coming death of the king. They, the witches, shall meet again when the king has been done away with. The contrast and symbolism between light and dark continues throughout the play. Stars, hide your fires; Let not light see my black and deep desires. (Act I, Scene IV, ll 50-51) symbolizes Macbeth’s step towards evil. He does not want anyone or anything to bring to knowledge his dark and evil plans. Another symbolism in the contrast of light and dark is nighttime. Whenever anything bad is occurring, or is about to occur it takes place during the dead of the night in the cover of darkness. The murders, Lady Macbeths sleepwalking, and the appearance of the witches all take place at night. Lady Macbeth’s sleeping walking shows a good contrast of the light and dark symbolism. At first she craved the darkness, but then she became afraid of it and carried a candle with her to drive away the darkness. In the line, She has light by her continually; tis her command. (Act V, Scene I ll 26-27), symbolizes her fear of the evil within the darkness. One very important symbol in Shakespeare’s Macbeth is blood in Duncan’s murder. The bloodshed represents Macbeth’s guilt and shame of the crime he has committed. After killing the king Macbeth says of the blood on his hands, As they had seen me with these hangmans hands. (Act II, Scene II, l 28). Macbeth’s guilt is portrayed after this act in that he refuses to return to the crime scene to smear the blood on the guards, because he thinks that the blood will only show his guilt and incriminate him further. Another way that the reader can tell that Macbeth is extremely uncomfortable and feeling guilty is because he immediately tries to remove the blood from his hands after killing the guards. He is very uncomfortable with the blood being on his hands, incriminating him through his guilt. Opposite of blood being a symbol of guilt, water is a symbol of purification from that guilt. After the murder of Duncan Lady Macbeth assures her husband that, A little water clears us of the deed; (Act II, Scene II, l 67). Throughout the later portion of the play Lady Macbeth repeatedly rubs her hands together, symbolizing her want and need to wash the deed from her hands. She wants to remove the â€Å"spot† physically from her hands and symbolically from her conscience, Out, damned spot! out, I say! . . . (Act V, Scene I, l 39). The water symbolizes the purification of the guilty conscience of Sir and Lady Macbeth. A common object used as symbolism throughout Shakespeare’s works are ghosts. In Hamlet the ghost that he sees is his father. Of course the ghost symbolizes his father’s death, but it also symbolizes that his father has come back for some reason. That reason, Hamlet later finds out is for revenge because his father was murdered. Ghost. â€Å"Revenge his foul and most unnatural murther. † Ham. â€Å"Murther? † Ghost. â€Å"Murther most foul, as in the best it is; But this most foul, strange, and unnatural. † (Act I, Scene V, ll 26-28). The ghost of Hamlet’s father plays a very important role in the play, as throughout the entirety of it Hamlet is trying to seek revenge for his father, which was first brought to his attention by the ghost. Another symbol used in Hamlet is the use of the word â€Å"dream† Throughout the play Hamlet is confronted with death, and his uncertainties as to the conditions of the existence of an afterlife (Rogers, 10). In his â€Å"to be, or not to be† soliloquy Hamlet questions as to whether it is worth it to live or die. He refers to death as some sort of dream that may come. He uses the reference of a dream to death because, as dreams are uncertain and often forgotten after they are through, so is death, although it is a dream that one will never be woken up from whether it be a nightmare or sweet escape. â€Å"To die to sleep No more; and by a sleep to say we end The heartache, and the thousand natural shocks That flesh is heir to. ‘Tis a consummation Devoutly to be wish’d. To die to sleep. To sleep perchance to dream: ay, there’s the rub! For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause. There’s the respect That makes calamity of so long life. (Act III, Scene I, ll 56-69). Hamlet’s uncertainty of death is felt throughout this entire soliloquy. Later in it he says, But that the dread of something after death, The undiscover’d country from whose bourn No traveler returns, puzzles the will, And makes us rather bear those ills we have Than fly to others that we know not of? (Act II, Scene I, ll 78-82). In this expert the traveler and the undiscovered country symbolizes someone traveling in death onto the unknown after life. This entire soliloquy symbolizes Hamlet’s uncertainties of death. One other example of symbolism that is used in Hamlet is a serpent. The serpent, which Hamlet’s father’s ghost refers his uncle to, represents the evil and deceit that the uncle used to get the crown. A serpent, many times in literature, represents something that is secretive, evil, and tempting, just as Lucifer, in the form of a serpent was in the garden of Eden. â€Å"Now the serpent was more crafty than any of the wild animals the Lord God had made† (Genesis 3:1). The ghost of Hamlet’s father says of his uncle, ‘Tis given out that, sleeping in my orchard, A serpent stung me. So the whole ear of Denmark Is by a forged process of my death Rankly abus’d. But know, thou noble youth, The serpent that did sting thy father’s life Now wears his crown. (Act I, Scene V, ll 35-39). And just as the serpent tempted Eve in the Garden of Eden, Hamlet’s uncle tempted his mother and very soon after Hamlet’s father’s death they were married. O wicked wit and gifts, that have the power So to seduce! won to his shameful lust The sill of my most seeming-virtuous queen. (Act I, Scene V, ll 44-46). The king had stolen from him by the â€Å" serpent†, â€Å"by a brother’s hand, of life, of crown, of queen† (ll 74-75). In Shakespeare’s Othello there are many different symbols used throughout the play. One of these symbols is sight. Throughout the play Othello bases his beliefs on what he is told and hears, instead of what he sees. Therefore sight symbolizes Othello’s lack of proof with what he sees, but actually does not see. For example, Othello believes Iago when he tells him that Cassio was given the handkerchief he had given Desdemona, by Desdamona herself. Iago. Have you not sometimes seen a handkerchief Spotted with strawberries in your wive’s hand? Oth. I gave her such a one; ‘twas my first gift Iago. I know not that; but such a handkerchief (I am sure it was you wive’s) did I to-day See Cassio wipe his beard with. (Act III, Scene III, ll 435-438). The lack of sight, or blindness is vital to the play, as each character’s confusion bleeds off of one another’s lack of proof. Othello does not see any incriminating actions that Desdemona has committed, and Emilia does not â€Å"figuratively† see what her husband has done with his twisted words and actions. Another symbol in Othello is plants. In many of Iago’s speeches he talks about fruits and plants. What they symbolize is that the characters that Iago is manipulating are plants that are slowly growing more and more twisted, and Iago is the gardener that is making sure that they get more and more twisted and stay that way. Iago. Our bodies are our gardens, to the which our wills are gardeners; so that if we will plant nettles or sow lettuce, set hyssop and weed up thyme, supply it with one gender of herbs or distract it with many either to have it sterile with idleness or manured with industry why, the power and corrigible authority of this lies in our wills. If the balance of our lives had not one scale of reason to poise another of sensuality, the blood and baseness of our natures would conduct us to most prepost’rous conclusions. (Act I, Scene III, ll 323-334). Iago, through jealousy or some other motive, most manipulates Othello: Iago. The Moor already changes with my poison. Dangerous conceits are in their natures poisons Which at the first are scarce found to distaste, But with a little act upon the blood Burn like the mines of sulphur. (Act III, Scene III, ll 325-329). Another symbol used by Iago when he is talking about Othello besides plants is animals. Many times Iago refers to Othello as a Barbary horse, an ass, and an old black ram. These are innuendos Iago uses to make fun of Othello with. It reflects a level of racism that Iago has for Othello. Iago. The Moor is of a free and open nature That thinks men honest that but seem to be so; And will as tenderly be led by th’ nose As asses are. (Act I, Scene III, ll 405-408). Also, when Iago is talking to Brabantio, Desdemona’s father, he refers to Othello: Even now, now, very now, an old black ram Is tupping your white ewe. (Act I, Scene I, ll 88-89). And also: Iago. Zounds, sir, you are one of those that will not serve God if the devil bid you. Because we come to do you service, and you think we are ruffians, you’ll have your daughter cover’d with a Barbary horse; you’ll have your nephews neigh to you; you’ll have coursers for cousins, and gennets for germans I am one, sir, that come to tell you your daughter and the Moor are now making the beast with two backs. (Act I, Scene I, ll 109-118). One very important symbol in Othello is the handkerchief. It symbolizes different things for each character. For Desdemona, the handkerchief was the first love gift that Othello ever gave her, therefore it symbolizes Othello’s love. However, Iago manipulates the meaning of the handkerchief by making Othello see it as a symbol for Desdemona herself. By doing this, when the handkerchief goes missing Othello takes it as Desdemona is also missing from his bed and is in someone else’s. Oth. That handkerchief Did an Egyptian to my mother give. She was a charmer, and could almost read The thoughts of people. She tole her, while she kept it, ‘Twould make her amiable and subdue my father Entirely to her love, but if she lost it Or made a gift of it, my father’s eye Should hold her loathly, and his spirits should hunt after new fancies. (Act II, Scene IV, ll 55-63). The handkerchief itself symbolizes what Othello’s mother used to keep his father faithful to her. The handkerchief is supposedly made from silk of sacred worms and is dyed with extracted blood from the hearts of mummified virgins. The pattern of strawberries on the handkerchief on the white background suggests that the bloodstains left on the sheets on a virgin’s wedding night, therefore the handkerchief suggests a guarantee of virginity as well as fidelity (Crowther, 47). Another, more subtle symbol is the song that Desdemona sing in act five as she is preparing for bed. The song is about a woman who is betrayed by her lover. She was taught the song by her mother’s maid, who suffered the same misfortune as the woman in the song. The lyrics of the song suggest that both men and women are unfaithful to one another. To Desdemona, this song appears to represent a sad and resigned acceptance of her alienation from Othello’s affections, and singing it leads her to question Emilia about the nature and practice of infidelity. Des. My mother had a maid call’d Barbary. She was in love; and he she lov’d prov’d mad And did forsake her. She had a song of ‘Willow. ’ An old thing ‘twas; but it express’d her fortune, And she died singing it. That song to-night Will not go from my mind. I have much to do But to go hang my head all at one side And sing it like poor Barbary. (Act IV, Scene III, ll 26-32). Another work of Shakespeare’s that contains symbolism is Romeo and Juliet. One main symbol in this play is poison. When Friar Lawrence first appears he remarks that every plant, herb, and stone has its own special properties, and that nothing exists in nature that cannot be put to both good and bad uses. Therefore, poison is not automatically evil, but when put to bad use, it becomes evil in the hands of humans. In plants, herbs, stones, and their true qualities; For naught so vile that on the earth doth live But to the earth some special good doth give; Nor aught so good but, strain’d from that fair use, Revolts from true birth, stumbling on abuse. Virtue itself turns vice, being misapplied, And vice sometime’s by action dignified. Within the infant rind of this small flower Poison hath residence, and medicine power; For this, being smelt, with that part cheers each part; Being tasted, slays all senses with the heart. Two such opposed kings encamp them still In man as well as herbs grace and rude will; And where the worser is predominant. Full soon the canker death eats up that plant. (Act II, Scene IV, ll16-30). The sleeping potion that the friar gives Juliet makes her appear dead after she inhales it, however, when Romeo sees Juliet, thinking she is dead, he drinks the poison and is killed. Poison symbolizes society’s tendency to poison good things and make them fatal, just as the Capulet-Montague feud sours Romeo and Juliet’s love into poison. Another use of symbolism in Romeo and Juliet is thumb-biting. This gesture begins a brawl between the Montagues and Capulets. Samson, by flicking his thumbnail from behind his teeth, he shows an insulting gesture, which offends the other party. It is really actually a very juvenile action, and he does it because he wants to interrogate and get into a fight with the Montagues, but at the same time doesn’t want to be accused of starting the fight. Greg. I will frown as I pass by, and let them take it as they list Samp. Nay, as they dare. I will bite my thumb at them; which is a disgrace to them, if they bear it. Abr. Do you bite your thumb at us, sir? Samp. I so bite my thumb, sir. Abr. Do you bite your thumb at us, sir? Samp. [aside to Gregory] Is the law of our side if I say ay? Greg. [aside to Sampson] No. Samp. No, sir, I do not bite my thumb at you, sir, but I bite my thumb, sir. (Act I, Scene I, ll 46-58). Because Sampson is being timid, he wants to be annoying, but not challenging. The thumb-biting seems to be a rather meaningless gesture, and represents the entire foolishness of the entire Montague-Capulet feud, and also the stupidity of violence in general. One other symbol in Romeo and Juliet is Queen Mab. In the first act Mercutio delivers a speech about the fairy Queen Mab, who rides through the night on her tiny wagon delivering dreams to sleepers. The story says that she doesn’t generally bring the best dreams, but instead shows the dreamer dreams of vices that they are addicted to. An example would be greed, violence, and lust. Queen Mab does not only represent and symbolize the dreams of sleepers, but she also symbolizes the power of waking fantasies, daydreams, and even desires. Through the imagery of the story Mercutio paints suggests that all desires and fantasies are as nonsensical and fragile as Mab, and that they are also basically corrupting. This point of view greatly contrasts with that of Romeo and Juliet, who see their love as something real and ennobling. O, then I see Queen Mab hath been with you. She is the fairies’ midwife, and she comes In shape no bigger than an agate stone And in this state she gallops night by night Through lovers’ brains, and then they dream of love; O’er courtiers’ knees, that dream on cursies straight; O’er lawyers’ fingers, who straight dream on fees; O’er ladies lips, who straight on kisses dream, Which oft the angry Mab with blisters plagues, Because their breaths with sweetmeats tainted are. Sometimes she gallops o’er a courtier’s nose, And then dreams he of smelling out a suit; And sometime comes she with a tithe-pig’s tail Tickling a parson’s nose as a’ lies asleep, Then dreams he of another benefice. Sometime she driveth o’er a soldier’s neck, And the dreams he of cutting foreign throuats, Of breaches, ambuscadoes, Spanish blades, Of healths five fadom deep; and then anon Drums in his ear, at which he starts and wakes, And being thus frighted, swears a prayer or two And sleeps again. This is that very Mab That plats the manes of horses in the night And bakes the elflocks in foul sluttish hairs, Which once untangled much misfortune bodes. This is the hag, when maids lie on their backs, That presses them and learns them first to bear, Making them women of good carriage. This is she (Act I, Scene IV, ll 53-54 and ll 70-94). The symbolism described in this paper from William Shakespeare’s plays Macbeth, Hamlet, Othello, and Romeo and Juliet are just examples of how Shakespeare uses symbolism throughout his works. While other literary techniques, such as imagery and diction, play an important role in Shakespeare’s works, symbolism plays just as great, if not a greater role in his pieces. Many times the symbols that Shakespeare used carried a theme throughout the entire work, and also, many times served as foreshadowing. Shakespeare’s life, time period in which he lived, messages he wished to portray to his audience, and people he wished to satirize all were sources in which Shakespeare derived his symbolism in his works from. Aronson, Alex. Psyche and Symbol in Shakespeare. Bloomington, London: Indiana University Press, 1972. Arthos, John. Shakespeare’s Use of Dream and Vision. Totowa, New Jeresey: Rowman and Littlefield, 1977. Faber, M. D. The Design Within, Psychoanalytic Approaches to Shakespeare. New York: Science House, 1970. The Holy Bible, Revised New International Version. Grand Rapids, Michigan: Zondervan Publishing House, 1994. Kittredge, George Lyman. Sixteen Plays of Shakespeare. Boston; New York; Chicago; Atlanta; Dallas; Columbus; San Francisco; Toronto; London: Ginn and Company, 1946 Ludowyk, E. F. C. Understanding Shakespeare. Cambridge: At The University Press, 1964. May, Robin. Who was Shakespeare? The Man The Times The Works. New York: St. Martin’s, 1974. Matthews, Honor. Character Symbol in Shakespeare’s Plays. Cambridge: At the University Press, 1962. Rowse, A. L. Shakespeare the Man. New York; Evanston; San Francisco; London: Harper Row, Publishers, 1973. Rogers, L. W. The Ghosts In Shakespeare. Wheaton, Illinois: The Theosophical Press, 1966.

Free Essays on Catcher in the Rye

"She was ostracizing the hell out of me," Holden says. "Just like the fencing team at Pencey when I left all the goddam foils on the subway." This reference brings you back to the very beginning of the story, the fifth paragraph of the novel, when he talked about the fencing foils. Maybe it's an indication that Holden has come full circle, that he hasn't accomplished anything, that he's right back where he started. There's another full-circle reference later in this chapter, when Holden says he's going to visit a former teacher of his. Its likely that Salinger is trying to direct our attention to the beginning of the story. Phoebe talks to Holden "like a goddam schoolteacher," and he responds as he might to an older person, in a petulant and whining manner. When she asks him why he's being expelled again, he tries to explain what a terrible place Pencey is. The trouble is, his description could fit any school, or almost any group situation that any of us will ever be in. Holden may think he's complaining about Pencey; in fact, he's complaining about the world. Phoebe really becomes the adult character when she presses him to name something he really likes. She won't accept either of the answers he gives, and she presses the issue by asking him what he wants to be. Holden's response contains the source of the book's title. He wants to be the catcher in the rye because he wants to prevent small children from getting hurt.... Free Essays on Catcher in the Rye Free Essays on Catcher in the Rye Catcher in the Rye The American Dream for family will greatly vary between people, as it should. Throughout the novel you can see how Holden’s attitude and relationship vary greatly between family members. This book takes you to every side of the spectrum from friends to enemies. This would not be my typical family dream but to Holden it was, this was all he knew. Holden sees phoniness in the family as he does in society and he flees back toward the innocence of childhood rather than face this reality. In the Catcher in the Rye Holden and His "Phony" Family the protagonist, Holden Caulfield, interacts with many people throughout J.D. Salinger’s novel The Catcher in the Rye, but probably none have as much impact on him as certain members of his immediate family. The ways Holden acts around or reacts to the various members of his family give the reader a direct view of Holden’s philosophy surrounding each member. How do Holden’s different opinions of his family compare and do his views constitute enough merit to be deemed truth? Holden makes reference to the word "phony" forty-four separate times throughout the novel (Corbett 68-73). Each time he seems to be referring to the subject of this metaphor as someone who discriminates against others, is a hypocrite about something, or has manifestations of conformity (Corbett 71). Throughout The Catcher in the Rye, Holden describes and interacts with various members of his family. The way he talks about or to each gives you some idea of whether he thinks they are "phony" or normal. A few of his accounts make it more obvious than others to discover how he classifies each family member. From the very first page of the novel, Holden begins to refer to his parents as distant and generalizes both his father and mother frequently throughout his chronicle. One example is: "†¦my parents would have about two hemorrhages apiece if I told anything personal about them. They’re quite touchy a... Free Essays on Catcher In The Rye Holden Caulfield narrates The Catcher in the Rye in the first person, describing what he himself sees and experiences, providing his own commentary on the people and events he describes. This was a very effective choice for the telling of the story made by the author, J.D Salinger. Holden Caulfield’s tone varied between disgust, cynicism, bitterness and an immature childish tone, which brought color to the story and contributed to the better understanding of Holden Caulfield himself. Throughout the story many key concepts move the story along. â€Å"Phoniness,† which is probably the most famous phrase from The Catcher in the Rye, is one of Holden’s favorite concepts. Holden expends so much energy searching for phoniness in others, that he never directly observes his own phoniness. For example, on the train to New York he lies to Mrs. Morrow as a prank telling her, that her son Ernest is a model student and is popular, when really Holden hates Ernest. Telling the story in first person benefits the reader by giving an inside look into Holden’s strong emotions that help move the book along. For example, loneliness and longing for an intimate â€Å"adult† relationship was a driving force throughout the story. Most of the novel describes his almost manic quest for companionship as he flits from one meaningless encounter to another. Whenever he would get himself into a situation where he would try ending his loneliness, like the encounter with Sunny, the reader would think Holden mature, but then he would sabotage himself, backing out of the situation with an excuse, showing that immature childish tone. Holden’s narration of the story brought feelings, emotions and experiences only Holden could have described. Holden as the narrator made the story simple to follow and also made let the reader really connect with this hypocritical boy who wasn’t ready to grow up.... Free Essays on Catcher In The Rye Catcher in the Rye Essay Holden’s speech is often sarcastic, negative and dismissive to most people he encounters. Occasionally, we see glimpses of sensitivity, gentleness and compassion in his thoughts and observation of the few people he cares about. The way he speaks gives us a clear insight into his character as we see both anger and contempt, but also his extreme vulnerability and sense of sadness and aloneness. Salinger’s use of Holden’s voice gives us a vivid and immediate sense of who Holden is. We feel as though we are in his head. Throughout this book, Holden is constantly putting others down whether it be in his head or out loud. The way he speaks shows the reader that he doesn’t really want to be telling this story. In the first sentence of the book, he starts out by saying â€Å" f you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that a David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth.† This passage shows that he feels as if he is being forced to tell the story. His negativity is the first thing you notice about this character when you first start reading this book. On page 42, when he’s fighting with Stradlater, he says, â€Å"I didn’t even answer him. God, how I hated him.† This passage shows that he almost never has anything nice to say to peop le. Another thing that Holden is constantly doing throughout the book is lying. On page 54, when he is talking to the mother on the subway he says,† ‘Rudolf Schmidt,’ I told her. I didn’t feel like giving her my whole life history. Rudolf Schmidt was the name of the janitor of our dorm.† This passage shows that Holden lies for no reason what so ever. Although most of what comes out of Holden’s mouth is negative, ther... Free Essays on Catcher In The Rye Devotion to the Protection of innocence Innocence, Compassion, and some ‘Crazy’ Cliff A novel, which has gained literary recognition worldwide, scrutiny to the point of censorship and has established a following among adolescents, The Catcher in the Rye is in its entirety a unique connotation of the preservation of innocence and the pursuit of compassion. With certain elegance the writer J.D. Salinger, substantiates the growth and perils, which lie between childhood and adulthood. Embellishing the separation between innocence and squalor in the grasps of society. The bridge that lies between these contrasting themes are personified through the novel’s protagonist, Holden Caulfield and his visualization of a cliff, which depicts a dividing point between the evident beginning and end. The connection, which binds this gap in reality, was made clear through a new found compassion, consummating Holden’s place in society through the realization of his surroundings from which he successfully crosses ov er. Focusing on the rebellious and confused truth of adolescents stuck between the innocence of childhood and the crookedness of the adult world, this novel strikes a cord, which most adolescents can relate. The essence of the story The Catcher in the Rye follows the forty-eight hour experience of sixteen-year-old Holden Caulfield, told through first person narration. After his expulsion from Pency, a fashionable prep school, the latest in a long line of expulsions, Holden has a few confrontations with his fellow students and leaves shortly after to return to his hometown, New York City. In the heart of New York City, Holden spends the following two days hiding out to rest before confronting his parents with the news. During his adventures in the city he tries to renew some old acquaintances, find his significance in the adult world, and come to grips with the head-aches he has been having lately. Eventually, Holden sneaks home to visit... Free Essays on Catcher in the Rye "She was ostracizing the hell out of me," Holden says. "Just like the fencing team at Pencey when I left all the goddam foils on the subway." This reference brings you back to the very beginning of the story, the fifth paragraph of the novel, when he talked about the fencing foils. Maybe it's an indication that Holden has come full circle, that he hasn't accomplished anything, that he's right back where he started. There's another full-circle reference later in this chapter, when Holden says he's going to visit a former teacher of his. Its likely that Salinger is trying to direct our attention to the beginning of the story. Phoebe talks to Holden "like a goddam schoolteacher," and he responds as he might to an older person, in a petulant and whining manner. When she asks him why he's being expelled again, he tries to explain what a terrible place Pencey is. The trouble is, his description could fit any school, or almost any group situation that any of us will ever be in. Holden may think he's complaining about Pencey; in fact, he's complaining about the world. Phoebe really becomes the adult character when she presses him to name something he really likes. She won't accept either of the answers he gives, and she presses the issue by asking him what he wants to be. Holden's response contains the source of the book's title. He wants to be the catcher in the rye because he wants to prevent small children from getting hurt.... Free Essays on Catcher in the Rye Catcher In The Rye Holden Caulfield is teen angst bull-crap with a pickax. He's sarcastic, nasty, and completely unlikeable. He also doesn't give a crap. He is every teenager caught between the crapy little games of high school ("you're supposed to kill yourself if the football team loses or something") and the fear of adulthood ("going to get an office job and make a lot of money like the rest of the phonies"). The greatness in Holden Caulfield is that what he has to say is better than a million Celestine Prophecies or anything said by Jonathan Livingston Seagull (save for the squawks after you shoot him) or Jesus (save for the apocryphal "hey Peter I can see your house from here"). Holden Caulfield says that life sucks, everyone is a phony, and you'll be inevitably disappointed by everyone that you hold in awe. If you think that this sounds awful, ask yourself one question. When was the last time you found any joy in watching Barney or the Care Bears? It isn't just what he says but the way he says it. He goes through life making dead-on observations that completely shoot the kneecaps out from under the terminally self-righteous. When a successful mortician tells the school to follow his example and pray when things go bad, it is Holden Caulfield who points out that the guy is praying for more people to die. He's depressed by nuns and annoyed by shallow girlfriends, while in love with his platonic friend. Even more interesting is the fact that Caulfield's general pissed off attitude and his hormones are inextricably linked. He practically wants to kill his roommate, Stradlatter, because Stradlatter might have screwed a girl he desires. He guiltily admits to making out with phonies, and in a major confession he confesses to being a virgin. He gets the crap beat out of him by a disgruntled pimp after deciding that he doesn't want a to have sex with a prostitute for the silliest of reasons.(he ju...

The Freelance Writing Course is Re-Opening Today

The Freelance Writing Course is Re-Opening Today The Freelance Writing Course is Re-Opening Today The Freelance Writing Course is Re-Opening Today By Ali Hale Remember January? You probably made some new year’s resolutions. Maybe, like many writers, you wanted to finally make some money from your words. Back in January, we launched something new here on Daily Writing Tips: the Freelance Writing Course. A bunch of fantastic students spent six weeks in January and February learning all about freelance writing online and building their own freelancing businesses. The doors have been closed for four months, but we got such great feedback on the course that we’re opening them up again for 72 hours! Here is what one of the students said about the course: Thank you for the course! It was more than worth the price tag. I actually remember thinking: They could be charging so much more for this. Why? Because there are thousands of websites and books with advice about freelance writing, blogs, content mills or running a business but I havent found one with such comprehensive look at everything, with the action steps to take me from dabbling to professional! This really helped me see all of the avenues I have open and choose the ones that are going to give me the biggest pay off in money and experience right now. Thanks again! (Jessica Vaughan, United States) The course is a six-week program designed to teach you everything you need to know about making money freelance writing online. You’ll get written lessons every week (that you access on a special members’ site). They’ll cover: Week #1: Becoming more productive and effective – if you can write fast without sacrificing quality, you’ll massively increase your earnings. Week #2: Setting up your own freelancing website and building up your online writing credentials – essential if you want to be taken seriously. Week #3: Writing great content for the web – so you can provide editors with exactly what they want. Week #4: Finding great clients and high-paying jobs – so that you get paid well for your writing, instead of toiling away for peanuts. Week #5: Running your business effectively – because if you can’t communicate well with clients or if you miss deadlines, you’ll soon find yourself out of work. Week #6: Using social media to find jobs and promote yourself – the way you use social media can make or break your writing career. Three years ago my life changed forever when I left my day job to become a full-time freelance writer. Now, I get to do what I love all day long. This course teaches you exactly how I did it – so that you can do the same. And you won’t be alone. You’ll be taking the course as part of a whole group of writers (hundreds of them!). You’ll have a forum where you can get to know them – and where you can get advice and support directly from me, whenever you need it. So that everyone can go through the course together, though, we are keeping the doors open for 72 hours only, until midnight (GMT) this Friday, 6th May. If this is what you’ve been waiting for click here to read all the details and join us. We’d love you to be our next success story. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Freelance Writing category, check our popular posts, or choose a related post below:Arrive To vs. Arrive At7 Patterns of Sentence Structure30 Nautical Expressions

Analysis on efficiency of Chinese commercial banks Research Proposal

Analysis on efficiency of Chinese commercial banks - Research Proposal Example A series of banking reforms have been implemented in China since 1979. These reforms aim to create a safe and sound system of banking within the country (Dong, 2009). The structural and institutional arrangements characterizing the banking sector in China as well as the banking reforms implemented in China in the past 20 years will provide the background and foundation of the study(Dong, 2009). The researcher felt that for efficiency to be discussed in-depth, it may be necessary for historical antecedents and facilitators of the same to be analyzed in order to provide the reader with a wealth of information. In the last 40 years, financial sectors across the globe have witnessed substantial developments(Dong, 2009). The change in the operating environment of banks has had significant implications for the business activities of banks as well as their economic role. Globalization, deregulation, technological progress and financial innovation to mention but a few have all gradually reduced the cost of processing and transmitting information which have been major forces impacting the performance of the international banking sector. Since the embarking of the open door policy in 1979, the Chinese banking sector has witnessed gradual yet notable reforms(Dong, 2009). A key objective of the said reforms implemented by the government was to build a competitive, effective and stable banking system to improve reliability and efficiency. The reforms aimed at moving the country from a planned economy supplemented with market elements to a socialist market economy. The Chinese government deregulated and liberalized operations in the Chinese banking sector as part of national reforms in the economy. The program applied includes among others the establishment of a double-tier system, separation of the lending policy form commercial

Sexual harassment Case Study Example | Topics and Well Written Essays - 1250 words

Sexual harassment - Case Study Example Burger King Restaurants, the largest franchisee is paying $2.5 million in order to settle fed-eral claims of sexual harassment. The Equal Employment Opportunity Commission says the agree-ment with Carrols Corp. covers 89 female employees around the country. The Equal Employment Opportunity Commission alleged that Carrols employees subjected women in dozens of restaurants to unwanted touching, obscene comments, strip searches, exposure of genitalia, and rape. However, the Burger King Restaurants Company did not admit any wrongdoing and said in a statement that it settled the case to avoid litigation costs. This particular settlement required Burger King Restaurants to improve its ability to respond to harassment charges. Syracuse, N.Y.-based Carrols owns and op-erates more than 570 Burger King Restaurants in 13 states. Carrols was accused of sexual harass-ment and a widespread violation of Title VII of the Civil Rights Act. Burger King's largest franchi-see--Carrols Restaurant Group I nc. agreed to a $2.5 million settlement with the Equal Employment Opportunity Commission (EEOC) on Tuesday, this marked the end of a 14-year sexual harassment case in which Carrols was accused of widespread violation of Title VII of The Civil Rights Act. According to the Equal Employment Opportunity Commission (EEOC), the money will go to 88 former employees and one current employee, the remaining claimants out of 90,000 female em-ployees that the EEOC initially contacted to investigate Carrols' alleged harassment. In spite of this, Carrols did not admit wrongdoing as a component of the settlement, and the CEO of the company, Daniel Accordino said in a statement: "We unequivocally do not tolerate sexual harassment in our workplace." The company however did agree to augment its anti-harassment policies and increase training, and will be reporting to the Equal Employment Opportunity Commission (EEOC) for two years. This story relate to ideas that we have discussed in the course concerning sexual harassment and human resources. According to the U.S. Equal Employment Opportunity Commission (EEOC, sexual harassment is a form of gender discrimination in violation of Title VII of Civil Rights Act 1964.   In fact, by 1998, the Supreme Court of the United States made employers more liable for employee sexual harassment. Nevertheless, the Society for Human Resource Management has documented in their report that 62%of companies today offer programs on sexual harassment prevention training, and 97% have a written policy of sexual harassment (Crouch, 2009). In the case of the Burger King Restaurants, there were some inconsistencies as there was no clear sexual harassment policy written. Over 88 female employees reported sexual harassment and have been compensated due to laxity of the company to define a

MPM DB3 Essay Example | Topics and Well Written Essays - 500 words

MPM DB3 - Essay Example A project manager should be a team builder with the ability of facilitating the team to work in the right conditions. The right team is very important to enhance the meeting of expectations. The project manager must be decisive, considering the many decisions to be made everyday. He should have influential and have good negotiation skills, which will enable him in solving disputes that may arise while at work (Barry, 2010). A good project manager should also be a good planner, able to consider work schedules, manage resources, and meet deadlines. While all the qualities of a project manager are important to facilitate the success and effectiveness of this project, two aspects I think a very essential are visionary leadership and communication. This is because a project manager who has a vision will have knowledge in placing the right people in the right places so that the projects goals are achieved. He will also know how to sell the vision to the team, make them appreciate their roles in propagating the vision regardless of their position in the team, and even develop their own visions pertaining what is expected of them in achieving it. The visionary leader encourages and motivates, acts as a mentor and facilitates productivity, and these are crucial to success of any project. Communication will also be a very important aspect for the success of the project. Proper flow of communication initiated by the project manager to the team and among the team members is important if team work is to be enhanced and production is to be maximized. Investing in current technology is important as it facilitates communication regardless of location. The project manager should be able to ensure that there are proper mechanisms to control the flow of information and keep track of feed back (Syntel, Inc., 2012). This will facilitate agreement on all aspects across the board. It is important that for everything that is

Patent report Essay Example | Topics and Well Written Essays - 750 words

Patent report - Essay Example The PaperTab combines thin-film display and thin-film input that incorporates computing technologies made possible by the intuitive interaction design in that the plastic displays are transformational in terms of interaction as they can allow interaction of humans with electronic paper as they are thinner and offer standard glass displays. For patency to subsist there must be some conditions that must be met according to the regulations set by the agency concerned with patency in Canada. These three requirements for the patentability of a product include the fact that the product must have what is known as novelty, inventive step and industrial application. According to The World Intellectual Property Organization (2002), novelty questions outlines that support the invention claimed by a particular person or body and is important that the courts or law enforcement agencies make a comparison between the state of the art to the invention itself. Under this, there is often the problem o f establishing what has been referred to as ‘state of the art’ and the law provides that all matters or patents must be made public inclusive of those that are still pending. It is required that persons intending to patent a product must also disclose their time and geographical limits while for international patents, it was a requirement that the translation requirements are followed and applied to the letter. Public disclosure of the product of the patent in this case the phone must be in a manner that makes it available to the public and must be sufficiently clear to everyone (Berman 2002). It is also important to note that the disclosure of the patent must be sufficiently appreciated by all those concerned whereby it should be ensured that if the procedure which ends up producing the substance is part of the state of the art, so is the substance made by the procedure (Norman, 2011). Further, there must be a distinction drawn between the disclosure of a product and t he disclosure for use. The requirement of Inventive Step for patentability is provided and incorporates the obviousness test in as provided by the common law test of Cripps Test (Slusky, 2007). It should be found whether a reasonable man on whom patent law should apply would in general knowledge have come up without any difficulty to the solution brought forward by the patent. The parties involved in patenting must identify the inventive concept whereby it should be assumed that a person is the normally skilled but unimaginative person with skills in the art and with the common knowledge in the art at the date that as a priority. It is also important that any differences are identified between the invention and the matter that is claimed to be already known whereby it is questioned whether the differences are so obvious to anyone skilled in the art or whether they would have required an invention. Under Industrial Application, the important factor is to find out whether the ideas ca me before their time, or that the patented product was used or made in the industry. This is regardless of whether the product in this case the phone was made for profit or gain but excludes personal or private activities and determines the usefulness or utility of the product and its technical effect. From the foregoing argument it is important that the

MGT509 - Human Resource Management Mod 3 SLP Essay

MGT509 - Human Resource Management Mod 3 SLP - Essay Example After taking the Ambivalent Sexism Inventory Test, the scores that I received were 3.73 in regard to Hostile Sexism and 2.82 in relation to Benevolent Sexism. This compares to 1.9 for Hostile Sexism and 2.0 for Benevolent Sexism being the average for the USA, so both my scores were on the higher side and above the average scores for males and females here. This was a little surprising for me, because most of the time I consider myself a traditionalist and am respectful towards women. Anyhow, it could be an eye opener to any gender prejudices I am harboring. When I compared my scores to those from Germany, I was surprised to find that the average males and females both had lower scores than mine in regard to both dimensions. The average score was 1.8 for Hostile Sexism and 2.2 for Benevolent Sexism there. Comparing my scores to those from Peru, I found that the average female rated 2.6 regarding Hostile Sexism and 2.8 regarding Benevolent Sexism. The males were a little higher on both dimensions but still lower than mine. When I compared my scores to those from Japan, I found that the scores of both males and females were less than my own. The females rated around 2.6 for Hostile Sexism and 2.8 for Benevolent Sexism. These scores were a little less than mine. The male scores for Japan were about two points higher than the females. Lastly taking the case of an African country, I considered the scores in South Africa. The scores here indicate that there is a very high rate of Hostile Sexism among the males and females alike, while there was also a very high rate of Benevolent Sexism among both sexes. The city of Johannesburg in South Africa a few years ago used to be considered the ‘rape capital’ of the world, with a rape occurring once every three minutes (Lindow, 2009). The scores were higher than mine on both counts. This means that the females here

Patent report Essay Example | Topics and Well Written Essays - 750 words

Patent report - Essay Example The PaperTab combines thin-film display and thin-film input that incorporates computing technologies made possible by the intuitive interaction design in that the plastic displays are transformational in terms of interaction as they can allow interaction of humans with electronic paper as they are thinner and offer standard glass displays. For patency to subsist there must be some conditions that must be met according to the regulations set by the agency concerned with patency in Canada. These three requirements for the patentability of a product include the fact that the product must have what is known as novelty, inventive step and industrial application. According to The World Intellectual Property Organization (2002), novelty questions outlines that support the invention claimed by a particular person or body and is important that the courts or law enforcement agencies make a comparison between the state of the art to the invention itself. Under this, there is often the problem o f establishing what has been referred to as ‘state of the art’ and the law provides that all matters or patents must be made public inclusive of those that are still pending. It is required that persons intending to patent a product must also disclose their time and geographical limits while for international patents, it was a requirement that the translation requirements are followed and applied to the letter. Public disclosure of the product of the patent in this case the phone must be in a manner that makes it available to the public and must be sufficiently clear to everyone (Berman 2002). It is also important to note that the disclosure of the patent must be sufficiently appreciated by all those concerned whereby it should be ensured that if the procedure which ends up producing the substance is part of the state of the art, so is the substance made by the procedure (Norman, 2011). Further, there must be a distinction drawn between the disclosure of a product and t he disclosure for use. The requirement of Inventive Step for patentability is provided and incorporates the obviousness test in as provided by the common law test of Cripps Test (Slusky, 2007). It should be found whether a reasonable man on whom patent law should apply would in general knowledge have come up without any difficulty to the solution brought forward by the patent. The parties involved in patenting must identify the inventive concept whereby it should be assumed that a person is the normally skilled but unimaginative person with skills in the art and with the common knowledge in the art at the date that as a priority. It is also important that any differences are identified between the invention and the matter that is claimed to be already known whereby it is questioned whether the differences are so obvious to anyone skilled in the art or whether they would have required an invention. Under Industrial Application, the important factor is to find out whether the ideas ca me before their time, or that the patented product was used or made in the industry. This is regardless of whether the product in this case the phone was made for profit or gain but excludes personal or private activities and determines the usefulness or utility of the product and its technical effect. From the foregoing argument it is important that the

Exodus and the hardening of Pharaoh's Heart Essay

Exodus and the hardening of Pharaoh's Heart - Essay Example As such they are without blemish and without any partisan attitude. Bible does not distinguish between Israelites and non-Israelites. Spiritual revelations are not bound by or confined to geographical boundaries. All arguments and counter-arguments originate below the mind level, and once an individual transcends the mind, one practically understands what divinity is! It is beyond words as such it cannot be expressed through speech. â€Å"All human beings are created in the image of God† (Magid) and at the same time God has blessed them with his free-will. They have the ability to act as per their volition and possess the capability to atone for their sins. Free will is the fundamental aspect of divine play. â€Å"Therefore, God’s removing the possibility of repentance (hardening Pharaoh’s heart) fairly raises the question of ethical reciprocity and just desserts.†(Magid) If this is agreed, the next question is God hardening anyone’s heart that â₠¬Å"challenges God’s relationship to humanity in Scripture† (Magid). This is the root cause of the â€Å"philosophical problem.† If Bible is taken for granted as a scripture of literature limited to the cultural and historical aspects, then the problem of hardening Pharaoh’s heart turns out to be the secular problem, and not of the Bible. Another way to sidestep the â€Å"problem† of Pharaoh’s hardened heart is to view Pharaoh as one who will not repent because he cannot repent. In Exodus 3:20 God ordains that He will bring plagues (wonders) upon Egypt as a rejoinder to Pharaoh’s disinclination to free Israel. In Exodus 4:2, God will â€Å"stiffen Pharaoh’s heart† to enable Him to engulf Egypt with plagues. In the first verse plagues are mentioned as an essential ploy for accomplishing the desired objective, i.e., liberation of Israel. In the second verse, the plagues are a crucial portion of the Exodus. God desires Pharaoh to uninterruptedly