Confusing Passed with Past

Mistaking Passed for Past Mistaking Passed for Past Mistaking Passed for Past By Maeve Maddox Peruser Peggy Lanahan inquires Is it right to state, â€Å"how does the food consistently get passed the kiddie apron? or on the other hand past the bib†? The incessant disarray between the words passed and past is reasonable. They are articulated the same and have comparative implications. Cautious essayists need to discover some stunt for recalling the distinction. The two words get from a similar Latin thing: passus step, pace. From that thing came a Vulgar Latin action word passare to step or to walk. English took the word from Old French passer. The structure passed is the past participle of the action word to pass. Pass can be utilized transitively: I passed the congregation on my way to the store. or then again intransitively: He went through existence without a consideration. Intransitive pass is likewise utilized as a doublespeak for pass on, as in When did your dad pass? The word past can be utilized as a descriptor: Dont hold feelings of resentment for past offenses. as a modifier: I figured he would stop, however he just ran past. what's more, as a relational word: How does the food consistently move beyond the kiddie apron? For additional on Past versus Passed, read this post by Ali. Need to improve your English in a short time a day? Get a membership and begin getting our composing tips and activities day by day! Continue learning! Peruse the Misused Words class, check our well known posts, or pick a related post below:English Grammar 101: All You Need to Know40 Synonyms for â€Å"Lie†12 Misunderstood and Misquoted Shakespearean Expressions

Reflective Account Essay Example | Topics and Well Written Essays - 2500 words - 1

Intelligent Account - Essay Example 3. Summed up investigation and gaining - moving endlessly from the particular model, what did this raise about how the chipping practically speaking and hypothesis identify with one another all the more for the most part (for example did a discussion raise any issues about the techniques utilized by the organization? or then again about working expertly? or on the other hand did the gathering or action raise issues about approach or frameworks or systems?) The discussion truly caused me to comprehend the significance of chipping practically speaking as an extension between hypothetical work and practice. The school urges educators to be near the one of a kind needs of understudies. The instructors are required to follow up on the student’s needs in habits that propel and empower reestablished vitality. This was one case summoned me to put myself as the instructor in the shoes of the understudy in Oder to comprehend her quandary and act essentially properly. Following the discussion I saw the need to development and help inspire the understudy in order to assist her with building up a superior mental self portrait in spite of the circumstance. My subsequent will include helping the young lady embrace systems that assist her with transforming her circumstance into a chance to exceed expectations in her scholastic and general life. In future as a feature of my learning and advancement I will be progressively cautious slashed dealing with students from various social, social and monetary foundations. These are factors influencing conduct and correspondence among students and as an instructor I should be increasingly proactive and socially

4 Challenges Every Growing SaaS Business Will Face - Focus

4 Challenges Every Growing SaaS Business Will Face - Focus It’s been eleven years since Till and I founded MeisterLabs and since launching, we’ve come up against our fair share of hurdles.  Fortunately, we’ve weathered each storm and at every plateau discovered new ways to breathe life into the business and our approach to it. The common denominator at each of these crossroads was our choice to invest in growth. I doubt that we’re unique in that sense. In my experience, every new business faces comparable challenges, the solutions to which are, in one way or another, to always continue growing.   Over the past decade, I’ve witnessed the development of multiple versions of myself as an entrepreneur, as well as our company, MeisterLabs, where we developed our first SaaS product,  MindMeister.   So I want to share these moments of evolution and how we weathered them. Maybe our experiences my experiences will help future SaaS entrepreneurs navigate these same transitions more smoothly. Evolution 1: You won’t always be flavor of the month One of the best things about launching a new startup is the free media attention you get. My co-founder and I got the most recognition by far when we first launched â€" innovation awards, people talking about us, etc. We assumed this is how it would always be. The first version of MindMeister  released 2007 on private beta. Eventually, though, everyone who’s going to write about you has already written about you. The press attention slows down and you’re no longer the hot young company of the year. This can be jarring for founders, but it’s not all bad news. The upshot is, once you’re no longer the flavor of the week, it forces you to really start to invest in creativity and attention-grabbing work. You’ve now got a moment to lean in and commit to growth. It’s best if you learn early on that when your hotshot supernova phase begins to fade, growth is a remedy for many of the challenges you’ll face. Evolution 2: Your staff won’t always be a bunch of single 20-somethings There was a time when pretty much everyone at our company was between 22 and 28. Most people were single (if not, well, there weren’t kids around) and we spent our free time together hanging out at pub quizzes and over the weekend. This type of setup has been part of startup mythology since The Social Network â€" a work hard, play hard group of young people creating the next big thing. It can be a fun and productive way to work, but even if your team starts out fitting this startup stereotype, it won’t always be that way. Team members get married and family inevitably takes center stage in their lives. Before you know it, 6 PM Friday drinks in the kitchen become  booking happy hour into your calendar three weeks in advance. You might sometimes miss the early days, but this evolution is both inevitable and good. Your team members are growing and, hopefully, your company is growing with them.   It’s still possible to preserve some of that youthful energy and excitement, however. Ensure that there’s always an influx of new blood by hiring some firecrackers who will re-infuse the company with a fresh dose of excitement and impatience provided it also seems like theyll be good at their job.   For the veteran team members that do stick with you, ten years in a company can create moments where motivation is flat and inertia takes over. Work through these flat periods by giving employees the freedom to build their skills in new parts of the company while developing professionally. These senior team members that know your tools inside and out can be priceless, so you’ll need to work out ways to keep them engaged and on board. Evolution 3: The coast can kill you Sometimes when an entrepreneur has a booming startup, they think they’ll be able to coast, to pull back on effort, take a bit more revenue out of the company, or even buy a vacation home in the Caribbean, if they’ve been particularly successful.  For instance, I was traveling a few months back and talking with other entrepreneurs. One guy had been with a company for seven years. It was so successful that the founder was now nowhere to be seen â€" always jetting off to a new destination. We went in the complete opposite direction. Our original product was successful and growing and we felt as though we had pushed the creativity as far as possible. Instead of bailing, we doubled down and launched another product,  MeisterTask. This second product breathed new life into us as founders, as well as the company as a whole. Developing a new product also inspired us to think about new avenues for our first product, MindMeister. Our second product: task management solution, MeisterTask Here again, even though we had one successful product, growth was the secret sauce that kept MeisterLabs fresh and moving forward. By developing a new project, we not only managed to stay sharp, but we also like to think it kept our top talent engaged.   Evolution 4: Competition exists (and it may speed by you) There are now over 1.5 million tech startups in Europe alone. This inevitably means some entrepreneurs are going to have genius ideas and move at warp speed â€" faster, sometimes, than you. I know some young guys that launched a startup right out of university. Of course, doing this doesn’t always take you where you hope it will, but these guys got it right, and at the right time. The company is growing rapidly and the founder is loving life in the limelight. They went soaring past us in terms of users and revenue a while ago and although the tool isn’t a competitor of ours, once upon a time that would have bothered me. When we first started, I’d see competitors’ sites and start running nightmare scenarios: “These guys have thought of everything we missed! What’s going to happen to our market share?” This can be depressing  if you allow it to be.       But these days, I’m used to competition. It’s a valuable skill to cultivate. And as we say in German â€"  at the end of the day, we all cook with water. The healthiest way to see competition is as an inspiration to improve your own tool. If the common theme running through these four key stages of our company’s evolution isn’t yet obvious, let me say it plainly â€" growth is the solution to many of the obstacles standing in the way of building a successful SaaS company. Startups are like sharks: if they stop moving, they die. That’s why, even after nearly twelve years, my co-founder Till and I have plans in our books and tricks up our sleeves to continue growing our business and providing new ways for teams to improve their productivity. We’ve learned that evolution, while sometimes difficult, is the only way for a company to continue to thrive. If you liked this article, you might also enjoy: Slave to the Ribbon: 4 Tough Questions in Software Design How 7 SaaS Founders Discovered Product Market Fit Beautiful Task ManagementGet Productive Discover MeisterTask Its free! Discover MeisterTask 4 Challenges Every Growing SaaS Business Will Face - Focus It’s been eleven years since Till and I founded MeisterLabs and since launching, we’ve come up against our fair share of hurdles.  Fortunately, we’ve weathered each storm and at every plateau discovered new ways to breathe life into the business and our approach to it. The common denominator at each of these crossroads was our choice to invest in growth. I doubt that we’re unique in that sense. In my experience, every new business faces comparable challenges, the solutions to which are, in one way or another, to always continue growing.   Over the past decade, I’ve witnessed the development of multiple versions of myself as an entrepreneur, as well as our company, MeisterLabs, where we developed our first SaaS product,  MindMeister.   So I want to share these moments of evolution and how we weathered them. Maybe our experiences my experiences will help future SaaS entrepreneurs navigate these same transitions more smoothly. Evolution 1: You won’t always be flavor of the month One of the best things about launching a new startup is the free media attention you get. My co-founder and I got the most recognition by far when we first launched â€" innovation awards, people talking about us, etc. We assumed this is how it would always be. The first version of MindMeister  released 2007 on private beta. Eventually, though, everyone who’s going to write about you has already written about you. The press attention slows down and you’re no longer the hot young company of the year. This can be jarring for founders, but it’s not all bad news. The upshot is, once you’re no longer the flavor of the week, it forces you to really start to invest in creativity and attention-grabbing work. You’ve now got a moment to lean in and commit to growth. It’s best if you learn early on that when your hotshot supernova phase begins to fade, growth is a remedy for many of the challenges you’ll face. Evolution 2: Your staff won’t always be a bunch of single 20-somethings There was a time when pretty much everyone at our company was between 22 and 28. Most people were single (if not, well, there weren’t kids around) and we spent our free time together hanging out at pub quizzes and over the weekend. This type of setup has been part of startup mythology since The Social Network â€" a work hard, play hard group of young people creating the next big thing. It can be a fun and productive way to work, but even if your team starts out fitting this startup stereotype, it won’t always be that way. Team members get married and family inevitably takes center stage in their lives. Before you know it, 6 PM Friday drinks in the kitchen become  booking happy hour into your calendar three weeks in advance. You might sometimes miss the early days, but this evolution is both inevitable and good. Your team members are growing and, hopefully, your company is growing with them.   It’s still possible to preserve some of that youthful energy and excitement, however. Ensure that there’s always an influx of new blood by hiring some firecrackers who will re-infuse the company with a fresh dose of excitement and impatience provided it also seems like theyll be good at their job.   For the veteran team members that do stick with you, ten years in a company can create moments where motivation is flat and inertia takes over. Work through these flat periods by giving employees the freedom to build their skills in new parts of the company while developing professionally. These senior team members that know your tools inside and out can be priceless, so you’ll need to work out ways to keep them engaged and on board. Evolution 3: The coast can kill you Sometimes when an entrepreneur has a booming startup, they think they’ll be able to coast, to pull back on effort, take a bit more revenue out of the company, or even buy a vacation home in the Caribbean, if they’ve been particularly successful.  For instance, I was traveling a few months back and talking with other entrepreneurs. One guy had been with a company for seven years. It was so successful that the founder was now nowhere to be seen â€" always jetting off to a new destination. We went in the complete opposite direction. Our original product was successful and growing and we felt as though we had pushed the creativity as far as possible. Instead of bailing, we doubled down and launched another product,  MeisterTask. This second product breathed new life into us as founders, as well as the company as a whole. Developing a new product also inspired us to think about new avenues for our first product, MindMeister. Our second product: task management solution, MeisterTask Here again, even though we had one successful product, growth was the secret sauce that kept MeisterLabs fresh and moving forward. By developing a new project, we not only managed to stay sharp, but we also like to think it kept our top talent engaged.   Evolution 4: Competition exists (and it may speed by you) There are now over 1.5 million tech startups in Europe alone. This inevitably means some entrepreneurs are going to have genius ideas and move at warp speed â€" faster, sometimes, than you. I know some young guys that launched a startup right out of university. Of course, doing this doesn’t always take you where you hope it will, but these guys got it right, and at the right time. The company is growing rapidly and the founder is loving life in the limelight. They went soaring past us in terms of users and revenue a while ago and although the tool isn’t a competitor of ours, once upon a time that would have bothered me. When we first started, I’d see competitors’ sites and start running nightmare scenarios: “These guys have thought of everything we missed! What’s going to happen to our market share?” This can be depressing  if you allow it to be.       But these days, I’m used to competition. It’s a valuable skill to cultivate. And as we say in German â€"  at the end of the day, we all cook with water. The healthiest way to see competition is as an inspiration to improve your own tool. If the common theme running through these four key stages of our company’s evolution isn’t yet obvious, let me say it plainly â€" growth is the solution to many of the obstacles standing in the way of building a successful SaaS company. Startups are like sharks: if they stop moving, they die. That’s why, even after nearly twelve years, my co-founder Till and I have plans in our books and tricks up our sleeves to continue growing our business and providing new ways for teams to improve their productivity. We’ve learned that evolution, while sometimes difficult, is the only way for a company to continue to thrive. If you liked this article, you might also enjoy: Slave to the Ribbon: 4 Tough Questions in Software Design How 7 SaaS Founders Discovered Product Market Fit Beautiful Task ManagementGet Productive Discover MeisterTask Its free! Discover MeisterTask

Greek And Classical Greek Philosophy - 997 Words

Classical Greek Philosophy A philosophy is the study of the fundamental nature of knowledge, reality, and existence, esp. when considered as an academic discipline. Greece was divided into several city-states, which ran separately and independent from each other. However, they shared commonalities, such as common ancestry, language, and festivals. Foreigners were all considered barbarians to the Greek. Greek Culture is reflected in today s Society in many ways. These ways include mathematics, government, medicine, art, and architecture. Without Greek Culture, we would not have the idea of mathematical proof or geometry, which are still used today. Without Greek Culture, we also wouldn t have technologies and other refined technologies that first came from Greece. Greek artists of the fifth and fourth centuries B.C. attained a manner of representation that conveys a vitality of life as well as a sense of permanence, clarity, and harmony. Significant achievements were made in Attic va se painting. Most notably, the red-figure technique surpassed the black-figure technique, and with that, great strides were made in portraying the human body. Also, Greeks believed music became a form of expression subject to rules, styles, and rational analysis. To them, music fulfilled an ethical function in the training of young individuals. However, there were three famous Greek philosophies that are: Socrates, Plato, and Aristotle. The beginnings of philosophers are thatShow MoreRelatedThe Hellenistic Age And Classical Age952 Words   |  4 Pagesto describe the spread of culture from the Greek civilization that developed after the reign of Alexander the Great. How does the Hellenistic Age differ from the Classical Age? The Classical Age, referred to as Hellenic Greek, was founded in 507 B.C.E. and concluded in 323 B.C.E. The Hellenistic Age was founded in 323 B.C.E. and concluded in 31 B.C.E. after the reign of Alexander the Great. The Classical Age was ruled by the Greek civ ilization in Greek city states and their territories. The HellenisticRead MoreThe Era Between 350 And 310 Bc929 Words   |  4 PagesThe era between 350 and 310 BC marked a dramatic change in the Western World from the first, classical Hellenic Age of the Greeks, to the second, Hellenistic Age of the Greek Civilization. This classical period was considered the height of Greek civilization and deemed â€Å"The Golden Age† of ancient Greece. The polis (Greek city-state) was the center of Greek political life for the majority of this period. The poleis were small, independent, and self-sufficient; however, too politically divided to surviveRead More Can Education be Classical and Christian? Essay1342 Words   |  6 PagesCan an education be both classical and Christian? Many parents ask this question every year, unknowingly echoing an age-old question. Tertullian, an early church father, was perhaps the first to consider whether these two ideas are compatible when he asked, â€Å"What has Athens to do with Jerusalem?† The church fathers continued to wrestle with the question for centuries, most concluding that all ideas that are taken captive for Christ may be used profitably by Christians. Examining this ongoingRead More Role Model of the West Essay1539 Words   |  7 Pagesancient Greeks for their many contributions, such as architecture, fine arts, education, philosophy, and mostly for their form of democracy and ways of government. The architecture and fine arts in ancient Greece had proved to be beyond its time. The Greeks talent for architecture and art was and still is irresistible to many artist of today. The spread of this talent moved from the Greeks throughout Europe, especially Ancient Rome and all the way to present day United States. The Greek peopleRead MoreClassical vs. Hellenistic Periods Essay677 Words   |  3 PagesDuring the span of the Classical and Hellenistic periods in Ancient Greece, many changes occurred that differentiated one from the other. There were many facets of society that were affected as a result from the Classical period leading to the Hellenistic period. The Classical period was a time of intellectual growth and stimulus. The desire to learn brought about the need for a group of teachers to impart worldly wisdom unto their students. This new group of teachers that emerged were known asRead MoreAncient Greek Essay1393 Words   |  6 PagesChapter 3: Ancient Greek Civilization 1. During the Mycenaean civilization, who was the great poet and what were his two important literary works that influenced the Greeks and formed part of Western literature? Homer, The Iliad, The Odyssey 2. In a period known as the Dark Ages from 100 B.C. to 800 B.C., life reverted to simpler forms and people lived in relative isolation. 3. The period from the 9th to the 6th century B.C. is known as the Archaic Age during which the Greek kings were deposedRead More Roman and Greek Philosophys Influence on Todays Western Culture780 Words   |  4 Pagesand politics were made in the eastern part of the Mediterranean Sea. Greek philosophers were among the first in the West to explore nature in a rational way and to make educated guesses about the creation of the world and the universe. This is why Greece is often referred to as the birthplace of Western culture. The ancient Greeks viewed the world in a way that one would today perhaps describe as holistic. Science, philosophy, art and politics were interwoven and combined into one worldview. MoreoverRead MoreThe Classical Age1305 Words   |  6 Pagesknown as the Classical Age, which had brought many ideas, values and virtues to the rest of the world. After the Persian War, Athens began a time where art, literature, philosophy, theatre, and music influenced the world in such a manner, that we are still uncovering facts of ancient Athens today. The classical period was a time where the Greeks had great pride in what they accomplished. After years of war, Athens was victorious and able to enhance their great empire. The Athenians used Greek philosophyRead MoreAttributes Of God Within Classical Christian Theism978 Words   |  4 PagesAttributes of God in Classical Christian Theism We continue our study of the history of God by looking at His attributes from a number of different viewpoints. We will first examine the view of Classical Theism, then the view of Freewill Theism, and finally that of Open Theism. We begin by defining Classical Theism, also called traditional theism or Augustinian theism. In a section entitled, â€Å"The Classical Christian Concept of God,† Francis Beckwith gives a short definition of Classical Theism in See theRead MoreEssay about Latin Literature in History1232 Words   |  5 PagesLatin Literature in History Greek literature was one of the numerous Greek accomplishments from which Romans drew immense influence. The Romans picked up first on the Greek embrace of rhetoric, which became an educational standard, given that a mans rhetoric, his ability to push the buttons of the subject audience by way of speeches, supplemented the mans rise to political power. But as rhetoric began to diminish from Roman daily life following Romes imperialization, identical

Asa Formatted Essay Samples Help!

Asa Formatted Essay Samples Help! Your admission appears to be secured. You have the opportunity of scoring highly if it's written as a class assignment or maybe to win the scholarship of your choice if you're writing the essay for a requirement in scholarship application approach. As stated by the expectation of the society, a person ought to be capable of using a handkerchief to decide on the nose, that's the culturally acceptable and hygienic behavior that's recognizable in the American society. When you're a university student or a scholar, and you're facing a job of writing something, you're predicted to fulfill the essentials of a specific format style. Ok, I Think I Understand Asa Formatted Essay Samples, Now Tell Me About Asa Formatted Essay Samples! The way the topic affected you'll play a huge part in the way you will write your essay. If you're still not certain how to properly utilize citations in ASA style essays, a great idea would be to buy a paper online. Ther e are several good persuasive essay topics to pick from. If learning how to compose a persuasive essay is a challenging job for you then you're able to ask the help from experts who can demonstrate how to compose an essay. There's an additional step you should make so as to prepare ideal writing is to make an APA style essay outline. The very first step is to select an exciting topic for the upcoming essay. Writing style is just one of the most crucial aspects in writing. To prevent the problems, it is far better to try to find a fantastic ASA citation maker online. An increasing number of professional writers are registering for websites to provide their expertise at quite very low rates. Thus, the given list has to be organized in alphabetical order and give all the essential parts of information for readers to locate the initial source easily. Also, it's a great deal faster to reference a site or book by using absolutely free on-line citation apps. If you would like to assure yourself that you're going through all steps correctly in regards to quoting, consider trying to find the ASA style guide sample paper and see the way the quotes are structured there. Journal articles are cited in the identical fashion, whether or not they are found on the internet or in print. The Definitive Approach for Asa Formatted Essay Samples If you are supposed to compose an ASA style essay, you want to abide by specific bibliographical criteria. Don't utilize Mexican when you ought to use Latin American. Nonetheless, there are cases when students can't just cope with a big pile of various homework assignments. The employment history in functional resume is much more different from what is offered in the standard resumes. Writing of scholarship graduate essay is a really tough academic task simply because students must demonstrate they are capable of accomplishing the task that they're applying for. ASA, CSM, CSE and lots of others abbreviations are familiar to each student. In compliance with the ASA citation guide, if you're going to apply them, assure yourself that they're numbered in a suitable way. Every student is to take note of them. The Bizarre Secret of Asa Formatted Essay Samples If you're not sure whether the list of references was prepared correctly, it's much better to deal with the ASA citation creator and examine the whole list. If the writer is not previously indicated in the text, you must also add her or his name in the citation. Moreover, you'll also get a completely free bibliography page together with an anti-plagiarism check. Reference page it's a page including all the sources used is mentioned on it. When there is need to specify the specific page number you've cited, then it is possible to write it after the publication year. In addition, there are key guidelines that has to be followed to be able to properly format the whole manuscript. Each source which has been used to ready the paper should be indicated on another page titled References. If you don't understand how to cite in ASA format style, there are plenty of alternatives to select from. New Ideas Into Asa Formatted Essay Samples Never Before Revealed You could also see presentation outline. Such format tends to be quite convenient for sociologists as they're not distracted by confusing footnotes. All initial and surnames of the authors ought to be included. Introduction has to be written first utilize verbs mostly avoid being passive. In addition, the APA requires using fonts without serifs. The MLA format is an overall writing style that utilizes the parenthetical citation guideline.

A Museum Trip Free Essays

uMuseum trip 1) How have my field trip enriched my understanding of being a Singaporean? -The trip to the museum brought about an indelible experience. I understood the great history of Singapore and how our forefathers survived and fought through the World War 2. Being a Singaporean meant much more than just living a beautiful lion city, instead it is one with great history and commendable spirit of our forefathers that make us, Singaporeans proud of our country. We will write a custom essay sample on A Museum Trip or any similar topic only for you Order Now ) What have I learnt from this visit? -I learnt that the success of Singapore was brought about by many of our ancestors/forefathers/great leaders, and the peace and stability in our country cannot be taken for granted. Regardless of race, language or religion, everyone must work together to build a conducive society for ourselves and the future generation. 3) What are the highlights and key observations of my visit? The highlights of the visit was the world war 2 exhibition where we saw the stages of the war, which includes the downfall and the rise of Singapore. Another highlight was how life was like, in the past, and it was an eye opening experience as it was what I never imagined. Little India trip 1) How have my field trip enriched my understanding of being a Singaporean? -Being a Singaporean Chinese, I hardly went to other cultural places except for Chinatown. However, a trip to little India helped me to understand the cultural values of another race in Singapore. It helped me to understand what their iconic places for common visiting were. 2) What have I learnt from this visit? I learnt the Indian Culture, when we had our meals at a famous Indian eatery, where the bare right hand is used to consume food without a use of cutlery. I also learnt that flower garlands were a common item used when worshipping their gods. Lastly, I also understood the Indian tradition by speaking to the owners of the flower garland shops. 3) What are the highlights and key observations of my visit? -The highlights include a visit to the Tekka Market, where all the common Indian food were. It also includes visits to the Indian temples, small shops which sells accessories such as Indian bangles and others which specializes in selling flowers and garlands. How to cite A Museum Trip, Essay examples

Persuasive Paper The Crucible Essay Essay Example

Persuasive Paper: The Crucible Essay Essay Introduction â€Å"Those who can non larn from history are doomed to reiterate it. The violent brushs of the past contain valuable lessons about deciding struggle. † We will write a custom essay sample on Persuasive Paper: The Crucible Essay specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Persuasive Paper: The Crucible Essay specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Persuasive Paper: The Crucible Essay specifically for you FOR ONLY $16.38 $13.9/page Hire Writer The occurrences of the yesteryears are important to any events happening at any point in the present. From the cardinal political orientation that past playing as blocks. the actions. determinations and every take parting events that have occurred in the past predetermine the possibilities of the present. and finally the hereafter. In the film.The Crucible( 1953 ) written byArthur Miller. the correlativities of past events with the occurrences of the present are mostly illustrated. In different points of position. three alone angles of issues are considered the primary topics associating to the repeats of yesteryear and the failures of deciding the perennial struggle. For John Proctor. the nativeCapital of oregonhusbandman. he is confronted by the issues of matter with his old amah. and maltreatment issues with his current. Meanwhile. Abigail Williams. the niece of the Reverend. has experienced being confronted by her fondnesss and emotional fond regards that damaged one relationship ; nevertheless. after the incident in the yesteryear. it has now grown capable of damaging the community. Last. Elizabeth Proctor. the married woman of John Proctor. has been confronted by trust issues towards her hubby in the early parts of the film. which finally evolved in trust struggles that led to the doomed of her loved 1. Discussion Persuasive Arguments The three primary characters of the film are the best illustration of certain persons who fail to larn from their yesteryears and unconsciously reiterate the similar case. yet still stop up being trapped within its dens. In the narrative of crucible. the secret plan of has revolved in a latter medieval puting wherein a community happens to fall in the societal fright towards the distributing intelligence of witchery. It has been initiated by a group of locals headed by Abigail Williams who happened to bring on illness towards the girl of Reverend Samuel Parris. Betty Parris. In such event. the Reverend. being concerned to his repute than his ill girl. has initiated the broad hunt against the corruptnesss of these alleged enchantresss. The Hunt and legal tests have all revolved in the fraud use and prevarications brought by Abigail. which in the terminal corrupted assorted inexperienced persons of their community. including the twosome. John Proctor and Elizabeth. Get downing with John Proctor. his character in the film possesses the pride of being a Salem indigen and the attitude of a hard-working hubby. However. his yesteryear has revolved in the issue of holding an matter with his former amah. Abigail. Markedly in the act 1. Abigail tries to lure and convey back the events of her yesteryear with John Proctor. â€Å"I can non kip for dreamin’ ; I can non woolgather but I wake and walk about the house as though I’d find you comin’ through some door ( Act 1 ) . † However. John denies any attractive force towards her and points out that the issue of their matter should non come out to the populace. Such scenario illustrates the historical error of Proctor. peculiarly in mistreating his authorization towards his retainer. Hence. the yesteryear of Proctor is able to catch up to his present in latter part of the narrative. Abigail has brought the name of his married woman. Elizabeth. to the courtroom and branded her as one of the enchantresss. Meanwhile. prior to the incidents of his first error with Abigail. he is still unable to larn from the struggles produced by his maltreatment of authorization ; hence. he repeats the maltreatment of power towards his retainer Mary Warren. Due to John’s failure of recognizing the struggles brought by his history with Abigail. his brush with Mary has brought him within the walls when Mary branded him as the warlock who manipulated her ideas in order to falsely impeach the locals. In the terminal. since Proctor is non able to larn his lessons in mistreating his first retainer. the repeat of the history has brought him a more violent effect. which leads to his decease trail. Meanwhile. Abigail is besides confronted by the same incidents of reiterating history and the failure of groking the effects of her action. In the narrative. Abigail is considered the manipulative character able to lure the manhood of Proctor ; hence. taking to their illegal matter. After Elizabeth discovered the matter. she decides to direct out Abigail vacating her from her servitude. In defence to her soiled name and broken figure. she brags about Elizabeth’s dominative intervention towards her. However. due to the incident. Abigail has considerable ruined the matrimonial relationship between John and Elizabeth. particularly sing the position of Elizabeth’s trust towards her hubby after the incident. Despite of the problem she has implicated to the twosome. Abigail still pursues her aspiration of obtaining back Proctor. and in her preferable procedure. she has enticed the populace with her prevarications and accusals of witchery to assorted adult females within their community including Elizabeth. During the 2nd repeat of her struggle. Abigail now amendss the lives of assorted adult females in her community ( i. e. Mary Warren. Sarah Good. Goody Osborne ) . In the instance of the couple’s relationship. Abigail’s lies and temptation have caused farther quandary to both Elizabeth and John by holding them imprisoned and branded as enchantresss. Last. Elizabeth Proctor. being the faithful and loving married woman of John Proctor. has been confronted by her trust issues towards her hubby after detecting John’s matter with Abigail. In the Act II. Elizabeth has manifested her anxiousness and paranoia on the possible repeat of error that his hubby did with their former retainer. After the first incident. Elizabeth finds it difficult to swear her hubby and most of the clip suspects him of being with Abigail. Such struggle has foremost resulted to the statement of the twosome. However. during the 2nd clip Elizabeth’s trust to her hubby is tested in Act III. Elizabeth is non able to grok and swear the programs of his hubby. When John decides to asseverate the claims of his matter with Abigail in order to interrupt the clasp of Abigail to the courtroom. Elizabeth is asked to formalize the statements of her hubby ; nevertheless. due to the struggles of trust. and fright of staining the name and pride of Salem community and her hubby. she decides to deny the claims made by John. In this 2nd brush. the effects have led their relationship to farther shatter go forthing them both separated by prison walls and the accusals of witchery pattern made by Mary Warren against John Proctor and Abigail Williams against Elizabeth Proctor. Obviously in the film. the three characters have shown how history can reiterate itself and farther causes heightened impact during its 2nd happening. Since the lessons in their yesteryears have been neglected. the repeats of the struggles have placed their present in heavier effects. Personal Position From the latter analysis of the construct through the film –The Crucible. it is possible to reason the philosophical truth in the initial statement. â€Å"those who can non larn from history are doomed to reiterate it. † In fact. the calamities of the narrative have revolved in uninterrupted sequences of their function struggles. peculiarly ( 1 ) John Proctor’s failure of acknowledging his ill-treatment actions over his subsidiaries. ( 2 ) Abigail William’s failure to recognize the amendss she have been implicating towards the coupe and finally towards her community. and ( 3 ) Elizabeth Proctor’s trust issues towards her one time unfaithful hubby. Evidenced by the struggles and calamities of the narrative. the failure of really recognizing the determinations and activities that led to peculiar events possess greater possibility of happening in the hereafter. Even in existent life state of affairss. from larger positions of society to personal experiences. negative events in the past most of the clip occur in the present. particularly when the primary cause/s of the job is/are non determined. Learning from the events of the yesteryear is an indispensable preventative undertaking in order to avoid the possibility of reiterating the errors and incorrect determinations created in the yesteryear. Some of the celebrated events that illustrate insistent history due to the failure of sabotaging the triggers of these errors are ( 1 ) the events of World War I and its subsequence – World War II. ( 2 ) Racial Civil war of Blacks and Whites taking to broad factional stereotypes which should hold been resolved if the people in the past realized the indifferences merely of tegument and civilization. ( 3 ) the bombarding of Pearl seaport to the deathly Hiroshima Bombing which should hold been prevented if Nipponese realize that the purposes of the Pearl Harbor cantonment were non against the Nipponese state. Obviously. the statement. â€Å"the violent brushs of the past contain valuable lessons about deciding the struggle† . can be considered a factual justification back uping the initial sentence discussed in latter part. The occurrences of the present mostly depend on what has really occurred in the yesteryear ; hence. without recognizing the lesions. the possible causes of errors. the triggers of ruin. and the cardinal wrong of Acts of the Apostless in the yesteryear. the events of the past tend to reiterate itself. Clearly. every occurrence in the past provide important lessons. which can expose itself either straight or indirectly. and it is merely up to worlds to find these possible declarations. From the illustrations given in real-time scene. ( 1 ) World War II should hold been prevented if the Japanese learned the powers of United States ; ( 2 ) the Racial Civil war between Blacks and Whites should hold been prevented if White persons did supply equal intervention towards Black people and based their judgement in the rules of humanity – non in the colour of the tegument ; ( 3 ) Hiroshima Bombing should hold been prevented if Nipponese military personnels had non bombarded the pearl seaport base cantonments merely because of an premise of possible program of onslaught plotted within the cantonment. Obviously. declarations are presented every clip an incident or even when a simple result of determination occurs. From simple errors to larger range of amendss. declarations are ever born from determination that initiates an consequence. From three different positions. the characters of John Proctor. Abigail Williams and Elizabeth Proctor. have performed actions in the yesteryear. which finally hunted their present yearss.

Humanitarianism and Universalism essays

Humanitarianism and Universalism essays In the article Women and Cultural Universals, Martha Nussbaum discusses about basic human capabilities that should be granted to every human being regardless of their sex, race, or religion. However, a problem arises with reaching such basic rights since every nation has their own definition of this matter. In order for these basic human capabilities to be accepted throughout the world, nations ought to reach a generalized consensus on what rights an average human should have, rights that ought to transcend cultural traditions and religious barriers. All in all, the point of Nussbaums basic human capabilities list is to put forward something that people from many different traditions, with many different fuller conceptions of good, can agree on, as the necessary basis for pursuing their good life (462). There is a similarity of this ideology with Mary Kaldors global humanitarian approach. Even though both ideologies attempt to stabilize certain situations in troubled nations, th ey have different approaches. Nussbaum believes that her list of basic human capabilities should be implemented into every nation, especially those nations that are currently violating the rights of their inhabitants. By having a uniform rule throughout the world, nations will lose their specific identity in the world stage. Part of a nations strength and power comes from the richness of old traditions that truly symbolize that nation and their inhabitants. Kaldors global humanitarian approach calls for nations to unite under a common cause to solve a problem. These nations would still maintain their identity, but they would have to accept a basic human capabilities list and form their own views based on that list. Some readers may consider that Nussbaums list will not lead to universalism, but a generalized idea of a global humanitarian approach. This humanitarian app...

Make Candy Glass Icicle Decorations

Make Candy Glass Icicle Decorations This fun holiday project is based on this  fake glass tutorial. What you do is make sugar glass (or ice in this case) spread it onto a cookie sheet, warm the hard candy in the oven until you can cut it, then twist the strips of melted candy glass into spiral icicle shapes. There is another method that you can use which involves twisting together ropes of the sugar to make striped icicles. Candy Glass Icicles Experiment Difficulty: Intermediate (Adult Supervision Required)Materials: Sugar, Candy Thermometer, Food ColoringConcepts: Temperature, Crystallization, Melting, CarmelizationInterested in more merry chemistry experiments? Try making Chemistry Peppermint Wafers or check out this extensive list of Christmas Chemistry Projects. Candy Glass Icicle Ingredients 1 cup (250 mL) sugarFlat baking sheetButter or baking paperCandy thermometerFood coloring (optional) Make Candy Icicles Butter or line a baking sheet with bakers (silicone) paper. Place the sheet in the refrigerator to chill. The chilled pan will prevent the hot sugar from continuing to cook after you remove it from the heat, which is important if you are trying for clear ice.Pour the sugar into a small pan on a stove over low heat.Stir continuously until the sugar melts (takes a while). If you have a candy thermometer, remove from heat at the hard crack stage (clear glass), which is 291-310 °F or 146-154 °C. If the sugar is heated past the hard crack stage it will turn amber (colored translucent glass). If you want clear icicles, pay close attention to the temperature! If you dont mind the amber color or are adding food coloring, then the temperature is a little less critical.You have a couple of options here. You can pour the hot sugar into strips, let them cool slightly, then (wearing rubber gloves to prevent hot candy from sticking to your finger) twist the warm candy into a spiral icicle shap e.Alternatively (and easier) pour all of the melted sugar onto the cooled pan. Allow it to cool. Heat the pan of candy in a 185 °F oven until the candy can be cut into strips. Curl the strips. One technique is to wrap the strips around a long buttered wooden spoon. Candy Icicle Tips Wear a pair of inexpensive winter gloves under a pair of buttered kitchen gloves to protect your hands from the heat as well as from sticking to the candy.Dont exceed the hard-crack cooking temperature if you want clear icicles. This is 295 °F to 310 °F at sea level, but you will need to subtract 1 °F from every listed temperature for each 500 feet above sea level. The sugar will start to carmelize (brown) somewhere around 320-338 °F or 160-10 °C, depending on your altitude. This occurs when the sucrose starts to break down into simpler sugars. The flavor of the candy is affected by this change, as well as its color.

System Development of Disscusion Questions Assignment

System Development of Disscusion Questions - Assignment Example During system development, the members interact with users so that they can improve the system. The choice of criteria is entirely reliant on the user’s requirements in terms of system support. He gives a few requirements that have to be considered. Many users oftenly want to use different UML models in between modeling tools. In most instances, a mechanism is usually provided that ensures the language exchange that is structured by the MOF. The simplest way to do this is to determine the tasks performed by every actor. By doing so, actors are chosen in such a way that their behavior remains constant. In many cases, actors are comprised of humans, but in other cases, they consist of other systems as one’s system can interact with other systems such as a database system. In such an instance, choosing actors will based on their ability to function in such an interconnected system. Many users oftenly want to use different UML models in between modeling tools. How come it is not easy to apply multiple models of UML between tools of modeling? The reasons are technical in nature and one of them is the fact that XML attempts to solve tasks that are more complicated than simply exchanging the models of UML. In most instances, a mechanism is usually provided that ensures the language exchange that is structured by the MOF. The other reason is that the model does not have the required information to ensure a reliable communication network exchange among the modeling tools.

People & Organisations Essay Example | Topics and Well Written Essays - 2500 words

People & Organisations - Essay Example To this date, the company continues to feel the effects of such actions. This report analyses the role that employee motivation plays in the profitability of commercial organizations. Using Peacocks as a case, the report shows the importance of employee motivations and the ways in which the human resource management can motivate its workforce. Based in Cardiff city, Wales, Peacocks is a large fashion retail chain that has over 400 outlets throughout the United Kingdom and more than two hundred other stores in numerous countries throughout Europe. Prior to 2012, the company had 9,600 employees. Currently, the company has slightly over 6,000 employees in all its outlets throughout the world. Peacocks began experiencing low profitability in 2011. The management could not establish the cause of the problem, as they were engrossed with marketing. The employees were slowing losing their morale and interest with their roles at the company. The growing tension regarding the future of the company affected the morale of the employees further thereby leading to immense demoralization at the place of work. Employees became increasingly clumsy. The fashions and apparel industry is part of the hospitality industry. An employee attitude towards their work is therefore an important feature that influences the profitability of such businesses. The human resource management lacked functional mechanisms of measuring the levels of motivation in their employees. In January 2012, the company laid off nearly half its employees. The spontaneous downsizing and the poor way in which the company treated the employees it laid off was yet another major source of concern to the remaining employees. The company retained with an unmotivated workforce. The employees earned less than their counterparts in competing companies did. Additionally, they worked in fear owing to

Expressionism And Fritz Lang

Expressionism And Fritz Lang I have been interested in a thousand things in my life, and out of these interests in a thousand things came one primary interest: mankind. And not only what he does- in innocence or in guilt- but what moves him to act, what makes him tick! And with that attempt to identify there grows not only personal awareness, but much more important, sympathy. Through this ones own sphere of thought is enriched; as a reaction to it, associations with all things one has occupied oneself with for a lifetime are expandedà ¢Ã¢â€š ¬Ã‚ ¦ Who can honestly say how one arrives at a theme? What influenced him? It could be a falling leaf from a tree in Autumn, a sudden lull in the wind, a sudden thunderstormà ¢Ã¢â€š ¬Ã‚ ¦ (Fritz Lang in interview with Gero Gandert, 1963) Fritz Lang was one of the pioneers of German school of Expressionism, one of the few auteurs, who was able to make the successful transition from silent cinema to the talkies, and who also paved the way for the film noir genre in the United States. In this paper, one will be looking at his two of his films as case studies, Metropolis (1927) and M (1931) respectively, all the while keeping in mind the distinctive role of Lang as an auteur in context to the tradition of expressionist cinema. Throughout the paper, one is going to deal with object-subject relationships in German expressionist cinema as well as self-referentiality, private anxieties and public projections in the Weimar Republic and an attempt is going to be made towards a feminist reading of German Expressionism with respect to the case studies. To give a brief background of the two films in question, both were made in the Weimar Republic before Lang went into a self-imposed exile in America. The circumstances of Langs emigration remain controversial; the story goes that he was offered a post of managing director of the entire German film industry by the ministry in Germany (to be precise, Goebbels, the propaganda minister) after banning his film, The Testament of Dr. Mabuse, and that he was given 24 hours to consider the proposal but soon afterwards he fled from Berlin to Paris. Metropolis was the worlds most expensive silent cinema at the time of its release while in M, elements of early film noir can be seen and the classic use of sound as a tool has been acknowledged by film scholars (this aspect of the film is going to discussed in detail later on in the paper). As is well-known expressionism as an art movement stemmed from the school of impressionists and goes well back to the 19th century. It assumed an identifiable structure only in the 1900s though. It sought to utilize contemporary philosophical and psychological thinking (Freudianism to a large degree) and relied heavily on personal experiences, feelings and emotions rather than impressions of reality. Weimar cinema has time and again been described as being proto-fascist and expressionism linked to National Socialism, which was popularized in the writings of Siegfried Kracauer and can be traced back to the theoretical debates of the 1930s, specifically to the views expressed Georg Lukà ¡cs. In a 1934 essay, Lukà ¡cs argued that expressionism was undoubtedly one of the diverse bourgeois ideological currents that would later result in fascism as its tendency towards subjectivism and romanticism linked it ideologically to the irrational mysticism of Wilhelmian philosophy, and therefore one of the central sources of Nazi beliefs. Lukà ¡cs sociological argument was later expanded and applied to the analysis of German cinema by Siegfried Kracauer in his study of Weimar film culture, From Caligari to Hitler (1947). John S. Titford begins his journal article with the sentence, Expressionist cinema is an impossibility. What he is trying to say through this is that the Expressionists and Realists alike cannot possibly transcend the limitations of cinema as a medium even if they exploit it to its fullest extent. It has to be mimetic, symbolic, never being the things it represents in exactitude. Art must, unlike reality itself, have a beginning and an end. Having defined its boundaries, cinema has proven to be the most appropriate medium for expressionism. It is more dynamic than expressionist painting, more able to instill a feeling of horror than expressionist literature, and more claustrophobic than expressionist theatre. Expressionism found an expression in the rapidly evolving motion pictures. There is a dichotomy between the creator and his creation, the medium and the message, and there is a need to understand the artists perception of the subject matter so as to get a hold of the deeper meaning of the piece of art itself. For it is the artists, or the auteur in our case, thoughts and feelings which are being communicated through his actions. Christian Metz has hence, made the differentiation between the signified (human consciousness) and the signifier (work of art). Anthromorphism, the process of inanimate objects coming to life, is a key feature of German expressionist cinema. Metropolis is an archetypal example for that. The live consciousness of the artist is, in a sense, metamorphosed into dead celluloid. Within the film, the humans tend to imbibe the characteristic traits of the world of objects while the objects exude human-like features and this is a cycle of life and death which the expressionist cinema follows. The figure of Rotwang exhibits qualities of a machine, or that of a prototypical cyborg to say the least, with a mechanical right arm, whereas the machines in the industrial underbellies of the city demonstrate signs of life as well as the Robot, which takes on the form of Maria, seemingly human but not quite. German expressionist film offers a penetrating analysis of the society along with the philosophy and psychology of its age. It is important also because of its filmic process. Unlike other forms of art, it is not static (before the advent of pop art and kinetic models), and transforms inert photographic frames into rendering a semblance of truth. Thus, film can make an object assume personality and vice versa. The workers in Metropolis operate like machines, often being grouped together in abstract geometrical shapes. The figure of Rotwang, as stated earlier, is the model for sub-human forces embodying the concept of Destiny, or a threat to the nation of Germany, depending upon the interpretation. He is perceived as a monster, hardly convincing as a living creature than the true monster like the Robot Maria. One of the scenes in M epitomizes the process whereby the animate becomes the inanimate. Beckett, the child-murderer, has been captured by the underground criminals and is brough t into a room where they are about to give him a trial. As he confronts the mass of people assembled to indict him, the camera pans around the group. It is not a moving mass that we see, but a still photograph: the image is frozen. It has thus taken the nature of an inert, static painting. Buildings become demoniacal in expressionist films; foreboding houses are used for shock effect, and rooms and enclosed spaces create a sense of claustrophobia. Maria in Metropolis is persistently pursued by a strong beam of light as she struggles to find a way out of the catacombs. The streets are merely an extension of the threatening building and dominate and control the lives of its inhabitants. In general, diagonals and oblique angles in the sets are employed, and the buildings and streets are distorted, ghostly, and with painted shadows and streets that seem to lead nowhere. Since the films were mostly shot in the studios with the help of painted canvas scenery, the world thus created was usually two dimensional. The mood or the stimmung and the claustrophobia of the expressionist world is further intensified by the use of lighting. There is a predisposition for the world of twilight in which the inanimate can readily become alive with no warning. Expressionist films are frequently lit using sharp, often jarring, blacks and whites, distorted shadows, and large areas of darkness. Precisely because light or absence of light gives space its reality, it can effect a transformation of concrete into abstract, living into dead, or vice versa, making us doubt our own senses, and even our awareness of figure and ground distinctions. Chiaroscuro affects our perceptions, and shadows themselves can become alive. Expressionist cinema was by no means limited to the city, even though the two case studies portray the cityscape. Expressionist directors were more concerned with life as a process ending in death, and their art was almost totally pessimistic. The game expressionist cinema plays with itself and i ts audience is that of Russian roulette, with destiny as the bullet, and death the prize. German expressionist cinema was concerned with the powers of darkness, with people trapped by their environment and with claustrophobia pervading everyday life. To back to the lighting in the early Weimar Republic cinema, the use of chiaroscuro effects of artificial lighting was unsurpassed. Lighting was used as a narrative device, and while in some early Weimar cinemas it was a little more than a decorative element or a creator of mood, in later films chiaroscuro elements and specifically shadow assume a precise communicative element. Chiaroscuro manipulated the visual sense to create emotions whereas the shadow rather than being a merely expressionistic mannerism, added narrative depth to the silent cinema. The employment of shadow as a communicative metaphor is found as early as Platos Republic, where he talks of the cave-men perceiving shadows and echoes as reality itself, which is not totally false; it results from reality even though it might be a weakened, diluted version of the real. The traditional motif of the shadow as a metaphor of perception later appears in the 20th century in Jungian psychology. Jung used the shadow metaphor t o describe the underside of the human psyche, which if acknowledged brings forth the survival responses, stimulating the libido, whereas if repressed can bring about the downfall of the individual. However, the intention of the early popular filmmaker was to involve the viewer in the film event. Thus, the shadow metaphor was appropriated as a narrative device, and the philosophical and psychological significance of the shadow became subordinated to the films fictional narrative, and the function of the shadow was sublimated in the narrative act. It became a device for communicating a simultaneous, secondary narrative to the viewer. Shadows significance is neither good nor evil but instead projects an other reality, another interpretation of sorts. Instead of seeking an escape from the pursuing shadow, one needed to acknowledge and accept it. In M, the character of Beckett was seen running away from his shadow, which relentlessly pursued him, stronger than the man himself, and the on ly way out for him was to embrace his darker side, even if it made him commit cruel, inhuman acts of violence. The early cinematic shadow enabled a possibility of multiple narratives which was later achieved through the use of sound. There was first an adoption and then rejection of shadow as metaphor within the conventions of the cinematic code, adoption during the silent period of cinema and rejection with the onset of sound in the 30s. The shadow as a metaphor was used most effectively in the early period of silent cinema. By the late 1920s, the New Objectivity had brought heightened realism in German films, and more natural lighting had replaced the intense chiaroscuro of the early 1920s. The cinematic shadow had become a clichà ©, and its narrative function was soon overtaken by other devices: the significant object of the late silent films and the soundtrack of the early sound films. In the opening credits of M, one sees a hand with the letter M inscribed on it. The drawing style evokes the exaggerated shapes and dramatic textures of German Expressionist painting, but due to its linear abstraction and dynamic simplification the hands image is also reminiscent of 1920s techno-culture: of New Objectivitys cold modernism and of Futurisms celebration of speed, energy, fluidity, and prosthetic body-machines. It strikes the viewer as an artificial limb taking on the uncanny function of living, or conversely, a human charged with the strength of a robotic apparatus. The first scene opens to a Berlin backyard populated by a bunch of children, their positions resembling that of a clock, with one girl standing in the middle and functioning as the clocks hand so as to count and count out the other players. The girl sings a song of brutal murder and dismemberment, a blatant endorsement of terror and violence itself. In Langs first sound film, M, sound had for the most part supplanted the communicative function of the shadow; the films basic distinctions between good and evil, rationality and irrationality, appearance and reality is rendered perceptible by shadow somewhat and mirror reflection, but mostly by sound. In M, nothing is as it seems on the surface: an apparent innocent is a psychotic killer, an apparently peaceful crowd can transform into a raging mob, apparent friends can become suspicious accusers, apparent organization (the police) is ineffective against the killer and the apparent disorder (the underworld) is really more orderly and efficient than the police. Even seemingly innocent children are tainted by the evil: the films opening sequence shows a group of children playing as they sing a variation of One Potato, Two Potato, a song about another non-fictional mass murderer Harmann, who not only murdered but also cooked and sold his victims as canned meat. What we see is innocent childhood, but what we hear refutes this appearance. In M, appearance is always deceptive, true reality is only perceptible to the observant viewer and listener. In M, the shadow metaphor has become secondary to the metaphors of reflection and sound. Shadows only appear infrequently. For instance, when Beckert leaves his home, he is followed by his shadow, a constant and quite visible reminder of his irrational psychosis. Later in the film when Schrà ¤nker and his band of criminals plan to trap the murderer, the camera moves from them to their shadows on the wall, depicting their transformation from a group of individuals to a retributive force, sort of vigilantes, which by its organization is able to capture the murderer. The most effective use of shadow in the film undoubtedly is at the beginning of the film when the shadow of the perpetrator falls across the poster describing his previous murders, at the same time his voice addressing the little girl, Elsie. The juxtaposition of the visual and the aural helps in the unraveling of the plot and is used as a device for placing the viewer on a level of knowledge or awareness exceeding that of any of the characters (including Beckert himself, who it is implied, is unaware of his condition). Even though the killer appears to be harmless, Lang informs the viewer very blatantly the shadow as killer and the girl as the victim. In Jungian terms, the shadow of Beckert is the actual killer. The shadow is used to establish Beckerts villainy. Later in the film, when he makes his first appearance he is shown inspecting himself in the mirror, probably trying to come to terms with his own predicament and grasp the reality, which he seemingly fails to perceive. What the viewer sees is two Beckerts, comparable to Dr. Jekyll and Mr. Hyde where at times Dr. Jekyll loses complete control over himself and the monstrous Mr. Hyde takes over his person. In a later shot, Beckert does get to know of his own reality when he becomes the marked man and sees the letter M imprinted on his overcoat in a glass reflection. Lang has reinforced the shadow and the mirror images by sophisticated sound, where it complements and supplements the visuals. The oft cited example here would the voiceover commentary during the scenes of police investigation: the voice of the police commissioner giving an overall explanation to the minister about the police actions that are seen. Sound, however, is also used to contradict the visual image, communicating a real threat to an apparent tranquility. In one sequence a little girl walks alone along a street, apparently safe. Had M been a silent film, the danger to the girls life might have been shown by an ominous shadow pursuing her. Instead, Lang replaced that with Beckerts characteristic whistling tune. As soon as the girl meets her mother, the whistling stops, the silence signifying the girls actual safety. However, the shadow and the chiaroscuro element never entirely disappeared, even though it was replaced by a more realistic lighting. The shadow was incorporated into American cinema as an element of film noir where it became an emblem of the criminal unknown. Fritz Langs Metropolis (1927) is one of his most well-known and widely recognized films of all times. It has either been termed the silliest film or the most unique and remarkable spectacle ever shown on screen, but the reaction or response towards it has at all times been extreme. Widely acknowledged as a bravura display of film craftsmanship, it has also been equally denounced as unbearably trivial, naÃÆ' ¯ve sentimental and even fascist. Some of the problems raised by the narrative structure of Metropolis stem from the fact that much of the original version of the film is missing. Nevertheless, it marks a significant moment in the history of cinema and represents a culmination of Langs early style. Metropolis began with a segment which appeared totally expository, having, however a definite function in the narrative. Langs film begins with a depiction of the totally alienated condition of the workers, their lack of control over their own conditions of existence. This lack marks the workers as the films first subject or hero (as a collective unit) although their function as a performer of a set of operations changes throughout the course of the film. The dichotomy between machine/self-movement and Machine/Human is highlighted in this segment of the film, which is to form an important device in the narrative structure. The notion of space is central and his definition of all narrative events as some sort of real or attempted transfer of an object is accompanied by or imply a special discontinuity. This happens in the second segment of the film when Maria, as subject, takes a group of children (the object of value) to the pleasure garden in the upper level from the worker city. Sh e is forced to leave and this unit of narrative is ended by the failure of this attempted transfer. This narrative unit may seem isolated but is not unconnected with the narrative as a whole, as through it another hero is created in the form of Freder, whose main aim would be to return these children to the upper level. In this segment itself, Freder realizes his own lack of knowledge of the workers and he descends to the machine rooms to observe the workers and witness the accident at the central power room. This however, constitutes his first stage of acquisition of knowledge. This portion of the narrative ends with him leaving the space of conflict to return to the upper level with his knowledge. When Freder returns to the upper city, the residence of the ruling class, he attempts to give his father, John Frederson, his understanding of the workers condition. But Frederson, in this segment, being the anti-hero/anti-subject/traitor prevents the transmission of this knowledge. Fred erson is the subject of another story in which the object of desire is the control of the workers. Another lack is revealed when Freder discovers a map in the pocket of the dead worker- the lack of the rulers knowledge of the maps and the workers intentions. From this point on, the object of desire for both father and son would be to seek knowledge in the catacombs, which would then enable them to function as hero and traitor in the later stages of the narrative. Knowledge will be acquired in stages all throughout the course of the narrative and so following the interview in Fredersons office, Freder descends to the machines and Frederson goes to see the inventor, Rotwang, each in search of a more adequate knowledge. The film shows the similarity with the use of parallel editing. Freder discovers the grueling effects of time and repeated effort by taking charge of the machine deserted by a failing worker. Frederson is shown the Robot by Rotwang, and mystery of the maps is deciphered partially which are revealed to be guides to the catacombs below the worker city. Parallels are established between these acquisitions of knowledge by intercutting. In the catacombs, the acquisition of knowledge is completed but this gives way to further problems; Frederson realizes he has no control over his workers while Freder comprehends his responsibility as a mediator. The new object of desire is Maria; she is desired by both as a means of obtaining another object, the workers, for their elimination (by the father) or their liberation (by the son). The abduction of Maria from the catacombs by Rotwang to his house and the confrontation between Freder and the scientist resulting in the latters victory over the former with the use of machinery, is replete with symbolism. Machinery, as a sign of evil, remains a constant throughout the film, and is always utilized by the traitors as a helping agent. Freder is denied access to Maria and her features are quite literally transferred to the Robot so as to transmit a false knowledge to the workers, deceive them and lead them astray. Transmitting false knowledge is the classic means of neutralizing power. The Robot Maria convinces the workers to act violently and turns them into traitors temporarily, allies of Frederson and Rotwang. The children, the metonymic representatives of the proletariat are left behind in the lower city. However, the deception of the workers is soon followed by the restoration of Freders power, by his acquisition of knowledge that Robot is not Maria. Subsequently Maria is released and destruction of the children is prevented by moving them to the upper city with the help of Freder and Joseph. The second abduction of Maria by the evil Rotwang is the final lack which is eliminated by the hero vanquishing the evil. At the end of the film, traitors are destroyed (Frederson is redeemed through his sons actions) and peace and balance restored. The heroes in the film are Freder, Maria and the workers while traitors are Frederson, Rotwang and the Robot. There is a tripartite division of the objects of value: the knowledge of the proletariat, the use of Maria, and the children of the workers who represent the proletariat as social entity. At the end of the film even though the children return to the pleasure garden their status is ambiguous; as a result of the accord reached between ruling class and the workers they would have to return to their original space. Thus the film reaffirms the social structure present at the beginning. The film can be divided into two dealing with political and scientific distinctions on the axis human/mechanical and with cultural and religious distinctions on the axis Christian/mystical-alchemical. The film starts with a montage comprising of several shots of stylized machines. This concludes with a shot of the whistle blowing indicating the end of the shift and the next shot shows the workers taking the elevators to go to the worker city. It is not only the machinery which is identified with the traitors as oppressors, but also the concept of time. Time is the measure of the repetitive effort required of the proletariat. In the pleasure garden Freder is essentially depicted as being out of vicious circle of time and is removed from all types of machinery. Also, out of the traitors, only Frederson, who would be transformed into a good man, is wholly human. Rotwang is part-human part-machine while the Robot is fully mechanical. There are other such examples all throughout the film- when the workers ply to and from work; they use the elevators, whereas when they need to descend to the catacombs, they do so on foot. Also when Freder, Maria and Joseph take the children to the upper level, they do so by purely human effort. Metropolis has heavy and significant allusions to religion. There is a consistent opposition present between the vague Christianity and the mystical and the alchemical, most evident in the connotations produced by Rotwang. He is portrayed to be some sort of a medieval sorcerer (his robot will be burned like a witch); compared to the archetypal Aryan appearances of Freder and Maria, the inventor looks distinctly Semitic. On his door and above his robot in his laboratory is a five-pointed star. He lives alone in a curiously distorted, old-fashioned house, set apart from the rest of the society. His science is occult and solitary. The Christian tradition is most apparent in Maria and Freder. While working in the circular machine, he clearly crucified at the hands of the clock face. Maria is undoubtedly Christian; in the catacombs while retelling the tale of the Tower of Babel, she is standing in front of a number of crucifixes and viewed reverently by the workers from below. Metropolis can also be analyzed on psychoanalytic terms. The oedipal aspect of the film is quite apparent. A three-member family is created with Frederson as the Father (leader of the society), Freder as the Son (representative of the workers) and Maria the Mother (spiritual creator of Freder and the workers/mother of the masses). Freder to negate and assume the power of the Father must have access to the Mother. This is achieved at the end of the film when the Father is stripped of his power (castration), and is seen kneeling in front of Freder, which is transmitted to the Son. Metropolis has not gone without criticism and Don Willis in his article has thoroughly bashed Lang for his overtly simplistic plot, going on to say that the spectacle seems almost incidental where the spectacle has been sacrificed to the message. He says of the film, à ¢Ã¢â€š ¬Ã‚ ¦the eerie delicateness of this image of foreboding is betrayed by the crudeness of development of plot and characterà ¢Ã¢â€š ¬Ã‚ ¦ Barry Salt has been quoted in his text as stating that à ¢Ã¢â€š ¬Ã‚ ¦Langs film is not even much of an improvement in craftsmanship, despite the several years of development there had been in film technique elsewhere. The rave reviews that the film opened in Germany are dismissed as sensationalistic. The position of an author is defined by the relationship which he maintains with his characters. In the film, one form of this relationship rests on the systems of vision which the pictures reveal: how the author fragmentarily indicates and encloses the viewpoint of his characters within the continuity of his own viewpoint constitutes the viewpoint of the film. Lang allows ambiguity to hover over the relationship which unites character and director in the vision. He is showing that only a well-crafted device can precisely situate a viewpoint, which the vision of the real alone cannot, or he is deliberately moving to a symbolic level, which results in distancing the author from the characters even more. The author defines himself by his point of view towards the objects he unveils. This point of view is manifest in the first place by the distance at which the camera is held. With Lang, it seems to be vivid or in a disguised manner. There are innumerable formal and thematic references, configurations which come into play from film to film and organize the enigmatic web of Langian knot-work. Hence, the sign, the token, around which the narration is organized, the significant object Lang always indicates with a close-up which is the first easily located link between the chain of shots and the thematic chain. The generally intensified demarcation of space disrupts the viewpoint in order to lead it to its more rightful place which carries to an extreme, in cinematographic space, dialectic of subject and object finding its origin in German cultural tradition and its achievement in the fundamental materialism of industrial civilization. This subject-object game, when divided, provokes the eye, making an incredible fissure in Langs films. Lang bases the possibility of his narrative on the richness and the perversity of oppositions. It is the logical outcome of writing and vision. Lang keeps the point of view in perpetual hesitation; for the event, whether it is foreshad owed or already occurred, always seems linked to something else. There is an incessant disequilibrium and abstract waiting which marks all of Langs films. Lang plays with counter-shots and at times tends to lose sight of his narrative, obscuring his characters. There is a subtle defeat in his films, which is revealed by the impossibility of the closed system. His films are extremely dense; in every shot, a writing unfolds which is strictly defined and structured, a part of the larger picture. Thus, by distancing himself from his films, Langs works always seem to be in the process of creating itself.

Great Expectations Essay

â€Å"Even though Pip has become snobbish by the end of Book One, Dickens still manages to make the reader like him†. Show how and why Pip has become something of a snob and what makes us retain our sympathy for him – Tom Beach In Great Expectations Dickens depicts Pip as having an increasingly snobbish character throughout Book One. He shows Pip to have an exaggerated respect for his social position and his growing hatred for the common life that he lives. The reader sees that Pip’s snobbishness is due to his desire to become a gentleman and his aspiration to be liked by Estella, from whom he adopts some of his snobbish attitudes. Even though it is clear to the reader that Pip has become somewhat of a snob, Dickens encourages the reader to still like Pip. He puts across that Pip is an orphan and that these snobbish feelings we see are just outward feelings. We learn that he was not proud of the snobbish character that he had become from the way he looks back on his life as an adult. These events make the reader feel sympathy for Pip, leading the reader to retain their criticism of him. In Book One of Great Expectations we see Dickens show Pip’s progressively snobbish character in many ways. After Pip’s first visit to Satis house and after falling for Estella we see Pips ambition to become a gentleman. We see that Pip blames Joe for being common, and for Joe not bringing him up as Pip thinks he should: â€Å"I wish Joe had been rather more genteelly brought up, and then I should have been so too. † We see Pip’s snobbish character developing as he blames Joe for being common; he is ‘ashamed of the dear good fellow’ and disappointed in him for being so ‘ignorant and common’. Pip is patronising towards Joe for something Joe has no control over. Pip feels he is able to comment on Joe’s social status because he does not belong to ‘[his]’ higher society and would be an embarrassment in front of Estella. This sudden change of attitude in Pip that wants to dismiss his family comes as a great shock to the reader. We see this to be a case of him being a snob. In Book One, one of the main points of Pips character that shows Pip to be something of a snob is his patronising attitude towards Mrs Joe. When Pip is going to see Miss Havisham with Joe and accompanied with Mrs Joe Pip feels embarrassed because they are trying to dress up to much: â€Å"I am not quite clear whether these articles were carried penitentially or ostentatiously. † Pip feels that his sister, Mrs Joe is very much overdressed, trying to look more ladylike that she really is. He is very patronising to her, as seen in the above quotation for simply being overdressed. Pip feels he is above her. Pip shows his growing snobbishness due to the fact that he is so willingly able to dismiss who he is and what he should become: I had believed in the forge as the glowing road to manhood and independence. Within a single year, all this was changed. Now, it was all coarse and common. We see Pip has lost faith in his normal life in the forge, dismissing the fact that that a life in the forge is what he is meant for. Pip will never like Joes’ trade and is sad when he is made apprentice to him: â€Å"And what could I possibly do then, but say I was enjoying myself – when I wasn’t. † Pip feels that the apprenticeship will tie him away from his ambition. He feels the forge is so ‘coarse and common’ that it will prevent him from becoming a gentleman. Pip feels that he is too good for the community that he lives in; he wants to get away from it: â€Å"It would be very disagreeable to be stared at by all the people here. † We see Pip deciding not to go into town in his new suit. He again feels that he is above all the people in the village, that ‘they would make such a business of it – such a coarse and common business’ that ‘[he] couldn’t bear [himself]’. This fact that he looks down on everybody in the village depicts him as a vain snob; he is not going to be a ‘rustic’ man anymore. In the closing stages of Book One we see Pip being very snobbish and capricious towards Biddy, a girl who looks after the house and has fallen in love with Pip: ‘Biddy’ I returned with some resentment, ‘you are so exceedingly quick that it’s difficult to keep up with you. ‘

Late Adulthood Observation Early Adulthood - 1541 Words

Late Adulthood Observation The group I chose to observe is late adulthood. I proceeded to observe late adulthood people at the Eagle’s Bingo. The group participating in Bingo is a large group and consists of men and women, with very few young people. I observed the players for quite a long time and found the experience interesting. I noticed many different interactions among the group members but the most important is a lack of exclusion of any member from the group. The group consisted of people of many different nationalities, Oriental, Native American, American, from my observations. The cultural similarities seemed to span with the love of Bingo and brought many different type of people together. I arrived at the Eagle’s club in Kalispell, around midday, before the Bingo games began. I choose a seat where I would be hardly noticed while I observed the other players. The pregame consisted of the players visiting with each other and buying their cards. I noticed many of the women seemed to know each other quite well and from my observation this was not only a Bingo game but a social gathering to visit with each other. Bingo seemed to bring a variety of people together whom knew each other quite well. The observation I made was they may have known each other for many years from the way they interacted with each other. The clothing the women dressed in was similar to each other. The most popular dress was jeans and gabardine slacks with nice shirts or sweatshirtShow MoreRelatedFactors That Affect The Healthy Development Of Cognition And Social Development962 Words   |  4 PagesEarly to Middle Childhood Researchers have identified the importance of interplay in the healthy development of cognition and social development (Biro, Alink, Huffmeijer, Bakermans†Kranenburg, van IJzendoorn, 2015). 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The Ethical Dilemma Of Euthanasia Essay - 1515 Words

In cases were â€Å"It just so happens that sometimes, when that suffering is so great, the only release from that suffering is death. That is not murder. That is no suicide. That is mercy† (McDonald, 2015) This quote from Lecretia Seales husband helps to put many peoples situations into context when it comes to the debate of euthanasia or assisted suicide. The ethical dilemma in this case is that of Lecretia Seales request to die of assisted suicide in 2015. This deals with a current issue not only as Seales’ appeal to the New Zealand high courts for law change in relation to criminal law declarations which was placed last year but also as the debate on whether euthanasia should be legal in New Zealand, which has been thrown back and forth in parliament and media since nineteen-ninety-three, (Taylor, 2015). After discovering and going through surgery and radiotherapy for a brain tumor which was discovered in twenty-eleven, then returning back to her regular daily return her health started to decline in twenty thirteen until Seales started to have chemotherapy then in twenty-fourteen her health deteriorated to a stage where drugs that were prescribed by the doctors no longer seemed to work, (Taylor, 2015). According to Taylor â€Å"She sought criminal law declarations that would have allowed her willing doctor to legally adminis ter or provide her with drugs to end her life.† (2015). 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