The Lottery by Shirley Jackson

The Lottery by Shirley Jackson Free Online Research Papers â€Å"The Lottery† is a true expression of Jackson’s genuine thoughts about human beings and their evil capabilities. December 14, 1916, Shirley Jackson was born. When she young she started writing in a journal in 1932. She went to college on and off for a couple of years, until she wrote and published her first book in 1941,†My life with R.H. Macy†. It wasn’t until further short stories were written she published, â€Å"The lottery† in 1948(Hrebik). Jackson was interested in revealing the evil within everyone on her stories. She wrote â€Å"The Lottery† knowing that numerous suggestions and implications would arise from her readers. â€Å"The Lottery† reveals Jacksons bold style of her unique writing. When the word â€Å"lottery† is mentioned, most would think of receiving a large check or a prize instead of receiving stones that knock you down until your beat to death. The conclusion of the story is most shocking because Shirley misleads the reader in the beginning, and she only gives is hints of what happens towards the closing stages. Jackson shows the importance and meaning of ancient vegetation rituals that the village in her story believed was part of their survival in order to ensure good fertile crops. In â€Å"The Lottery†, Old Man Warner states, â€Å"Lottery in June, corn be heavy soon† (Jackson 143). The germination of crops is essential for us to eat, even from back in the past till now in the present. The growers had to sow their seeds and then wait in hopes that it would grow properly. â€Å"from this hope brings ritual†. Some growers thought that the farming of crops symbolized the â€Å"life cycle†. The seeds that were sown symbolized death, but with a little water and sun the seeds that grow symbolize the rebirth.†Life brings death, and death recycles life† (Griffin 44). The ritual that the community performs every June was for a legit reason washing away the sins of the town and blessing the crops so that the town could eat. The death of Mrs. Hutchinson was for the benefit of the entire community; her family should feel proud. There are still those that think â€Å"The Lottery† should end and that it is not fair. Shirley also leaves the principle of stoning open to many views of readers. The villagers threw rocks at an innocent random person until death for the sake of blessing the town with a fertile crop. They don’t remember why they are doing this, but what they do know is that is it tradition and has been for many years. For many periods sacrifices for the purpose of pleasing a god were required according to the villagers. Throughout the different ages sacrificing human flesh for the sins committed started to also apply to the ritual of the farmer’s vegetation (Friedman 63-64).The stoning resembles an ancient tribe in past history, the vicious Aztecs of Mexico. The gods that the Aztec killed came back in a ghostly manner to create the Aztecs world, and the Aztecs feel duty-bound to pay back to the gods what they gave the Aztecs (Burdick 72). Shirley implies that the reason the town is sacrificing death to the gods is to receive blessing in return for their fruitful crops. à ¢â‚¬Å"One of the central challenges for any religion is to evolve and adjust ancient scriptures to modern life† (Kristof). Today’s society must take the old traditions, rituals and scriptures and alter them into the modern day. For example, the Bible states† a stubborn and rebellious son† shall be stoned to death (Deut 20:20-21). As most of the people today, we see these practices to be savage and unacceptable. The reason for our society to view this behavior today contributes to the shocking feedback Shirley received for the ending of her story. Jackson displays a good sense of irony in â€Å"The Lottery†. The use of irony is a recurrent theme in this story. No one would have expected Mrs. Hutchinson to be stoned to death. The style of Jacksons writing misleads the reader with the tone of the story starting off as a nice summer day which seems descent and friendly (Jackson 141). The people of the village do not panic or show much fear, nor do they delight in joyfulness. The town’s people seem to be in a state of neutral for the sake of being noticed too much. Mrs. Hutchinson declares to Mrs. Delacroix that she was cleaning before â€Å"The Lottery† and just forgot, when clearly she know it was time for â€Å"The Lottery† since the day of death would be hard to forget. Jackson also leads us to believe that the story is about winning something when it is actually about how they have lost the true meaning of â€Å"The lottery†. The young boys and girls simply huddle together by one another in stead of joining by their parents (Jackson 141). This might indicate that the children have a troubled sense of trust with the adults of the village. Mrs. Hutchinson mentions towards the narrowing of drawing in her family that her daughters should draw form the black box as well (Jackson 143). The title, the plot and climax of this story all contain bits of irony within them. After reviewing â€Å"The Lottery† and pointing out Jacksons illustrations of importance to Sacrifice, Tradition and Irony we have noted several conclusion. The meaning and understanding of ancient vegetation rituals that the community in her story believed was an element of their survival to ensure fertile crops. The difficulty with the town was that they had forgotten the true meaning of the ritual lottery that they performed every June. The town only knew that it was performed every year and had been for centuries. Shirley also allows the scrutiny of sacrificial stoning, open to many opinions of readers. â€Å"The Lottery† is entwined with much irony. Shirley shocks readers with her irony and unexpected vicious conclusion when they grab the biggest rocks and start throwing them at Mrs. Hutchinson. No one won anything. If they got the paper with the black spot they were doomed to death. The main theme in â€Å"The Lottery† was Jackson’s fine sense of iro ny, and how she misleads her readers to thinking the conclusion of her story was not what they expected. This is a bold and unique story that teaches many moral lessons many would not think to realize in â€Å"The Lottery†. Works Citied Burdick, Alan.†Empire of Blood.† Discover 2003:72. MAS Ultra-School Edition. Web.24 Feb.2010. Deuteronomy 20.20-21.†Bible: New International Version. N.p.1984.BibleGateway.com. Web.7 Feb.2010 Friedman, Lenemaja. Shirley Jackson. Boston: Twayne Publishers, 1975. Print Griffin, Amy A.†Jackson’s: The Lottery.† The Explicator 58.1(1999):44. Literature Resources from Gale.Web.8 Feb. 2010. Jackson, Shirley. â€Å"The Lottery.† Literature: An Introduction to Reading and Writing. Edgar V. Robert. New York: Pearson Education, Inc, 2009. 141-145. Print Hrebik, Dale. â€Å"Shirley Jackson.† Dictionary of Literary Biography 234(2001):n.pag. Literary Resources from Gale.Web.8 Feb. 2010. Knox, Rose.†Savagery in a Modern Setting: Jackson’s Shocking Revelation of a Highly Evolved Society.† North Florida Community College. Madison, Florida. 12, February 2010. Kristof D, Nicholas.Stoning And Scripture: How can religions adapt to modern times?. New York Times 30 Apr. 2002: n.pag.The New York Times Historical Edition.Web. 24 Feb. 2010. hvickers62107@yahoo.com username: hvickers62107 Research Papers on The Lottery by Shirley JacksonThe Masque of the Red Death Room meaningsCapital PunishmentBook Review on The Autobiography of Malcolm XMind TravelHip-Hop is ArtHarry Potter and the Deathly Hallows EssayGenetic EngineeringCanaanite Influence on the Early Israelite ReligionTrailblazing by Eric AndersonArguments for Physician-Assisted Suicide (PAS) The Lottery by Shirley Jackson The Lottery by Shirley Jackson The Lottery, by Shirley Jackson, is about a small-minded village that savors on tradition. The town holds a lottery once a year where all the families gather around in a big crowd in the Village Square. The lottery is conducted by Mr. Summers, a man who often leads the town's activities such as square dances, Halloween parties, charities, etc. In the crowd, wives gabber about the daily gossip. Fathers chat about tractors, crops, and taxes, while the kids playfully gather small smooth stones, piling them in a clearing behind the crowd. Mr. Summers calls their attention to get the lottery started, and the scattered family members hurry about and find each other. Mr. Summers brings out an old black box that has been used for the lottery even before Old Man Warner (the oldest man in town) was born. Back in the days when the village was a lot smaller, pieces of wood chips were used to put in the box. However, since the village ws growing, they discove! red to use paper slips instead. Mr. Summers mixed up the paper slips in the box with his hand while reciting some long ritual that had been used ever since the lottery was founded. During the recital, kids looked innocently about, the voice of people talking was kept at a low whisper, but the majority held their tongue with heavy nervous thoughts on their mind. Finally, Mr. Summers started calling out each family's name that lived in the village, having the head of each family put their hand in the box and tightly grab a slip of paper which was not to be opned until each family had received their slips. Once the papers were distributed, the families opened their slips. An uproar of questions about whom had "gotten it" came swiftly through the crowd. In a matter of minutes, it was found that the Hutchinson family picked the plain white slip with the coal-black dot drawn in the center. A burst of objection came from Terri Hutchin

A Beginner Guide to Comparing Values in Perl

A Beginner Guide to Comparing Values in Perl Perl  comparison operators can sometimes be confusing to new Perl programmers. The confusion stems from the fact that  Perl  actually has two sets of comparison operators - one for comparing numeric values and one for comparing string American Standard Code for Information Interchange (ASCII) values.   Since  comparison operators  are typically used to control logical program flow and make important decisions, using the wrong operator for the value you are testing can lead to bizarre errors and hours of debugging, if youre not careful. Dont forget to catch whats written at the very bottom of this page for some last-minute things to remember. Equal, Not Equal The simplest and probably most used comparison operators test to see if one value is equal to another value. If the values are equal, the test returns true, and if the values are not equal, the test returns false. For testing the equality of two numeric values, we use the comparison operator . For testing the equality of two string values, we use the comparison operator eq (EQual). Heres an example of both: if (5 5) { print for numeric values\n; } if (moe eq moe) { print eq (EQual) for string values\n; } Testing for the opposite, not equal, is very similar. Remember that this test will return true if the values tested are not equal to each other. To see if two numeric values are not equal to each other, we use the comparison operator !. To see if two string values are not equal to each other, we use the comparison operator ne (Not Equal). if (5 ! 6) { print ! for numeric values\n; } if (moe ne curly) { print ne (Not Equal) for string values\n; } Greater Than, Greater Than or Equal To Now lets look at the  greater than  comparison operators. Using this first operator, you can test to see if one value is  greater than  another value. To see if two  numeric  values are  greater than  each other, we use the comparison operator  . To see if two  string  values are  greater than  each other, we use the comparison operator  gt  (Greater Than). if (5 4) { print for numeric values\n; } if (B gt A) { print gt (Greater Than) for string values\n; } You can also test for  greater than or equal to, which looks very similar. Keep in mind that this test will return  true  if the values tested are equal to each other, or if the value on the left is greater than the value on the right. To see if two  numeric  values are  greater than or equal to  each other, we use the comparison operator  . To see if two  string  values are  greater than or equal to  each other, we use the comparison operator  ge  (Greater-than Equal-to). if (5 5) { print for numeric values\n; } if (B ge A) { print ge (Greater-than Equal-to) for string values\n; } Less Than, Less Than or Equal To There are a variety of comparison operators you can use to determine the logical flow of your  Perl programs. Weve already discussed the difference between the Perl numeric comparison operators and the Perl string comparison operators, which can cause some confusion to  new Perl programmers.  Weve also learned how to tell if two values are equal to, or not equal to each other, and weve learned how to tell if two values are greater than or equal to each other. Lets look at the  less than  comparison operators. Using this first operator, you can test to see if one value is  less than  another value. To see if two  numeric  values are  less than  each other, we use the comparison operator  . To see if two  string  values are  less than  each other, we use the comparison operator  lt  (Less Than). if (4 5) { print for numeric values\n; } if (A lt B) { print lt (Less Than) for string values\n; } You can also test for,  less than or equal to, which looks very similar. Remember that this test will return  true  if the values tested are equal to each other, or if the value on the left is less than the value on the right. To see if two  numeric  values are  less than or equal to  each other, we use the comparison operator  . To see if two  string  values are  less than or equal to  each other, we use the comparison operator  le  (Less-than Equal-to). if (5 5) { print for numeric values\n; } if (A le B) { print le (Less-than Equal-to) for string values\n; } More Information on Comparison Operators When we talk about string values being equal to each other, were referring to their ASCII values. So, the capital letters are technically less than the lowercase letters, and the higher the letter is in the alphabet, the higher the ASCII value. Make sure you check your  ASCII values  if youre trying to make logical decisions based on strings.

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

Recommendation report - Essay Example This recommendation paper intends to discuss on the comparison among eco-tourism and commercial as well as business. The paper also discusses the effectiveness of green marketing on eco-tourism. Comparison between eco-tourism and commercial tourism Commercial tourism is also known as adventure tourism. Commercial tourism enables people to build a coherent amount of experience by organizing their own tools and equipments in synchronizing their recreational habits of making a pleasant vacation (Buckley, 2006). Even though, at the onset, commercial tourism may be identified as a quite distinct from the notion of eco-tourism, both the concepts are regarded to be inclusive parts of nature tourism. However, it can be stated that in comparison to commercial tourism, ecotourism has greater connection with the cultural and rural heritage as well as resources. In ecotourism, the prime objective is the appreciation provided by tourists while observing the natural resources of the environment as well as the assets belonging to the cultural dimensions of the host region. On the other hand, commercial tourism is merely an exercise in the physical aspects and facing challenges from environment al attributes present in the host region. However, from the functional point of view, it can be stated that ecotourism, in the global market place currently represents a small-scale tourism sector while commercial tourism extends from small-scale to luxurious hotel facilities (Wood, 2002). Comparison between business tourism and eco-tourism Apparently, eco-tourism is widely distinct from the concept of business tourism, although, in often instances, it has been observed that eco-tourism tend to have a significant influence on business tourism. It is in this context that eco-tourism endeavors encouragement to the hoteliers as well as foreign nations by supporting them with better expansion opportunities to obtain higher competencies through innovation and differentiation by incorporating the notion of eco-tourism. It is worth mentioning in this context that contemporary business tourism is possibly based on the successful implementation of the eco-system model which further acts as a significant linkage between the two concepts of business tourism and eco-tourism. One of the similarities existing between business tourism and eco-tourism can be identified as the involvement of tour operators, tourists and local communities. The only difference in this context is the size of the industrial implications of these practices (Buchsbaum, 2004). Effectiveness of Green Marketing on Eco-tourism It can be apparently observed from the above discussion, that in comparison to commercial tourism and business tourism, eco-tourism tends to be more challenging in terms of growth prospects, diversity and customer attractiveness. Apparently, the spheres of these concepts are comparatively broader than that observed when assessing eco-tourism. However, one of the positive aspects in ec o-tourism which can be used in order to attain competitive industrial appraisals in incorporating the concept is green marketing (Wu, Zhu & Xu, 2000). Green marketing has become increasingly significant in determining the consequences of relationship that are prevalent among man and the environment which works as a rudiment of the

Leadership & Organizational Behavior Research Paper - 1

Leadership & Organizational Behavior - Research Paper Example I believe there are many efficient leaders in the past as well as in the current business scenario who gained the ability to significantly influence the business world trends with their unmatched leadership skills. However, when it comes to me, I feel Judy Schmeling is the one who has been performing extremely well as an efficient leader as the EVP and CFO of HSNi LLC (Bloomberg, 2013). I firmly support that she has the ability to perform various tasks efficiently and successfully at any position within the organization. Thus, I believe that leadership style that is being practiced by her is indeed eligible for appreciation. I strongly admit, whenever I get opportunity in my life, I would definitely try to emulate her leadership style into my professional career. Notably, there are different types of leadership styles generally followed by organizational leaders. These different styles of leadership are often observed to be duly adhered in different situations by effective leaders ra ther than focusing on a particular style. It would be worth mentioning in this context that none of the leadership styles is most perfect to act as the most efficient solution in today’s business world. Thus, the selection of the leadership style should be flexible enough to meet the changing requirement of the business and the prevailing business circumstances. I further admit that different leadership styles possess certain advantages and disadvantages. Nonetheless, in my opinion, participative leadership style contributes significantly towards performing various tasks within the company with ease (Rok, 2009). In the most general sense, participative leadership style can be defined as the leadership style wherein joint decision making is duly in practice. In other words, participative leadership style seeks to engage employees, subordinates and peers to participate in the organizational decision making. I believe that participative leadership style dramatically results in m aking the most optimum use of the ideas and creativity of those participants involved in the decision making process of an organization. The major reason why I prefer participative lea

Importance of Art Education during Childhood Essay Example for Free

Importance of Art Education during Childhood Essay Since more than two decades researchers have been discovering affirmative relationships between arts education and cognitive improvement in children. Gardner (1983) has claimed an affirmative relationship between arts and intellectual (Clark Zimmerman, 2004). There are multiple advantages of arts education that range from the improvement of vocabulary and math competence, to the improvement of spatial reasoning. Today arts education is given much more importance than previously, when it was thought to be a lot of fluff. Art is not simply an extra subject in education; it is necessary to learning. When students learn about the visual arts, they get a view of the rich and fascinating world around them. This teaches them theirs as well as others history and customs. Art leads to a cultivation of expressiveness, imagination and originality along with critical thinking and analytical competence. It has been stated by the art educators that children as young as three years of age consistently use their imagination in different ways (Golbeck, 2001). The children studying about art expand their capabilities to consider meanings and to make assessments and decisions. Through comprehending and creating art, a student can learn how to work collaboratively with others and also how to put in effort to attain an objective. Also, art education helps in making a major contribution to the enhancement of the child’s capabilities to tackle with the abundance of visual indications obtainable to him and to comprehend and utilise these visual indications (Anway McDonald, 1971). The enhancement of such competencies and qualities allows for making children better learners along with helping them to feel good; that is, it creates self-worth. It is a world where concepts and data are usually conveyed visually, and the children are required to learn the way they can consider and ascertain the sense of the pictures and also how they can use them so as to convey their own concepts. These talents and qualities are considered essential for individual success as well as America’s improvement.   In spite of this several schools have reduced their budget in art programs since the last decade and this has resulted in some schools providing with almost no art education (Prentice, 2000). These schools are not offering their students with the chance to improve their talents that are so essential if they are to succeed in a competitive fiscal setting in such an ethnically varied, visually adjusted world. Teaching Art Enid and Laura Zimmerman say that there are three standpoints of art teaching that have affected art education for youngsters since the last five decades. The first point is that a child’s piece of art is an expression of the natural internal procedures of improvement. The second point is established on a cognitive improvement attitude, and it concentrates on children’s building of general knowledge concerning the world. The third point is that art education leads to a promotion of self-improvement in order to allow the children to absorb themselves relative to the community they live in. According to Gardner (1980) when adults offer the youngsters with the kit, materials and support, their natural art capabilities develop. The adults should not be directly interfering with the children so as to develop their natural capabilities (Schaffer-Simmern, 1948). Infants and preschool children rather prefer to explore colors, feel and type of materials and express thoughts, concepts and insights. These are fine objectives for them. They value the procedure more than the end result. After completion of the work by a child, the teacher or parent should talk to him about it instead of simply praising him. This allows for learning more about the artwork and how the child thinks. Also, the instructor can put down points on paper and, if the child allows, fix it to the child’s work. Plus, the artwork should be dated. That allows the instructor to keep a track of the youngster’s improvement. Visual arts can be a source of advantage to children of all ages. From a kid’s first rate motor skill development to a teen’s expressive enhancement, the arts can prove to be a much efficient training and managing means. A person does not have to be absolutely knowledgeable on each and every procedure or have to purchase extremely costly equipment in order to bring in the arts to a kid’s life. Straightforward product selection and child focused examination can direct initial creative attempts. Children’s Motivational Beliefs about Art Art classrooms offer with distinct motivational tests. Even though kids usually take pleasure in the hands-on exercises which are part of most of the curriculum and they without reluctance involve themselves in the delegated projects, it is quite often hard to get them to put in all their efforts, to make their â€Å"hurried production† more detailed and improved. Many a times young students are overheard talking about who is good at art and who is not, which is mostly themselves. Usually with age kids become pessimistic concerning their art capability (Flannery Watson, 1991; Gardner Rosenstiel, 1977). The necessity of motivation in order to maintain children’s interest in art is accentuated by the usual weakening in self-esteem and interest in art which the kids start displaying during middle childhood. This weakening is linked with the children’s idea that their production should fulfil the principles of traditional practicality and that they do not possess the abilities of accomplishing this (Flannery Watson, 1991). Nevertheless, comparable deteriorations in self-assessments of capabilities are commonly perceived in various subjects (Stipek Maclver, 1989), and also the progressive weakening of student’s encouragement as they advance through school. In goal theory the advice is implied that teachers motivate students to follow individual imaginations of mastery more willingly than to work to impress outside assessors. This is a problem for regions like visual art where students should bear in mind the ultimate receiving of their performance (imaginative production) by an audience even as they try to focus on self-enhancement and mastery. This matter poses a problem to the art teachers who should make every day choices concerning the degree to which they will try to motivate students by emphasizing grades and the chance for exhibit of work. Art teachers are also caught up with the fact about whether art contests raise children’s concentration on spirited performance to the disadvantage of their assignment involvement and ability improvement. Parents and Art Education Parents can help their children in art education and not just rely on the institutions. They can encourage the children’s involvement in art when at home which can be done by encouraging art programs in the nearby society and also by assisting in making a decision as to how the school can teach the art. Parents can also turn out to be important speakers for developing art programs at schools. Parents can work along with the school staff, with the members of art societies, and also with other people. In this way they can ensure that art is being given a significant position in their children’s education plus in the society. There can be PTA meetings held that would emphasize on the importance of art education. In this way parent awareness concerning art education will be built. A very significant step that parents, and even rest of the people, can take is to back up education leaders and officers so as to sponsor the addition of art education in the syllabus. Every person can lead to a difference if he contacts these persons.

Men and Women Playing a non-traditional Sport for their Gender :: Sociology Essays Research Papers

The Social and Cultural Costs and Benefits of Men and Women Playing a non-traditional Sport for their Gender The lines that separate the sexes in sport have been historically rooted in society's way of thinking. Though these lines have lately begun to fade, they are still embedded in the attitudes of the majority of the public. Women and men alike have been and still seated in their respective sports without much room or access to cross that gender line. These limitations take various forms, such as the availability of opportunities that are given to those that wish to enter certain sports to the media portrayals of athletes crossing these gender boundaries. The costs and sacrifices for an aspiring athlete entering a non-traditional sport for their gender are sometimes overwhelming and detrimental to their sport career. These athletes often experience the frustration of finding training facilities catering to their gender. More so, the lack of financial support from family or even endorsements hinder athletes from pursuing the best training available. Aside from financial considerations, finding willing mentors and coaches willing to blind themselves from the sex of the athlete doesn't come as easy as for instance, Diana in Girlfight. Most importantly, the emotional support that is greatly important in the mental preparedness of an athlete is often not existent. Young children are often discouraged and not offered opportunities to pursue desired sports if they are considered gender bending. In Billy Elliot, though Billy has a real passion and talent for ballet, it is after much time that his family accepts it. Billy's father and brother, employed in mining, a traditionally masculine field, are initially disapproving of his aspirations mostly because of the stigmas on sexuality placed on male ballet dancers. These stigmas appear throughout numerous sports; women who body build or play rough sports like rugby or hockey are often looked at as butch and thus characterized as lesbians. In Pumping Iron II, Bev appears to have been in the best shape, but she is deemed too masculine to win a body building competition. Similarly, men who ice skate or are cheerleaders are considered feminine or gay. On the same note, the strengths of men in these non-traditionally male sports are often doubted; it is speculated that the male might be weak and cannot handle "manlier" sports. Even women who enter male dominated sports are considered to be too tender to play.

Martin Lynch-Gibbon, is a London wine merchant married to Antonia

Martin Lynch-Gibbon, is a London wine merchant married to Antonia. They had wed due to convenience and they do not have a child.He is having an affair with Georgie, an academic younger than he is. She gets pregnant early on, but they end it. She attempts suicide after rejections by Martin and his brother.Seemingly out of nowhere, Antonia declares that she is leaving him. Martin is shocked. She goes with Palmer, one of their friends and her psychoanalyst. As it turns out, she and Palmer have been having an affair as well.Martin leaves their house, but he does not want his affair to go public, or be committed any further.Then he falls for Honor, Palmer’s stepsister who teaches anthropology at Cambridge. One night, he goes into her house uninvited and unannounced, and finds her in bed- with her stepbrother.Later, Antonia tells Martin that she has been seeing Alexander as well, his older brother, and it dates back to them having been introduced to each other.He turns to whisky to battle his problems. More than being an adulterer, he thinks of himself as a cuckold.â€Å"A Severed Head† explores fear of intimacy between the married couple, the fear of being in a relationship that values commitment. It also illuminates the ways in which sexual relationships are unraveled, especially when one manipulates or dominates the other.

Aspects of Literary History: Spring and Summer Terms 2008 Essay

Welcome to the Aspects of Literary History course. This is an ambitious course with a number of separate but interwoven strands: 1) The course will introduce you to some of the key concepts of literary history. 2) The course will enact literary history by examining the history of a particular mode of writing from its Greek origins through the seventeenth, eighteenth, nineteenth, twenty and twenty-first centuries. You will be asked to think in terms of specific literary historical periods. 3) The course will make you more familiar with the reading and interpreting of poetry, with particular attention to improving your skills in close reading. 4) The course will examine pastoral poetry from its origins in the Greek Idylls, its dissemination through Roman models and its diversification into many forms: the elegy, the country house poem, the love lyric, the poem of reflection, the philosophical poem, the nature poem and the satire. 5) The course will focus historically on the pastoral not simply because it provides the originating mode for these diverse forms but because it is the product of a specific political and social culture: an elite form produced originally in a slave culture (Greek) and disseminated through another slave culture (Roman). This will give you the basis for thinking about the historical contextualization of the pastoral as a form. 6) How have later English poets – from the seventeenth century onwards – made use of the political and social entailments of the pastoral form? How have they expanded it by the introduction of a Christian content? How have American poets made use of the form in response to the colonization of the New World, a process seen by many (at the time and subsequently) through the means of the pastoral? 7) The analysis of pastoral will enable you to undertake the most subtle intrinsic literary historical analysis, the most ambitious and the most ranging extrinsic literary historical analysis and the most effective combination of intrinsic and extrinsic modes. The Aspects of Literary History course will be taught by lecture and seminar in the spring term and the summer term. You will use the Aspects of Literary History course reader for preparation and for seminar discussion. The poems for discussion in the lectures and in the seminars are all printed in the course reader and the course supplement. The lectures for the course will be held in Chichester Lecture Theatre on Mondays 12-1. The seminars for the course will take place later in the week. Please check the timetable for your individual tutor and for the time of your seminar. There are four secondary texts we would also like you to read during this course: Paul Alpers’ What Is Pastoral?, Raymond Williams’ The Country and the City, Jonathan Bate’s The Song of the Earth and Chris Fitter’s Poetry, Space, Landscape. There are multiple copies of these in short loan and you should be able to read these during the vacation and during the spring and summer terms. You can borrow short loan books over the vacation and renew on-line. Essential secondary material is available in the Reserve Collection or in the Artsfac part of the Reserve Collection. [Ask at the Reserve Collection Counter: this material is stored under the name of the course convenor, Alistair Davies]. The seminar strand will support the lecture series by ensuring that you have grasped the literary historical topic of the week (definitions and information are set out in the reader). But it will function principally a) to improve your confidence and skill in reading poetry and b) to encourage you [if you wish] to explore your own creative response in poetry to the themes and topics of the course. We hope that you will become more proficient, more imaginative and more self-assured readers of poetry. Your written course work will be two 1000 word course work essays [20% each]. We are hoping to encourage you to be concise, focused and lucid in your writing. You will have the opportunity, if you wish, to submit one piece of creative writing out of two pieces of written work for the course. Remember to check your written work against the criteria set out in the ‘Feedback and How to Make Use of It’ document you were given last term. To underline the importance we attach to your creativity, we draw your attention to details of the Stanmer Prize on page 4 of the course reader. You can read the poems produced by previous winners on the English web-site. The course will also be examined by an unseen in the summer term [60%]. You will be required to comment closely on three poems or passages of poems in ways that reflect upon the literary historical topics covered in the course. You can consult past examination papers through the Sussex web-site. You will find below a detailed plan of the course. You will be able to see how lectures prepare you for seminars in each week; and you will be able to plan your work for the course from the beginning to the end of the course. We hope that you will find this course informative and enjoyable. If you have any queries, do not hesitate to contact your course tutor or the course convenor, Dr Alistair Davies [H.A.Davies@sussex.ac.uk] The course will be taught in the following order [the order in which it is set out in the course reader]: Week 1:Genre and Conventions The first lecture by Professor Norman Vance will focus on Milton’s Lycidas and Paradise Lost and will explore Milton’s use of classical genre(s) and conventions. Prepare for the lecture by reading the ‘Genre and Conventions’, ‘The Origins of the Pastoral’ and ‘the Pastoral Elegy’ sections of the course reader and the section of the Aspects Course Supplement. Week 1: Norman Vance: ‘Pastoral Genre and Convention: Milton’s Lycidas and Paradise Lost In your first seminar, you will focus on two poems — Herrick’s ‘To Daffodils’ (p.33) and Elizabeth Bishop’s ‘North Haven’ (p.5). What are the generic constituents of Herrick’s poem? What makes Bishop’s poem a) a pastoral elegy and b) how does it differ as a modern pastoral elegy from Milton’s Renaissance pastoral elegy? Paul Alpers’ study of pastoral cited in the course reader will be helpful here. You may wish to read Alpers’ discussion of Lycidas in What is Pastoral [there are copies of this in reserve and in short loan; copies too in Artsfac]. We begin with pastoral and we will focus on pastoral; but one presupposition we will explore in the course is that the pastoral idyll provides the matrix out of which the elegy, the love poem, the poem of philosophical reflection, the subjective lyric, the love poem, the satire and the nature poem are developed within the western and within the English traditio n. Week 2: Intertextuality. The second lecture will be given by Professor Andrew Hadfield and will focus on Jonson’s To Penshurst. Prepare for the lecture by re-reading Virgil’s first eclogue and Horace’s second epode in the course reader. You will find To Penshurst in the course reader (pp.29-31). Read the ‘Intertextuality’ section of the course reader, pp.26-32. Week 2: Andrew Hadfield: ‘Intertextuality: Ben Jonson’s ‘To Penshurst and the Country-House Poem’ For your seminar, read Yeats’ ‘Coole Park, 1929’ and Walcott’s ‘Ruins of a Great House’ in the course reader (pp.31-32). How does Yeats relate to Jonson; how does Walcott relate to Yeats (who was an important early influence)? What does it tell us about history and about the history of literature that a poet of the English renaissance, an Irish poet of the 1920s and a Caribbean poet of post-war period should use a form established by Roman poets in the first century BC. What are the links between pastoral, the country-house poem and empire? Week 3/: Literature and Social Change The third lecture of the term will be given by Dr Sophie Thomas on the topic of the eighteenth century prospect poem. Week 3: Dr Sophie Thomas: Politics, Poetics and Landscape For this lecture, Sophie Thomas will explore the changing modes of the prospect poem in works by Pope, Gray, Cowper and Smith printed in the course reader (pp.36-45) and Wordsworth’s Tintern Abbey printed on pages 47-48. Please read the section Literature and Social Change, pp.33-48 of the course reader. In her lecture, Sophie Thomas will explore the so-called prospect poem, raising questions about the class and the gender position of the viewer and about the different ways in which nature is re-presented. Will you please read carefully Gray’s ‘Ode on a Distant Prospect of Eton College.’ In your seminar, your tutor will either focus on one or more of the poems by Gray, Cowper and Smith in the reader. How important is it to take into account the gender of the poets discussed? Does a female writer have a different sense of the possession of a landscape to a male writer? Week 4: Literature and Social Change The fourth lecture of the term will be given by Dr Sophie Thomas. Please prepare by reading the poems by Wordsworth and Coleridge in the course reader, pp. 45-48. Week 4: Dr Sophie Thomas: The Landscape of the Imagination: Wordsworth and Coleridge In your seminar, you will read Wordsworth’s Tintern Abbey (p.47). How does the tradition of the pastoral poem enable the poet to write here a poem of psychology, a poem of philosophical reflection and a poem of relationship [remember it is addressed to the poet’s sister]. Even though it is written [for us] in heightened diction, this was written as an example of a form Coleridge and Wordsworth admired, the so-called conversational poem. Of course, The Prelude is one, very long conversational poem. Week 5: Research Break Week 5 will be a research break for your seminar (this will allow you to catch up with your reading and your writing). You will write your first assignment. Your first written assignment will be due in week 6 [check on Sussex Direct] : one 1000 word essay — 1) a reading of either a) Jonson b) Bishop c) Yeats or d) Walcott in the light of questions of genre, convention and intertextuality or 2) a reading of the prospect poem, with reference to Gray, Cowper, Smith or Wordsworth) or, if you wish, 3) you may write an account of George Herbert’s ‘Life’ and Andrew Marvell’s ‘The Garden’ in the supplement in relationship to ideas of melancholy and of loss, pp. 6-7. The poetry of the English renaissance provides the models from which the English poets of the Romantic period develop the religious, philosophical and psychological preoccupations of their verse. Your seminar tutor will set you specific titles for this assignment. Week 6: Literary History and Periodisation (pp.37-40) The fifth lecture will be given by Dr Alistair Davies on Goldsmith’s ‘The Deserted Village’ pp.53-58 of course reader). Please read this poem closely before the lecture. Week 6: Dr Alistair Davies: ‘Goldsmith’s The Deserted Village: Literary History and Periodisation. To prepare for the topic for week 6, read the section on Literary History and Periodisation (pp. 49-58) in the course-reader and the section on Literary History and Periodisation in the course supplement. The lecture will set the poem in the context of the construction of an eighteenth century landscaped estate and house. The University of Sussex is built in the eighteenth-century country-park of Stanmer House. Please take a stroll around this park (or its remnants) and have a look at the Palladian-style Stanmer House (see final page of course reader). In your seminar, you will discuss the Virgilian and Horatian intertexts of The Deserted Village, relate the poem to questions of globalisation and migration, and explore the links between Goldsmith’s poem and the English landscape and pictorial tradition of the eighteenth century represented by Gainsborough’s painting in the course reader and on its back cover. Please also read the account of Michael McKeon’s article ‘The Pastoral Revolution’ cited in the course reader. There is a brief prà ©cis in the course reader but you should make every effort to read the whole of this important article in Kevin Sharpe and Steven N.Zwicker (eds): Refiguring Revolutions. You would also benefit, if you have not yet done so, from reading the recommended chapters in Raymond Williams’s indispensable The Country and the City [there are many copies of this in reserve and in short loan] and Jonathan Bate’s The Song of the Earth. Week 7. Literary History: Politics and the Subject of Modernity The sixth lecture of the course will be given by Dr Alistair Davies on The Prelude. Week 7: Dr Alistair Davies: ‘Wordsworth’s The Prelude: Politics and the Subject of Modernity’ For your preparation, please re-read The 1805 Prelude, with particular reference to Books 1, 6, 7, 8, 11, 12, 13. For the seminar, we want you to read A.R.Ammons’s ‘Corsons Inlet’ (pp. 77-8). In what ways can you read Ammons’s poem as a post-Romantic rejoinder to ‘Tintern Abbey’? In what way is twentieth century American poetry, as we find it instanced in Ammons’ poem, a critique of the English Romantic tradition and of the American nineteenth century transcendental tradition it helped to shape? Remember that Wordsworth is a fundamental precursor figure for the modern American lyric poet as he is for the modern English lyric poet. Remember too that the pastoral is a fundamental form in American self-identification in the founding and settling of the New World. Sylvia Plath’s has written wonderful and little known sonnet ‘Mayflower’ on this topic, which you will find on page 49 of the course reader. Week 8. Feminist Literary History. The seventh lecture will be given by Dr Jenny Taylor on Christina Rossetti, concentrating on ‘Goblin Market’, pp. 66-71 of the course reader. Please prepare for the lecture by reading Goblin Market and the section on Feminist Literary History in the Aspects course reader, pp.63-71. Week 8: Dr Jenny Taylor: ‘Christina Rossetti and the Question of Feminist Literary History’ For your seminar, we want you to work through the three poems by Rossetti in the course reader in the light of the questions raised by the lecture and to compare them to the contemporaneous poems by Emily Dickinson in the Atlantic Studies and American pastoral section of the course reader, pp. 96. Second assignment for delivery in week 2 of the summer term. [see Sussex Direct]. What we want you to do for your second essay is to explore the idea of loco-descriptive verse and the walking or ‘ambulatory’ poem, examining the ways in which Wordsworth and Ammons have used these forms for metaphysical and religious explorations. You may write a walking poem for your final submission (no more than 30 lines) but with an auto-critique or justification amounting in total to 750 words. Or you may write a sonnet in the same on the building a) of Stanmer House in the 1700s or b) the University of Sussex in the 1960s — to explore a moment of profound historical transition. It would be useful to re-read Goldsmith’s The Deserted Village and the material on Enclosure and Emparking in the course reader before you embark on this (pp.53-58). You might take Sylvia Plath’s ‘Mayflower’ on page 49 as your model. Otherwise, you may write a comparative analysis of Wordworth’s ‘Tintern Abbey’ and of the Ammons poem. Or your tutor may set you an exercise which has arisen from discussions in your final seminar on Hardy. This exercise is 1000 words long. Week 9. Literary History: Transmission and Dissemination The eighth lecture will be given by Professor Norman Vance on pastoral and the loss of faith reflected in and through attitudes to nature in Romantic and post-Romantic poetry, focusing on the poems by Wordsworth, Shelley and Hardy in the course reader, pp.72-77. Please read the section on Literary History and Dissemination in the course reader, pp.47-51. Week 9: Prof Norman Vance: ‘The Decline of Nature: from Wordsworth to Hardy’. For your seminar, you will read the series of poems about birds and bird-song in the course supplement, [as well as poems by Hardy and Yeats in the course reader] linking the poet’s concerns with bird song and with flight to the possibility [or impossibility] of preserving the poetic tradition. How do scientific ideas – particularly those of Darwin – affect nineteenth century poetry? You will also consider the links between literary and intellectual history. Q. What do you think are the relationships between the Samuel Palmer ‘Pastoral Scene’ (1835) on the front cover of the course reader and nineteenth century preoccupations with secularisation? The Jo Francis essay cited in the course reader is useful for reading ‘Mont Blanc’; the Picot essay (like Francis’s essay in Artsfac in the Reserve Collection) is also very helpful. Summer Term: 2008 We expect you to undertake some preparation for the summer term by reading the ‘Atlantic Studies and American Pastoral’ section of the course reader and the ‘Atlantic Studies and American Pastoral’ section of the course supplement. The lecture titles for the summer term are as follows. You will be given details about the work to be undertaken during the vacation and in your term-time seminars at the end of the spring term.

University of Phoenix Material Essays (452 words) - Communication

University of Phoenix Material Essays (452 words) - Communication University of Phoenix Material Global Communications Worksheet Your supervisor wants to send a brief e-mail message to welcome employees who have recently transferred to your department from Brazil, Russia, India, and China. He has written a draft message and would like your feedback. Review your supervisor's message below. Rewrite the message to make it appropriate for the communication style of one of the four countries of your choice. Conduct research to know more about the communication style of your chosen country. I wanted to welcome you ASAP to our little family here in the States. It's high time we shook hands in person and not just across the sea. I'm pleased as punch about getting to know you all, and I for one will do my level best to sell you on America. Complete the table with your rewritten welcome message. |Chosen Country |Rewritten welcome message | |name | | |India |We wanted to welcome you to join our little | | |family here in the United States. This is a | | |fantastic opportunity that we have for all | | |of us to meet in person instead of by phone | | |or teleconference. I am very excited about | | |getting to know each of you and your | | |background. I personnaly will ensure your | | |stay here will be a rememerable experience | | |as well. | Additional Insight Respond to each of the following questions with at least one paragraph: When you researched the communication style of your chosen country, what information did you discover? What are some considerations that should be made when writing to someone from another country? I chose India as my country because in the business world they are one of the world leaders in innovation. Their business intelligences has brought them from a third world industrious country to a well desired business parternership of many countries including America. I also discovered that English is one of the main languages for their business communication. English is so common amongst Indian business men and women that there is less than one half percent of them that do not speak the language. The main consideration would be to educate yourself about their culture. There are somethings that we do, or a certain ways we do it but it might not be acceptable in their country. In India it is very offensive for them to tell someone "no" in a business proposal. They would rather counter offer a suggestion then turn it down all together. If they end up having to say no to a proposal from a business partner and most times will have difficult business dealings afterwards. They believe that they put so much effort in to their business that all partners know what to expect and not to make offers to them that will result in them aying no.

European Countries Ranked by Area

European Countries Ranked by Area The continent of  Europe varies in latitude from places such as Greece, which is in the range of about 35 degrees north to 39 degrees north latitude, to Iceland, which ranges from around 64 degrees north to more than 66 degrees north. Because of the difference in latitudes, Europe has varying climates and topography. Regardless, it has been inhabited for about 2 million years. It consists of only about 1/15th of the worlds land, but the contiguous continent has about 24,000 square miles (38,000 sq km) of coastline. Stats Europe is made up of 46  countries that  range in size from some of the largest in the world (Russia) to some of the smallest (Vatican City, Monaco). The population of Europe is about 742 million (United Nations 2017 Population Division figure), and for a landmass of about 3.9 million square miles (10.1 sq km), it has a density of 187.7 people per square mile. By Area, Largest to Smallest The following is a list of the countries of Europe arranged by area. Various sources may differ in size of a countrys area due to rounding, whether the original figure is in kilometers or miles, and whether the sources include overseas territories. Figures here come from the CIA World Factbook, which presents figures in square kilometers; they have been converted and rounded to the nearest number. Russia: 6,601,668 square miles (17,098,242 sq km)Turkey:  302,535 square miles (783,562 sq km)Ukraine:  233,032 square miles (603,550 sq km)France:  212,935 square miles (551,500 sq km);  248,457 square miles (643,501 square km) including overseas regionsSpain:  195,124 square miles (505,370 sq km)Sweden:  173,860 square miles (450,295 sq km)Germany:  137,847 square miles (357,022 sq km)Finland:  130,559 square miles (338,145 sq km)Norway: 125,021 square miles (323,802 sq km)Poland:  120,728 square miles (312,685 sq km)Italy:  116,305 square miles (301,340 sq km)United Kingdom:  94,058 square miles (243,610 sq km), includes Rockall and Shetland IslandsRomania: 92,043 square miles (238,391 sq km)Belarus: 80,155 square miles (207,600 sq km)Greece: 50,949 square miles (131,957 sq km)Bulgaria: 42,811 square miles (110,879 sq km)Iceland:  39,768 square miles (103,000 sq km)Hungary: 35,918 square miles (93,028 sq km)Portugal: 35,556 square miles (92,090 sq km)Austri a: 32,382 square miles (83,871 sq km)Czech Republic: 30,451 square miles (78,867 sq km) Serbia: 29,913 square miles (77,474 sq km)Ireland: 27,133 square miles (70,273 sq km)Lithuania: 25,212 square miles (65,300 sq km)Latvia: 24,937 square miles (64,589 sq km)Croatia:  21,851 square miles (56,594 sq km)Bosnia and Herzegovina: 19,767 square miles (51,197 sq km)Slovakia: 18,932 square miles (49,035 sq km)Estonia: 17,462 square miles (45,228 sq km)Denmark: 16,638 square miles (43,094 sq km)Netherlands:  16,040 square miles (41,543 sq km)Switzerland:  15,937 square miles (41,277 sq km)Moldova: 13,070 square miles (33,851 sq km)Belgium:  11,786 square miles (30,528 sq km)Albania: 11,099 square miles (28,748 sq km)Macedonia: 9,928 square miles (25,713 sq km)Slovenia: 7,827 square miles (20,273 sq km)Montenegro: 5,333 sq miles (13,812 sq km)Cyprus: 3,571 square miles (9,251 sq km)Luxembourg: 998 square miles (2,586 sq km)Andorra:  181 square miles (468 sq km)Malta:  122 square miles (316 sq km)Liechtenstein: 62 square miles (160 sq km)San Marino:  23 square miles (61 sq km)Monaco:  0.77 square miles (2 sq km) Vatican City: 0.17 square miles (0.44 sq km)

Film response Movie Review Example | Topics and Well Written Essays - 500 words - 1

Film response - Movie Review Example The monster eventually disappears with a young girl who parents finally start following. The US government issues a warning regarding the dangerous virus from the monster that forces the Korean government to isolate its citizens and shut the area down to prevent the spread of the virus. The movie â€Å"The Host† presents a political, societal, economic, and environmental aspect. As compared to other Korean blockbusters, the film does not tend to draw overtly on nationalism or the notion of the Korean nation. The film provides evidence of a noticeable disconnection between the pro-self-rule philosophy that is suitable for the domestic film industry and its trade and industry interests. While featuring overtly nationalist sentiments and avoiding direct tackling of any specific national issues, the film provides multilayered entry points for viewers of different nationalities and social backgrounds, stretching from Korean multiplex audiences to international art-house audiences (Nikki 47). Eminent for its â€Å"messy† features, the film invites multiple readers. While drawing on specific historical memories of South Korean society, the film as well touches on contemporary global political happenings. Therefore, most readers and viewers perceive the film as a political satire of the American government’s latest military campaigns – War on Terror – and its relationship with South Korean government. Since the movie’s monster is unnamed and does not have overt symbolic connotations – the movie does not serve an allegorical, nationalist function – the meaning viewers take away from the film are polygonal, not one-dimensionally nationalistic. The movie conveys high-octane ecstasies while artfully exploiting modern political fears, with few inspired visual humor intensifying its overriding mood of popcorn-movie excitement. The movie may be born outside sociopolitical tensions such as the scares about avian flu, but it is also a

Entrepreneurs Coursework Example | Topics and Well Written Essays - 2500 words

Entrepreneurs - Coursework Example He is the founder of Hamilton Bradshaw and presently acting there as CEO. The company established in 2004, has several areas of operations like buyout, venture capital, turnarounds, and real estate investment in the UK (http://www.james-caan.com/about-james/). James Caan is a British-Pakistani entrepreneur and widely known for Dragons’ Den, a TV program of BBC in which he remained a part of judges’ panel from 2007 to 2010. James Caan basically belongs to Pakistan and his real name is Nazim Khan. In a critical point of view, it can be observed that Caan has a personality of diversified characteristics, both positive and negative. In business point of view, Caan possesses almost all those qualities which a good and successful entrepreneur must have. He is quite intelligent and sharp. One of the positive features of his personality is that he wisely knows how to transform the situations for his benefits. During the early phase of his recruitment agency, Caan had no space i n his office at Pall Mall to make any dealings with the clients; therefore, in order to highlight a better image of his company, he prudently preferred the address of an esteemed place to catch the attention of the clients (http://www.startups.co.uk/james-caan.html). At that time the whole meetings with clients were carried out in some restaurants or coffee shops and the clients were told that the company is so busy that they don’t have enough space to deal all the clients in the company’s meeting rooms. For the clients’ easiness, during the same phase, he also changed his name from Nazim Khan to James Caan. This is another example of his smart mind. His autobiography ‘The Real Deal’ reveals several of his sharp moves, showing him as one of the smart, sharp, and reflexive man of UK business world. Mentally, Caan is not very intelligent but also strong. His father had a successful leather goods manufacturing business and was looking for his son to ta ke it over, but Caan was mentally a free person. He was psychologically so strong that he left all that business and decided to venture into quite different fields. Another one of his positive norms is that he does substantial charity to help out the needy people. James Caan Foundation, established in 2006, predominantly works for education of the unprivileged children. During July 2010 when flood hit a huge part of Pakistan, Caan tremendously contributed in the rehabilitation process. With the support of UNICEF, Caan raised ?100,000. Despite of being a dynamic, versatile, and concerned professional, Caan has some flaws. He left his parents when they were looking for his support to take over the family business. This led him to remain estranged from his father for long time. Caan faced a great criticism in 2010, when he offered to buy a baby from a flood affected family of Pakistan (BBC News, 22nd October, 2010). He has also been blamed for tax avoidance with respect to his private equity company i.e. Hamilton Bradshaw. Madam C.J. Walker: Hair-care Entrepreneur Sarah Breedlove McWilliams Walker, widely famed as Madame CJ Walker, modernized the cosmetics and hair care industry for African American women during the first quarter of 20th century. By revolutionizing the cosmetics industry, she became one of the most impressive and influential African American women during the last and first quarters of the 19th and 20th century respectively. Besides a