Essay This Stuff

Essay This Stuff Essay This Stuff pijoijoijoij Search Results Net Sec - College Essay - Leo240Sx - StudyMode.com www.studymode.com/essays/Net-Sec-1620765.html‎ Rating: 4.5 - ‎1 review Name at least five applications and tools pre-loaded on the ... whether that application starts as a service on the system or must be run manually. ... FileZilla Server Interface- The interface does not start as a service and must be ran manually ... for running an â€Å"Intense Scan† with Zenmap on a target subnet of 172.30.0.0/24? Lab1 - Essay - Educba7 - Term Paper Warehouse www.termpaperwarehouse.com †º Computers and Technology‎ Apr 7, 2013 - Name at least five applications and tools pre-loaded on the TargetWindows01 server desktop, and identify whether that application starts as a service on the system or must be run manually. ... TargetUbuntu01 credentials are not given for this lab, however when clicking on the icon the target screen shows [PDF] Application Performance Analyzer for z/OS Customization Guide pic.dhe.ibm.com/i nfocenter/pdthelp/v1r1/topic/.../cazccg00pdf.pdf‎ In special situations you might want to run multiple Application ... The module name prefix (product code) used by Application Performance .... Analyzer library page or the IBM System z Enterprise Development Tools and ... desktop application. ... applications running under WebSphere Application Services, you must also. [PDF] Chapter 1 Exercise Solutions - WAP 3G 3g.wap.vn/data/getfile/test%20pdf-coulouris-qa.pdf?id=21128‎ Give five types of hardware resource and five types of data or software resource ... For this to work: (1) the user must run a program on her device that listens for ... The part between // and / is the Domain name of the Web server host ... But if the responsibility for providing a WWW-based information service moves to another. [PDF] (If Necessary)................................. - Hewlett-Packard h20566.www2.hp.com/.../manualsDisplay/?...‎ (OSM) Interface client and server components, system c onsole software, the Distributed .... the symbol is a required character that you must type as shown. For. [PDF] Installation Guide (PDF Format) - CONNX Solutions www.connx.com/ftpdir/connx110/CONNX110_InstallationGuide.pdf Step 1 - Installation Checklist and System Requirements . ... Pre-Installation Checklist Procedure . ...... CONNX Enterprise Server Service (see the CONNX User Reference Guide ..... Both the install PC client and the target host (OS/390) must ..... Database Modules window, a dialog box appears asking whether you want to ... [PDF] Installation Guide (PDF Format) - CONNX Solutions www.connx.com/ftpdir/...SP3/CONNX105_SP3_InstallationGuide.pdf Step 1 - Installation Checklist and System Requirements. ...... from the Unix client via the CONNX Enterprise Server Service (see the ..... Both the install PC client and the target host (OS/390) must have ftp ..... The server name

The producers of British and Irish film use a set of codes and conventions to reinforce the myths about Britain. True or not true Essay Example

The producers of British and Irish film use a set of codes and conventions to reinforce the myths about Britain. True or not true Essay Example The producers of British and Irish film use a set of codes and conventions to reinforce the myths about Britain. True or not true Essay The producers of British and Irish film use a set of codes and conventions to reinforce the myths about Britain. True or not true Essay I have chosen the film Shirley Valentine, 1989 to show that I agree that the producers of British and Irish films use a set of codes and conventions to reinforce the myths about Britain. I will discuss Margaret Thatcher and her policies; I will discuss how Britain saw a revolution during Thatchers reign as Prime Minister and how by 1989, the time of the films release the country was completely different to how it had been before. Social Mobility will be the main subject as I discuss the question. The reason for this is because the film puts emphasis on this throughout. I will also discuss Class Crazed Britain and how this affected us at the time.The Mise en scene will be used to analyse the particular sequence I will use to prove that producers of British and Irish film use a set of codes and conventions to reinforce the myths about Britain, although I will discuss other elements of film making also. Narrative, Genre, Cinematography, Editing and Sound.In 1989, Britain was led by Marg aret Thatcher. By this time she had been in power for ten years and made radical changes to the country-radical changes that would deem significant forever. She decided that we should no longer be living in a welfare state. A state that Edward Heath created after the war to give the country stability. He provided Britain with The NHS, housing estates, better education, transport and benefits leading to TAX and National Insurance. Thatcher believed the state should now have a lesser role and people would have to work themselves out of poverty. Margaret Thatcher was responsible for the right to buy scheme. Enabling council house residents to buy their homes at a discounted rate. This was the turn of an era for most people, especially people from working class communities who had never envisaged this could be possible.Free Enterprise was another radical change under Thatchers power. All major organisations such as British Rail, British Gas and the Public Transport systems were privatis ed. Thatcher was to turn everything around in the way that the job of the Civil Service was no longer to manage Britains decline from the days of the empire.All Thatchers policies caused uproar in the UK. Interest rates rocketed, as did unemployment and numerous strikes were held as rebellion against the Iron Lady. Most significantly, the 1984-85 Miners Strike. A massive piece of history which caused mass heartache and destruction amongst decimated mining communities to this day.Although Thatcherism is now sometimes used as a term of abuse she was also responsible for making things possible that had been unimaginable until now. People now owned their own homes giving them the freedom to move elsewhere-somewhere they could choose, social mobility had increased-especially for women. It was now more acceptable for women to have their own independence, have careers and be counted. The media was now offering productions of a different nature. It was no longer giving the idea that you sho uld marry for life even if youre unhappy. It was now thought of as acceptable to follow your heart and push the boundaries. In the film Shirley Valentine, we see the transition. We see a woman in a dull marriage living the same day every day. Although she isnt in an abusive relationship she does feel guilt in the way that she had made her choice and would have to stick to it. She refers to marriage as Like the Middle East, Theres no solution. We then see her discover that her life isnt doomed to Groundhog Day and that she can still go places.By 1989, the time of the release of Shirley Valentine, Thatcher had only one year left to reign. The film continuously gives the audience evidence to prove it was set in a time just after the country had seen a revolution. By the 1980s, films like Shirley Valentine were fairly common. We were living in a class crazed country which had evolved from Thatchers right to buy scheme. People were now elevating themselves to higher classes believing it was their right as a homeowner, although realistically they were still in the same class as always. Women were rebelling against their stereotypical housewife roles and daring to be controversial, meaning divorce was becoming more accessible and popular.The codes and conventions are shown in all the macro and micro elements of British film making-Narrative and Genre, being macro elements and Mise en scene, Editing, Cinematography and Sound, being micro elements. The Narrative is ultimately the story. However the Narrative is constructed in a certain way in order to tell the story in a way we understand. Shirley Valentine, a middle aged housewife with no other purpose in life but to cook steak and chips for her husband, wins an all expenses paid holiday to Greece where she finds her true self and breaks free from her faceless, meaningless life in Liverpool. The Genre would be popular with women of the same era as the character. The Mise en scene should tell the audience where they ar e geographically and historically. In the case of Shirley Valentine I Established we were in Liverpool in the 1980s. The Editing, Cinematography and Sound all work together to move us across scenes and chapters. The four micro elements are put together to create a reality within the film.According to French Theorist Roland Barthes, we use a set of signs to read a film and its language. An approach called semiotics. We sub consciously absorb these signs, relating them to pieces of history meaning we can then understand what we see and hear without finding it confusing in any way. This leads us to the power of the suspension of disbelief. The suspension of disbelief enables us to hold back our desire to question what we see. Some films need us to suspend our disbelief more than others. Films with a complex Narrative which may not be from the realms of reality would require more suspension of disbelief. Films in the Genre of Shirley Valentine can be believed as actually happening in re al life. Something absolutely possible.When analysing Shirley Valentine, the signs which Roland Barthes discovered and the codes and conventions to reinforce the myths about Britain are apparent throughout. I have chosen one particular scene to reinforce we were living in Thatcher Britain at the time of production.Shirley and her husband Jo obviously own their own house and in the film Jo runs his own business. Shirley doesnt have to go to work which was probably saw as luxury in 1989. As Shirley is doing her morning cleaning, Shirleys neighbour Gillian knocks at the door to ask a favour of Shirley. Although Shirley, as I said before is a homeowner and doesnt need to work, she speaks with the same broad Liverpudlian accent and never claims to be above her station. The neighbour however, conforms to the class crazed society discussed earlier. She speaks with the Queens English and constantly informs Shirley of her Status. Gillians husband, Eric has to go to Brussels on business and s he requires Shirley to feed their Vegetarian Bloodhound.Gillian remarks on the trip as, such a bore, I said to him I really dont know why it couldnt be Paris or even Amsterdam. The street which Shirley lives on is a typical suburban street and the Mise en scene creates a typical 1980s house with lots of peachs and pinks, carpets with loud patterns and curtains draped in an equally loud pattern. A Street that would have no place for genuine aristocracy. A status the neighbour desperately aspires to be. As discussed earlier the right to buy scheme introduced by Thatcher gave people the chance to choose not to be another council house resident-the same as everybody else. Margaret Thatcher once said, There is no such thing as society, there are only individuals.I have discussed the 1980s and the state of the country during this time. I have discussed the things that became possible during this decade such as social mobility, a new desire to be a high class citizen and the lapse attitude people now had towards marriage and even life in general. I have explained Thatchers policies and how the country saw a massive change in the way things were run and I have referred to a particular sequence in the film Shirley Valentine that reinforces the question being asked. The producers of British and Irish film do use a set of codes and conventions to reinforce the myths about Britain.

WHY IS CHINA AND THE COMMUNIST PARTY PRESENTIND THE HISTORY OF ZHENGS Essay

WHY IS CHINA AND THE COMMUNIST PARTY PRESENTIND THE HISTORY OF ZHENGS HE'S EXPEDITIONS POSITIVELY TODAY & DO YOU THINK CHINA CAN REPRSENT A ONE SIDED INTERPRETA - Essay Example There have been attempts to place Zheng He as predicting the emergence of China as a world power in the modern day. Several efforts by the Communist Party early suggest that it wants â€Å"to signal to its own people that it has recaptured past glory, while reassuring foreign countries that China can be strong and non-threatening at the same time.† (Kahn) However, the Chinese efforts to present a one sided interpretation of the explorer cannot be justified in this modern age of improved international cooperation among the world nations. It would be more advantageous for every nation to provide factual evidences to historical events and China, certainly, needs to present the objective facts in their attempt to make a better image of their fast. Historical facts and figures cannot be misinterpreted by any nation for its vested interest as there is no monopoly for any particular individual or nation over the truths of the past. The present criticisms by several intellectuals of the various parts of the world against the Chinese efforts to present a one sided interpretation of Zheng He indicates the same. In conclusion, while China has every right to have a pleasing image about its present and past, this cannot be at the cost of historical

The life of david gale Essay Example | Topics and Well Written Essays - 750 words

The life of david gale - Essay Example The movie raises a number of issues in the modern day society. False representation, shoddy police investigation, and bribery affect the implementation of justice in the current day society. Unfortunately, in as much as everyone is aware of the occurrence of such vices, no one takes notice of any action to prevent their perpetuation, and the rest of the society lives on as though the vices are not ever felt. This movie therefore offers a challenge by revealing the extent to which one can ever go to unearth the societal evil. It takes a strong heart and a patriotic spirit to develop the type of personality shown by the lead character in the movie (Schermerhorn 66). Broadcasters use movies and television programs to advertise products and services. Broadcasting media houses earn their revenue mainly through the adverts. In selecting the advertising time, marketers consider a number of factors key among which is the audience base of the programs and the relation of the product and or service to the audience. The Life of David Gale is a thriller movie, one shown in most television shows late in the night and targets an adult and analytical audience. Products and services advertised in its wake should therefore target a similar audience. Wells Fargo is an English company that offers security services besides being a bank. The organization prides itself in integrity and effectiveness of their process of executing client dictates. The company advertised some of their freight, security, and their banking services in the course of the movie. Some components of these adverts are in correspondence with the theme addressed in the movie (Penz, and Andong 99). The movie espouses on the absence of an effectual and legal system; it shows an indecent police system. David Gale is deliberately betrayed by the women he thought he

African Americans health disparities Essay Example for Free

African Americans health disparities Essay In 2010, the death rate for blacks was higher (25. 0 per 100,000) compared with any other racial ethnicity group (3. 0 whites). Blacks represented 49% of all deaths with HIV in 2010. A recent study showed that blacks diagnosed with HIV are less likely than other groups to be linked to care, retained in care, receive antiretroviral treatment and achieve adequate viral suppression. African American Males African American men accounted for 42% of HIV cases diagnosed among men in 2011. A majority (72%) of African American men with HIV contracted the disease by male to male contact while 19% contracted HIV through heterosexual exposure. African American Females Among African American women, high risk heterosexual contact was the most frequently cited mode of transmission, accounting for 89% of cases diagnosed in 2011. More Information: ?HIV/AIDS TOPIC SITE ?HIV/AIDS AND AFRICAN AMERICANS ?HIV/AIDS STATISTICS AND SURVEILLANCE Sexually Transmitted Diseases (STD) Gonorrhea In 2010, 69% of all reported cases of gonorrhea occurred among blacks. The rate of gonorrhea among blacks in 2010 was 432. 5 cases per 100,000 population, which was 18. 7 times the rate among whites (23. 1). This disparity has changed little in recent years. This disparity was larger for black men (22.2 times) than for black women (16. 2 times). Chlamydia In 2010, the overall rate among blacks in the United States was 1,167. 5 cases per 100,000, a 4. 0% increase from the 2009 rate of 1,122. 2 cases per 100,000. The rate of chlamydia among black women was over seven times the rate among white women (1,536. 5 and 205. 1 per 100,000 women, respectively). The chlamydia rate among black men was almost 11 times the rate among white men (761. 8 and 69. 9 cases per 100,000 men, respectively). Syphilis During 2009–2010, the rate of primary and secondary (PS) syphilis among blacks decreased 8. 7% (from 18. 4 to 16. 8 cases per 100,000 population). In 2010, 47. 4% of all cases reported to CDC were among blacks and 31. 0% of all cases were among whites. The overall 2010 rate for blacks was eight times the rate for whites, while the 2009 rate was 9. 2 times the rate for whites. In 2010, the rate of PS syphilis among black men was 7. 1 times the rate among white men; the rate among black women was 21 times the rate among white women. In 2010, the rate of congenital syphilis was 33. 1 cases per 100,000 live births among blacks. Race/ethnicity for cases of congenital syphilis is based on the mother’s race/ethnicity. This rates was 12. 3 times the rate among whites (2. 7 cases per 100,000.live births). More Information: ?STD TOPIC SITE ?STDS AND HEALTH DISPARITIES ?STD SURVEILLANCE REPORT ?STDS IN RACIAL AND ETHNIC MINORITIES Viral Hepatitis Acute Hepatitis A During the past 10 years, there has been little difference between the rates of acute hepatitis A among white non-Hispanics and black non-Hispanics. The 2011 rates for these groups were 0. 29 and 0. 27 cases per 100,000 population, respectively. Acute Hepatitis B In 2011, the rate of acute hepatitis B was highest for Black non-Hispanics (1. 4 cases per 100,000 population). Acute Hepatitis C During 2002–2010, the incidence rate of acute hepatitis C remained below 0. 5 cases per 100,000. The rate of hepatitis C among Black non-Hispanics increased 27. 3% (to 0. 14 case per 100,000 population in 2011). More Information: ?VIRAL HEPATITIS TOPIC SITE ?SURVEILLANCE REPORT FOR VIRAL HEPATITIS Tuberculosis (TB) In 2010, 84% of all reported TB cases occurred in racial and ethnic minorities. Non- Hispanic blacks or African Americans accounted for 24% of TB cases in 2010. African Americans make up approximately 14% of the U. S. population, but accounted for 40% of TB cases in U. S. -born persons. Overall, 11,182 TB cases were reported to CDC from the 50 states and the District of Columbia in 2010.

Romanicism In 19th Century Lit Essay -- essays research papers

#1)  Ã‚  Ã‚  Ã‚  Ã‚  If one were to look up realism in the thesaurus, romanticism will be found as the antonym. However in the works of Harriet Prescott Spofford and Kate Chopin these two elements go hand in hand. Focusing on Spofford’s short story, â€Å"Circumstance,† and Chopin’s short story, â€Å"The Storm,† these two selections maintain a smooth transition between realism and romanticism.   Ã‚  Ã‚  Ã‚  Ã‚  In Harriet Prescott Spofford’s â€Å"Circumstance† she tells of a woman who is visiting a sick neighbor. Where they live neighbors are miles apart, with the woods between being home for many wild animals, as well as Indian tribes. The woman stays with the neighbor too long and does not realize night is approaching, and she hurries home. Spofford begins the story in a very realistic tone. On her way home she is attacked by a sort of mountain lion. Spofford gives a romantic description of the beast, never giving the exact name of the animal. â€Å"Suddenly, a swift shadow, like the fabulous flying-dragon, writhed through the air before her, and she felt herself instantly seized and borne aloft. It was that wild beast- the most savage and serpentine and subtle and fearless of out latitudes- known by hunters as the Indian Devil.† (86) In her definition she keeps the beast from being real. Describing the animal as a beast, a flying dragon, and a devil gives the reader a mysterious impression of the animal, rather than being realistic and calling this flying dragon ...

Twilight 20. IMPATIENCE

20. IMPATIENCE When I woke up I was confused. My thoughts were hazy, still twisted up in dreams and nightmares; it took me longer than it should have to realize where I was. This room was too bland to belong anywhere but in a hotel. The bedside lamps, bolted to the tables, were a dead giveaway, as were the long drapes made from the same fabric as the bedspread, and the generic watercolor prints on the walls. I tried to remember how I got here, but nothing came at first. I did remember the sleek black car, the glass in the windows darker than that on a limousine. The engine was almost silent, though we'd raced across the black freeways at more than twice the legal speed. And I remembered Alice sitting with me on the dark leather backseat. Somehow, during the long night, my head had ended up against her granite neck. My closeness didn't seem to bother her at all, and her cool, hard skin was oddly comforting to me. The front of her thin cotton shirt was cold, damp with the tears that streamed from my eyes until, red and sore, they ran dry. Sleep had evaded me; my aching eyes strained open even though the night finally ended and dawn broke over a low peak somewhere in California. The gray light, streaking across the cloudless sky, stung my eyes. But I couldn't close them; when I did, the images that flashed all too vividly, like still slides behind my lids, were unbearable. Charlie's broken expression – Edward's brutal snarl, teeth bared – Rosalie's resentful glare – the keen-eyed scrutiny of the tracker – the dead look in Edward's eyes after he kissed me the last time†¦ I couldn't stand to see them. So I fought against my weariness and the sun rose higher. I was still awake when we came through a shallow mountain pass and the sun, behind us now, reflected off the tiled rooftops of the Valley of the Sun. I didn't have enough emotion left to be surprised that we'd made a three-day journey in one. I stared blankly at the wide, flat expanse laid out in front of me. Phoenix – the palm trees, the scrubby creosote, the haphazard lines of the intersecting freeways, the green swaths of golf courses and turquoise splotches of swimming pools, all submerged in a thin smog and embraced by the short, rocky ridges that weren't really big enough to be called mountains. The shadows of the palm trees slanted across the freeway – defined, sharper than I remembered, paler than they should be. Nothing could hide in these shadows. The bright, open freeway seemed benign enough. But I felt no relief, no sense of homecoming. â€Å"Which way to the airport, Bella?† Jasper had asked, and I flinched, though his voice was quite soft and un-alarming. It was the first sound, besides the purr of the car, to break the long night's silence. â€Å"Stay on the I-ten,† I'd answered automatically. â€Å"We'll pass right by it.† My brain had worked slowly through the fog of sleep deprivation. â€Å"Are we flying somewhere?† I'd asked Alice. â€Å"No, but it's better to be close, just in case.† I remembered beginning the loop around Sky Harbor International†¦ but not ending it. I suppose that must have been when I'd fallen asleep. Though, now that I'd chased the memories down, I did have a vague impression of leaving the car – the sun was just falling behind the horizon – my arm draped over Alice's shoulder and her arm firm around my waist, dragging me along as I stumbled through the warm, dry shadows. I had no memory of this room. I looked at the digital clock on the nightstand. The red numbers claimed it was three o'clock, but they gave no indication if it was night or day. No edge of light escaped the thick curtains, but the room was bright with the light from the lamps. I rose stiffly and staggered to the window, pulling back the drapes. It was dark outside. Three in the morning, then. My room looked out on a deserted section of the freeway and the new long-term parking garage for the airport. It was slightly comforting to be able to pinpoint time and place. I looked down at myself. I was still wearing Esme's clothes, and they didn't fit very well at all. I looked around the room, glad when I discovered my duffel bag on top of the low dresser. I was on my way to find new clothes when a light tap on the door made me jump. â€Å"Can I come in?† Alice asked. I took a deep breath. â€Å"Sure.† She walked in, and looked me over cautiously. â€Å"You look like you could sleep longer,† she said. I just shook my head. She drifted silently to the curtains and closed them securely before turning back to me. â€Å"We'll need to stay inside,† she told me. â€Å"Okay.† My voice was hoarse; it cracked. â€Å"Thirsty?† she asked. I shrugged. â€Å"I'm okay. How about you?† â€Å"Nothing unmanageable.† She smiled. â€Å"I ordered some food for you, it's in the front room. Edward reminded me that you have to eat a lot more frequently than we do.† I was instantly more alert. â€Å"He called?† â€Å"No,† she said, and watched as my face fell. â€Å"It was before we left.† She took my hand carefully and led me through the door into the living room of the hotel suite. I could hear a low buzz of voices coming from the TV. Jasper sat motionlessly at the desk in the corner, his eyes watching the news with no glimmer of interest. I sat on the floor next to the coffee table, where a tray of food waited, and began picking at it without noticing what I was eating. Alice perched on the arm of the sofa and stared blankly at the TV like Jasper. I ate slowly, watching her, turning now and then to glance quickly at Jasper. It began to dawn on me that they were too still. They never looked away from the screen, though commercials were playing now. I pushed the tray away, my stomach abruptly uneasy. Alice looked down at me. â€Å"What's wrong, Alice?† I asked. â€Å"Nothing's wrong.† Her eyes were wide, honest†¦ and I didn't trust them. â€Å"What do we do now?† â€Å"We wait for Carlisle to call.† â€Å"And should he have called by now?† I could see that I was near the mark. Alice's eyes flitted from mine to the phone on top of her leather bag and back. â€Å"What does that mean?† My voice quavered, and I fought to control it. â€Å"That he hasn't called yet?† â€Å"It just means that they don't have anything to tell us.† But her voice was too even, and the air was harder to breathe. Jasper was suddenly beside Alice, closer to me than usual. â€Å"Bella,† he said in a suspiciously soothing voice. â€Å"You have nothing to worry about. You are completely safe here.† â€Å"I know that.† â€Å"Then why are you frightened?† he asked, confused. He might feel the tenor of my emotions, but he couldn't read the reasons behind them. â€Å"You heard what Laurent said.† My voice was just a whisper, but I was sure they could hear me. â€Å"He said James was lethal. What if something goes wrong, and they get separated? If something happens to any of them, Carlisle, Emmett†¦ Edward†¦Ã¢â‚¬  I gulped. â€Å"If that wild female hurts Esme†¦Ã¢â‚¬  My voice had grown higher, a note of hysteria beginning to rise in it. â€Å"How could I live with myself when it's my fault? None of you should be risking yourselves for me -â€Å" â€Å"Bella, Bella, stop,† he interrupted me, his words pouring out so quickly they were hard to understand. â€Å"You're worrying about all the wrong things, Bella. Trust me on this – none of us are in jeopardy. You are under too much strain as it is; don't add to it with wholly unnecessary worries. Listen to me!† he ordered, for I had looked away. â€Å"Our family is strong. Our only fear is losing you.† â€Å"But why should you -â€Å" Alice interrupted this time, touching my cheek with her cold fingers. â€Å"It's been almost a century that Edward's been alone. Now he's found you. You can't see the changes that we see, we who have been with him for so long. Do you think any of us want to look into his eyes for the next hundred years if he loses you?† My guilt slowly subsided as I looked into her dark eyes. But, even as the calm spread over me, I knew I couldn't trust my feelings with Jasper there. It was a very long day. We stayed in the room. Alice called down to the front desk and asked them to ignore our maid service for now. The windows stayed shut, the TV on, though no one watched it. At regular intervals, food was delivered for me. The silver phone resting on Alice's bag seemed to grow bigger as the hours passed. My babysitters handled the suspense better than I did. As I fidgeted and paced, they simply grew more still, two statues whose eyes followed me imperceptibly as I moved. I occupied myself with memorizing the room; the striped pattern of the couches, tan, peach, cream, dull gold, and tan again. Sometimes I stared at the abstract prints, randomly finding pictures in the shapes, like I'd found pictures in the clouds as a child. I traced a blue hand, a woman combing her hair, a cat stretching. But when the pale red circle became a staring eye, I looked away. As the afternoon wore on, I went back to bed, simply for something to do. I hoped that by myself in the dark, I could give in to the terrible fears that hovered on the edge of my consciousness, unable to break through under Jasper's careful supervision. But Alice followed me casually, as if by some coincidence she had grown tired of the front room at the same time. I was beginning to wonder exactly what sort of instructions Edward had given her. I lay across the bed, and she sat, legs folded, next to me. I ignored her at first, suddenly tired enough to sleep. But after a few minutes, the panic that had held off in Jasper's presence began to make itself known. I gave up on the idea of sleep quickly then, curling up into a small ball, wrapping my arms around my legs. â€Å"Alice?† I asked. â€Å"Yes?† I kept my voice very calm. â€Å"What do you think they're doing?† â€Å"Carlisle wanted to lead the tracker as far north as possible, wait for him to get close, and then turn and ambush him. Esme and Rosalie were supposed to head west as long as they could keep the female behind them. If she turned around, they were to head back to Forks and keep an eye on your dad. So I imagine things are going well if they can't call. It means the tracker is close enough that they don't want him to overhear.† â€Å"And Esme?† â€Å"I think she must be back in Forks. She won't call if there's any chance the female will overhear. I expect they're all just being very careful.† â€Å"Do you think they're safe, really?† â€Å"Bella, how many times do we have to tell you that there's no danger to us?† â€Å"Would you tell me the truth, though?† â€Å"Yes. I will always tell you the truth.† Her voice was earnest. I deliberated for a moment, and decided she meant it. â€Å"Tell me then†¦ how do you become a vampire?† My question caught her off guard. She was quiet. I rolled over to look at her, and her expression seemed ambivalent. â€Å"Edward doesn't want me to tell you that,† she said firmly, but I sensed she didn't agree. â€Å"That's not fair. I think I have a right to know.† â€Å"I know.† I looked at her, waiting. She sighed. â€Å"He'll be extremely angry.† â€Å"It's none of his business. This is between you and me. Alice, as a friend, I'm begging you.† And we were friends now, somehow – as she must have known we would be all along. She looked at me with her splendid, wise eyes†¦ choosing. â€Å"I'll tell you the mechanics of it,† she said finally, â€Å"but I don't remember it myself, and I've never done it or seen it done, so keep in mind that I can only tell you the theory.† I waited. â€Å"As predators, we have a glut of weapons in our physical arsenal – much, much more than really necessary. The strength, the speed, the acute senses, not to mention those of us like Edward, Jasper, and I, who have extra senses as well. And then, like a carnivorous flower, we are physically attractive to our prey.† I was very still, remembering how pointedly Edward had demonstrated the same concept for me in the meadow. She smiled a wide, ominous smile. â€Å"We have another fairly superfluous weapon. We're also venomous,† she said, her teeth glistening. â€Å"The venom doesn't kill – it's merely incapacitating. It works slowly, spreading through the bloodstream, so that, once bitten, our prey is in too much physical pain to escape us. Mostly superfluous, as I said. If we're that close, the prey doesn't escape. Of course, there are always exceptions. Carlisle, for example.† â€Å"So†¦ if the venom is left to spread†¦Ã¢â‚¬  I murmured. â€Å"It takes a few days for the transformation to be complete, depending on how much venom is in the bloodstream, how close the venom enters to the heart. As long as the heart keeps beating, the poison spreads, healing, changing the body as it moves through it. Eventually the heart stops, and the conversion is finished. But all that time, every minute of it, a victim would be wishing for death.† I shivered. â€Å"It's not pleasant, you see.† â€Å"Edward said that it was very hard to do†¦ I don't quite understand,† I said. â€Å"We're also like sharks in a way. Once we taste the blood, or even smell it for that matter, it becomes very hard to keep from feeding. Sometimes impossible. So you see, to actually bite someone, to taste the blood, it would begin the frenzy. It's difficult on both sides – the blood-lust on the one hand, the awful pain on the other.† â€Å"Why do you think you don't remember?† â€Å"I don't know. For everyone else, the pain of transformation is the sharpest memory they have of their human life. I remember nothing of being human.† Her voice was wistful. We lay silently, wrapped in our individual meditations. The seconds ticked by, and I had almost forgotten her presence, I was so enveloped in my thoughts. Then, without any warning, Alice leaped from the bed, landing lightly on her feet. My head jerked up as I stared at her, startled. â€Å"Something's changed.† Her voice was urgent, and she wasn't talking to me anymore. She reached the door at the same time Jasper did. He had obviously heard our conversation and her sudden exclamation. He put his hands on her shoulders and guided her back to the bed, sitting her on the edge. â€Å"What do you see?† he asked intently, staring into her eyes. Her eyes were focused on something very far away. I sat close to her, leaning in to catch her low, quick voice. â€Å"I see a room. It's long, and there are mirrors everywhere. The floor is wooden. He's in the room, and he's waiting. There's gold†¦ a gold stripe across the mirrors.† â€Å"Where is the room?† â€Å"I don't know. Something is missing – another decision hasn't been made yet.† â€Å"How much time?† â€Å"It's soon. He'll be in the mirror room today, or maybe tomorrow. It all depends. He's waiting for something. And he's in the dark now.† Jasper's voice was calm, methodical, as he questioned her in a practiced way. â€Å"What is he doing?† â€Å"He's watching TV†¦ no, he's running a VCR, in the dark, in another place.† â€Å"Can you see where he is?† â€Å"No, it's too dark.† â€Å"And the mirror room, what else is there?† â€Å"Just the mirrors, and the gold. It's a band, around the room. And there's a black table with a big stereo, and a TV. He's touching the VCR there, but he doesn't watch the way he does in the dark room. This is the room where he waits.† Her eyes drifted, then focused on Jasper's face. â€Å"There's nothing else?† She shook her head. They looked at each other, motionless. â€Å"What does it mean?† I asked. Neither of them answered for a moment, then Jasper looked at me. â€Å"It means the tracker's plans have changed. He's made a decision that will lead him to the mirror room, and the dark room.† â€Å"But we don't know where those rooms are?† â€Å"No.† â€Å"But we do know that he won't be in the mountains north of Washington, being hunted. He'll elude them.† Alice's voice was bleak. â€Å"Should we call?† I asked. They traded a serious look, undecided. And the phone rang. Alice was across the room before I could lift my head to look at it. She pushed a button and held the phone to her ear, but she didn't speak first. â€Å"Carlisle,† she breathed. She didn't seem surprised or relieved, the way I felt. â€Å"Yes,† she said, glancing at me. She listened for a long moment. â€Å"I just saw him.† She described again the vision she'd seen. â€Å"Whatever made him get on that plane†¦ it was leading him to those rooms.† She paused. â€Å"Yes,† Alice said into the phone, and then she spoke to me. â€Å"Bella?† She held the phone out toward me. I ran to it. â€Å"Hello?† I breathed. â€Å"Bella,† Edward said. â€Å"Oh, Edward! I was so worried.† â€Å"Bella,† he sighed in frustration, â€Å"I told you not to worry about anything but yourself.† It was so unbelievably good to hear his voice. I felt the hovering cloud of despair lighten and drift back as he spoke. â€Å"Where are you?† â€Å"We're outside of Vancouver. Bella, I'm sorry – we lost him. He seems suspicious of us – he's careful to stay just far enough away that I can't hear what he's thinking. But he's gone now – it looks like he got on a plane. We think he's heading back to Forks to start over.† I could hear Alice filling in Jasper behind me, her quick words blurring together into a humming noise. â€Å"I know. Alice saw that he got away.† â€Å"You don't have to worry, though. He won't find anything to lead him to you. You just have to stay there and wait till we find him again.† â€Å"I'll be fine. Is Esme with Charlie?† â€Å"Yes – the female has been in town. She went to the house, but while Charlie was at work. She hasn't gone near him, so don't be afraid. He's safe with Esme and Rosalie watching.† â€Å"What is she doing?† â€Å"Probably trying to pick up the trail. She's been all through the town during the night. Rosalie traced her through the airport, all the roads around town, the school†¦ she's digging, Bella, but there's nothing to find.† â€Å"And you're sure Charlie's safe?† â€Å"Yes, Esme won't let him out of her sight. And we'll be there soon. If the tracker gets anywhere near Forks, we'll have him.† â€Å"I miss you,† I whispered. â€Å"I know, Bella. Believe me, I know. It's like you've taken half my self away with you.† â€Å"Come and get it, then,† I challenged. â€Å"Soon, as soon as I possibly can. I will make you safe first.† His voice was hard. â€Å"I love you,† I reminded him. â€Å"Could you believe that, despite everything I've put you through, I love you, too?† â€Å"Yes, I can, actually.† â€Å"I'll come for you soon.† â€Å"I'll be waiting.† As soon as the phone went dead, the cloud of depression began to creep over me again. I turned to give the phone back to Alice and found her and Jasper bent over the table, where Alice was sketching on a piece of hotel stationery. I leaned on the back of the couch, looking over her shoulder. She drew a room: long, rectangular, with a thinner, square section at the back. The wooden planks that made up the floor stretched lengthwise across the room. Down the walls were lines denoting the breaks in the mirrors. And then, wrapping around the walls, waist high, a long band. The band Alice said was gold. â€Å"It's a ballet studio,† I said, suddenly recognizing the familiar shapes. They looked at me, surprised. â€Å"Do you know this room?† Jasper's voice sounded calm, but there was an undercurrent of something I couldn't identify. Alice bent her head to her work, her hand flying across the page now, the shape of an emergency exit taking shape against the back wall, the stereo and TV on a low table by the front right corner. â€Å"It looks like a place I used to go for dance lessons – when I was eight or nine. It was shaped just the same.† I touched the page where the square section jutted out, narrowing the back part of the room. â€Å"That's where the bathrooms were – the doors were through the other dance floor. But the stereo was here† – I pointed to the left corner – â€Å"it was older, and there wasn't a TV. There was a window in the waiting room – you would see the room from this perspective if you looked through it.† Alice and Jasper were staring at me. â€Å"Are you sure it's the same room?† Jasper asked, still calm. â€Å"No, not at all – I suppose most dance studios would look the same – the mirrors, the bar.† I traced my finger along the ballet bar set against the mirrors. â€Å"It's just the shape that looked familiar.† I touched the door, set in exactly the same place as the one I remembered. â€Å"Would you have any reason to go there now?† Alice asked, breaking my reverie. â€Å"No, I haven't been there in almost ten years. I was a terrible dancer – they always put me in the back for recitals,† I admitted. â€Å"So there's no way it could be connected with you?† Alice asked intently. â€Å"No, I don't even think the same person owns it. I'm sure it's just another dance studio, somewhere.† â€Å"Where was the studio you went to?† Jasper asked in a casual voice. â€Å"It was just around the corner from my mom's house. I used to walk there after school†¦Ã¢â‚¬  I said, my voice trailing off. I didn't miss the look they exchanged. â€Å"Here in Phoenix, then?† His voice was still casual. â€Å"Yes,† I whispered. â€Å"Fifty-eighth Street and Cactus.† We all sat in silence, staring at the drawing. â€Å"Alice, is that phone safe?† â€Å"Yes,† she reassured me. â€Å"The number would just trace back to Washington.† â€Å"Then I can use it to call my mom.† â€Å"I thought she was in Florida.† â€Å"She is – but she's coming home soon, and she can't come back to that house while†¦Ã¢â‚¬  My voice trembled. I was thinking about something Edward had said, about the red-haired female at Charlie's house, at the school, where my records would be. â€Å"How will you reach her?† â€Å"They don't have a permanent number except at the house – she's supposed to check her messages regularly.† â€Å"Jasper?† Alice asked. He thought about it. â€Å"I don't think there's any way it could hurt – be sure you don't say where you are, of course.† I reached eagerly for the phone and dialed the familiar number. It rang four times, and then I heard my mom's breezy voice telling me to leave a message. â€Å"Mom,† I said after the beep, â€Å"it's me. Listen, I need you to do something. It's important. As soon as you get this message, call me at this number.† Alice was already at my side, writing the number for me on the bottom of her picture. I read it carefully, twice. â€Å"Please don't go anywhere until you talk to me. Don't worry, I'm okay, but I have to talk to you right away, no matter how late you get this call, all right? I love you, Mom. Bye.† I closed my eyes and prayed with all my might that no unforeseen change of plans would bring her home before she got my message. I settled into the sofa, nibbling on a plate of leftover fruit, anticipating a long evening. I thought about calling Charlie, but I wasn't sure if I should be home by now or not. I concentrated on the news, watching out for stories about Florida, or about spring training – strikes or hurricanes or terrorist attacks – anything that might send them home early. Immortality must grant endless patience. Neither Jasper nor Alice seemed to feel the need to do anything at all. For a while, Alice sketched the vague outline of the dark room from her vision, as much as she could see in the light from the TV. But when she was done, she simply sat, looking at the blank walls with her timeless eyes. Jasper, too, seemed to have no urge to pace, or peek through the curtains, or run screaming out the door, the way I did. I must have fallen asleep on the couch, waiting for the phone to ring again. The touch of Alice's cold hands woke me briefly as she carried me to the bed, but I was unconscious again before my head hit the pillow.

Italian and German Opera Essay

he Italian opera and the German opera are two different fields that both share characteristics, some of which are paralleled, and some of which contrast. Specifically, Giuseppe Verdi and Richard Wagner use motifs such as: redemption through love, patriotism, and sacrifice which run throughout both of their operas. The theme of betrayal also seems to be echoed throughout both operas; yet they are each used to project a different response. The significance of this comparison demonstrates that Verdi and Wagner may allude to the same references, such as Victor Hugo, Shakespeare, and Byron, but the operas The Flying Dutchman (German opera) and that of Nabucco (Italian opera) are completely different in context, and musical style; perhaps even The Flying Dutchman is a musical imitation of Italian opera while still trying to originate his own musical ideas as well. The Italian opera has three main genres: the Baroque, the Romantic, and the Modern. Italian opera first started to materialize in the seventeenth century, and approximately two hundred years later, the Romantic genre was introduced. Throughout the seventeenth century there were many developments in Italian opera due to Claudio Monteverdi (1567-1643), who wrote his first opera in 1607 (La Favola d’Orfeo) which to this day, is still performed. He introduced ideas such as the bel canto and buffa styles. Having a strong connection between the instrumental music and words was of major importance to Monteverdi, and this became a major theme for other opera composers to follow. The Romantic operas started to appear in the early 19th century. Romantic operas stress the world of imagination and emotions and through its music and aria’s was this theme magnified. Giuseppe Verdi (1813-1901) was one the composers of this era who changed the way composers would forever more look at operatic writing. His first successful opera Nabucco was immediately well received by the public for its amazing choruses, and vigorous music. One of the chorus interpretations Nabucodonosor, or in English, Nebuchadnezzar. This opera has four acts, and to the libretto by Temistocle Solera based on the biblical story of Nebuchadnezzar. In part one the Priest Zaccaria tells the Jews that there still may be peace due to the presence of a hostage, Fenena,(the younger daughter of Nabucco). Zaccaria gives Fenena to Ismaele,  (the nephew of the King of Jerusalem). Ismaele tells her to escape even though they love one another. The King (Nabucco) enters and Zaccaria disobeys him, and th reatens to kill Fenena with a dagger. Ismaele intervenes to save her. Nabucco responds by ordering the destruction of the temple, and the Jews curse Ismaele as a traitor. In part two Nabucco is away at war and has appointed Fenena as ruler. Abigaille (Fenena’s older sister) has discovered a document that proves she is not actually Nabucco’s real daughter, but in fact, a slave. The Priest of Baal tries to put Abigaille on the throne by spreading a rumour that Nabucco died in battle. Then Fenena is converted to the Jewish religion. Suddenly Nabucco himself enters which is unexpected because everyone thinks he is dead. He then declares himself God. Zaccaria objects, so then Nabucco orders that the Jews be put to death. Fenena says that she will die as one of them. When Nabucco says he is god again he is hit by a thunderbolt and goes insane. The crown falls and is picked up by Abigaille. The Priest presents Abigaille the Jews and Fenena’s death sentence. Nabucco walks in looking like a mad man, and claims his throne. Abigaille persuades him to carry out the sentence, but in the end he asks that his daughter, Fenena be spared. Here, Nabucco tells Abigaille that she is not his actual daughter but really a slave. Abigaille then destroys the document with the evidence of her being a slave. He is now a prisoner, and pleads for Fenena’s life. Then we hear the famous chorus Va persiero, chanted by the Jews as they long for their Homeland. In the final act Nabucco’s health and mentality are fully recovered. He sees Fenena in chains being taken to her death. He then asks God for forgiveness and promises to rebuild the temple in Jerusalem, and to follow the â€Å"true faith.† He and his loyal soldiers decide to punish the traitors and rescue Fenena. The Jews and Fenena are prepared for death on the sacrificial altar of Baal. Nabucco rushes in with his sword and the Idol of Baal shatters into pieces. Nabucco tells the Jews they are free. Abigaille enters. She poisoned herself. She asks for forgiveness of Fenena, says she’s sorry and dies. Zaccaria (the priest) hails Nabucco as the ‘servant of God and the King of  Kings.’ After Nabucco, Verdi based his operas on more standard romantic sources by Victor Hugo, Shakespeare, and Lord Byron. Orchestrally, it is scored for strings, timpani, bass drum, cymbals, two flutes, one piccolo, two oboes, one English horn, two clarinets, two bassoons, four French horns, two trumpets, three trombones, two harps, and one cimbasso. Musically, this opera is very directly vigorous. It sticks to the widely used concepts of arias, duets, finales, and choruses. His fine music often excused the glaring faults in character and plot lines. Contextually, there are themes of love, betrayal, and patriotism represented. We see love through Kind Nabucco’s love for his daughter Fenena, and his constant want to help and protect her. It is almost through this love that he is redeemed, and made whole again. We also see the love between Ismaele and Fenena as pure and genuine. Although this opera is not directly patriotic to Italy itself, it shows a certain sympathy and connection with the people of Jerusalem and their hardships. Abigaille betrays her ‘family’ and her people. The betrayal of close loved ones seems to be a popular theme for many Italian and German operas. The German opera can be seen in four main genres: the Baroque, the Classical, the Romantic, and the Modern. German opera first started to materialize in the seventeenth century approximately three decades after the Italians had started composing operas. German composers continuously tried to challenge the Italian dominance for the most part of the seventeenth and eighteenth century, but none were successful until Wolfgang Amadeus Mozart established the tradition of serious German opera in 1781 with the release of Idomeneo. Mozart took the genre of Singspiel and evolved it into something far more sophisticated. The Classical era emerged in the late 18th century, and at this time, a lot of German composers were still avoiding writing in their own language. This was because the courts of German states favoured Italian operas. In 1730, the Italian librettist and chief of opera seria, Metastasio, took up residence as the imperial poet in Vienna. Opera in German was forced to look  to the general public to survive because it had no aristocratic funding. This meant theatrical companies had to tour from town to town. The Singspiel became the most popular form of German opera, especially by the composer Johann Adam Hiller. The Singspiel’s were comedies intertwining spoken language with singing. They often had very simple music; Singspiele were no match for the opera serias in artistic eloquence and sophistication. Yet at the end of the 18th century Mozart changed all this, as mentioned before. Richard Wagner is one of the most controversial composers throughout history. He changed the way everyone looked at opera not only in Germany and Austria, but all throughout Europe. Wagner gradually evolved a new concept of opera: Gesamtkunstwerk (meaning â€Å"complete work of art†), binding music, poetry and painting all together. Wagner believed his career truly began with The Flying Dutchman (Der fliegende Hollander) (1843). Together with the two works which followed, Tannhauser and Lohengrin, this has been described as the â€Å"zenith of German Romantic opera† (Parker 220). The Flying Dutchman was preformed in Dresden at the Semper Oper in 1843. Both the music and libretto is by Wagner himself. This opera has three acts and is based on the legend of the Flying Dutchman who is captain of a ship condemned to sail until Judgement Day. In the first act captain Daland is on his journey home when he is forced to take refuge due to the stormy weather. He leaves the helmsman on watch and he and the sailors stop working. The helmsman falls asleep. A ghostly vessel appears and invisible hands furl the sails. A man dressed in black steps ashore. Having broken his promise, he is cursed to roam the sea forever without rest. An angel says that at the end of every seven years he will be cast upon the shore and if he can find a wife who will be true to him he will be redeemed. Daland meets him. The ghost offers him treasure, and when he hears that Daland has an unmarried daughter, he asks for her as his wife. Tempted by gold Daland consents, and both vessels set sail. In the second act Senta dreamily gazes upon the picture of the Flying Dutchman, whom she desires to save. Against the will of her nurse she sings the story of the Dutchman, and she says she will save him. Erik (who loves  her) arrives and hears her and warns her, telling her of his dream, where Daland returned with a mysterious stranger, who takes her off to sea. Daland finally arrives with the stranger, and he and Senta stand gazing at each other. Senta then swears to be truthful till death. In the last act the crew of Daland invites the men on the strange vessel to join in the festivities. The girls retire in wonder, and Daland’s men retreat in fear. Senta arrives, followed by Erik, who scolds her for her desertion, as she had loved him before and had vowed her faithfulness to him. When the stranger hears these words, he is overwhelmed with sadness, as now he is forever lost. He tells Senta of the curse and to the dismay of Daland and his crew declares that he is the ‘Flying Dutchman.’ As he begins to leave shore Senta plunges into the sea, proving her loyalty unto death. This is his salvation. The ship then disappears and Senta and the Dutchman are seen going up into heaven. One can suggest that these ideas of live and redemption, betrayal, and sacrifice can be alluded to the works of Victor Hugo, Shakespeare, and Lord Byron; specifically, Ernani (1844), Macbeth (1847), and Il Duo Foscari (1844) respectively. Orchestrally, it is scored forContextually, there are themes of redemption through love, betrayal, and sacrifice represented. There is not an overwhelming presence of family love between Senta and her father. However, we see the undying love Erik has for Senta, and the intense love Senta has for the Flying Dutchman. This love is what ultimately redeems the Flying Dutchman, and only because of this is he free. Senta ends up betraying Erik and his love for her, as she had previously already confirmed her faithfulness to him. Daland sacrifices his daughter, although he gets treasure in return, but we see how Erik has the sacrifice of letting Senta go to the Dutchman willingly. Musically, The Flying Dutchman is very different than the opera Nabucco. Wagner did not entirely abandon the traditional forms of the Italian singing-opera. For there are solos, duets, choruses, etc. just as in other operas of the time. However, he made the characters move, act, and sing in a way that suited the situation, according to the laws of ordinary  common-sense. Not yet was he entirely possessed by the leitmotiv system which later became the characteristic feature of his works, although the characteristics of the system are certainly embedded in the score. A leitmotiv is a â€Å"short theme or passage in a composition, repeated throughout the work and associated with a certain person, situation, or idea.† (Oxford Dictionary 660). In The Flying Dutchman Wagner is only evolving his way towards this essential and most principle aspect of his music. Hence the work is based half on old style, half new, overall with the balance in favour of the old. In the Overture one can only briefly note the general musical characteristics of the opera itself. There are some conventionalities in it but the score contains many passages of beauty and of vital dramatic force. The music of the First Act could not be more charmingly sea-like. No one can fail to be struck with the ghostly music which accompanies the various entries of the demon ship. The Spinning Song, one of the most popular tunes, is a lyric composition. Its dozy hum is exactly what is required to put the listener in the mood for sympathizing with Senta and her dreams. The Sailors’ Choruses are all bright and tuneful. Senta’s ballad in the second act is written in plain song form, yet is immensely dramatic in its expression. As mentioned before, The Flying Dutchman contains only small traces of the leitmotiv system. With this evidence provided it is quite clear that both Verdi and Wagner have produced two very different operas both getting inspiration from major traumatic events in history-whether it is fact or legend. Recurring themes seem to be echoed in both operas such as redemption through love, betrayal, and sacrifice. Wagner demonstrates how he is moving into his own musical style through The Flying Dutchman however originally using the more traditional forms that Verdi implements in Nabucco; suggesting that perhaps The Flying Dutchman in a way is a musical imitation of Italian opera whilst in the same way trying to develop German opera as its own independent genre which is what German composers were trying to do throughout the entire seventeenth and eighteenth century. Works Cited: 1. Balthazar, Scott Leslie. Evolving conventions in Italian serious opera: scene structure in the works of Rossini, Bellini, Donizetti and Verdi. University of Pennsylvania, 1985. 2. Gentry, Theodore L. Emblems of love and death in Italian realist opera. 1992. 4. Doerner, Mark Frederick. The influence of the â€Å"Kunstmà ¤rchen† on German romantic opera. 1990. 5. Smart, Mary Ann. Mimomania : music and gesture in nineteenth-century opera. Berkeley : University of California Press, 2004. 6.Brauner, Charles Samuel. â€Å"Vincenzo Bellini and the aesthetics of opera seria in the first third ofthe nineteenth century.† Doctor of Philosophy diss, Music History: Yale U., 1972. 7.Swales, Martin. â€Å"Schiller, Verdi, Wagner: Opera and the tragic mode in the nineteenth century† In: Vermittlungen: German studies at the turn of the century–Festschrift for Nigel B.R. Reeves Munchen: Iudicium, 1999. 8.Hall, Frederick Albert; Chapple, Gerald; Schulte, Hans. â€Å"The Romantic tradition: German literature and music in the nineteenth century† Series: McMaster colloquium on German studies no: 4. 1992. 9.Koury, Daniel. â€Å"The orchestra in the nineteenth century: physical aspects of its performance practice† PhD diss., Musicology: Boston U., 1981.

THE PROGRESSIVE ERA

THE PROGRESSIVE ERA THE PROGRESSIVE ERATo many, it seemed as if America's development was too good to be true. Immigrants flooded in hoping for a better life and a new start. Politicians ran for office all with a better platform than the last. By the early 1900's though, reality struck American cities. Labor in the cities was tough, with unsafe conditions and long hours, all for a minimum wage that could only afford for the increasing slum apartments. Different companies took advantage of the same working class of the cities, usually overcharging them for services and lying to them whenever possible. With all this going on, the public turned to the government, but realized the corrupt system would never be able to help much. The government was filled with unqualified officials whom, after being banned from the spoils system, were still being bribed by companies, criminals, etc. for special treatment. Americans desperately waited in disappointment for the change they needed.English: Jane Addams in a carT he laborers for these large businesses worked in poor conditions filled with safety hazards and minimal pay. The laborers also crowded to these factories in the overpopulated cities such as New York City and Chicago. When fired immigrants would take over the job for less pay. Such events brought upon great strikes and violence. Something had to be done. When all of American society was affected in the way businesses the people banded together to stop the chaos. The progressive movement was all about the regulation of business, no labor exploitation, federal intervention to help out the rest of America.Inventors, philosophers, social theorists, and historians led the progressive movement laying down the groundwork for the future. They believed that intelligent disciplined people should lead America into its new age. Being methodical in their ways, they used scientific methods to solve...

Things You Need to Know About an Education Paper

Things You Need to Know About an Education Paper Things You Need to Know about an Education Paper Writing on an education topic may be very interesting and challenging at the same time, as it has a lot of issues to discuss. Some may be asked to describe latest innovations in teaching, others should share their experience in education and the rest needs to represent a certain thesis or statement. There is often a task to make surveys and examine different groups of people to come to a certain result. However, it is necessary not only to possess great writing skills but also to be a psychologist to be able to communicate with students or people of older age. That is why completing an education paper is one of the most challenging tasks any student has to face during college years. How an education paper should look like Despite the fact that every research paper differs, there are still a few common patters you need to follow to complete a great work on education. Its regular structure includes: It should be brief and laconic, conveying all the information you want to share with the reader; Introductory section. It can be called a business card of your whole work, as the reader decides whether he is interested in the subject and whether your paper is worth spending time on. Make sure you provide only main information on the topic, adding interesting details and value to the research; Body paragraphs. They are the skeleton of your work and contain a different number of paragraphs, depending on the quantity of arguments you have. However, you should always remember that this section should be a combination of a practical research and a theoretical part. First, you make your personal conclusions and then you back them with credible sources. Used methodology should also be included to this section; As all of you know, this section should be as laconic as possible and contain a summary of the work you have done. Paraphrase your thesis statement, write about the outcomes of your research and discuss the results. You may also write how your approach differs from those, which were introduced before. Useful tips Complete a deep analysis of the topic, gathering all the information you can find. However, you need to concentrate only on credible sources, even if they are taken from different websites; Make a plan of your work to always know what to write about; Select several aspects or key points to concentrate on; Always compare different sources to be sure that you are using honest information and actual data; Use infographics if appropriate. Charts and tables will help you to convey your thoughts; Always reread your paper to make sure that your research is interesting and useful; Spend some time and download similar examples online. They may be of a great help and you will be able to understand what the reader is expecting. It may be a work on higher education, an economic research and so on; Useful phrases, which you can use to open and close your paper may include: ‘In the first place..’, ‘Based on..’, ‘First and foremost’, ‘To conclude..’. Mistakes to avoid Choosing a very general topic, as it will be very difficult for you to concentrate on the subject; Collecting information from doubtful sources, like forums, internet magazines and so on; Leaving the task for the last minute; Adding too much data to the text. The reader will be easily bored if you fill your research with lots of numbers, charts and graphs; Not paying attention to grammar and lexis. Popular topics for your education research paper System of higher education; How government influences secondary education; Standards of education across the world; Quality of educational materials; Advantages of home schooling; Education as a way to prevent violence.

Kinship System and Culture Research Paper Example | Topics and Well Written Essays - 500 words

Kinship System and Culture - Research Paper Example A study on the kinship system of the San reflects that they belonged to a nuclear family comprising of father, mother and children. The kinship connection in relation to both mother and father is important among the San’s. This particular kinship system is referred to as the bilateral kinship system. Because of the bilateral kinship system among the San, there is a presence of relative in every band living nearby.   The San’s are prohibited to marry their second cousins or marrying someone close in relationship to the person. San girls oppose marriage at an early age. The women in the San culture are highly responsible for the gathering of their foods.   Women generally collect fruits, lemons, nuts, while the no vegetarian food is collected by the men.   The San families work together as a group.   The kinship system they had helps them to survive in disasters.   If one family is unable to collect food for a day, they move to other families and take the foods from them. San people live in large number of groups and a group may consist of more than 30 members. The groups are connected by marriage and kinship and help them in providing safety and comfort. During scarcity of food and other needs they move on to other camps and take their help. Marriage between inter band members strengthens the harmony among the groups. The kinship system actually affects the thought process of the San. It is because of their necessity to live in dependence of the group, for which the inter-group marriage has become popular.

Burma Pipeline Case Study Analysis Example | Topics and Well Written Essays - 1250 words

Burma Pipeline Analysis - Case Study Example Currently, there has not been a legal judgment as to whether or not the company is guilty to any of the perceptions held by accusers. The company has also not come to that stage yet where it has proved beyond reasonable doubt to its accusers that it is innocent. It is some of these factors and form of the current situation that make it nothing more than a controversy. But there remain some key implications that the company might have to deal with for now. Example of this is the possibility that the company will soon be engaged in series of legal battles as there has been a governmental perspective taken on all these controversies. Stakeholders of the Organization The problem and case of controversy that the company is dealing with right now has greatly affected the important players and for that matter stakeholders involved in the company. It would be noticed that the role of stakeholders of any given organization is not a static and robust position that cannot be changed (Cairns, 20 09). Depending on events and happening in a particular company, the stakeholders keep changing. Presently, there are four major stakeholders that can be identified with the company. These are government, the community, financiers and managers/employees of the company. The governments of Burma and United States have become key stakeholders in the company as certain key decisions to be taken by these governments can affect the company in a great deal of ways. For instance, as a shareholder in the company, the government of Burma has a lot of stake in terms of the macro economic policies that are put in place and how these policies affect Unocal (Harvard college, 2000 p. 2). The government of the United States has also become a stakeholder by virtue of the fact that the government holds a firm on all the controversies that are going on. The community, which sees itself as denied benefactor of the company is also a stakeholder. This is because it is for these people that the company wor ks for and it is these people the company expects to patronize their products. The community therefore has a lot of stake in deciding the trend of revenue of the company. Financiers such as shareholders also have a lot of stake in funding the company. Managers and employees also have a stake in ensuring the corporate running of the company is done in a manner that ensures growth and development. Other target groups of the organization Given the present controversy surrounding the company, it could be said that all clients and outsourcers of the company should be considered as important target groups whose actions and decisions would affect the company greatly. The clients of the company must be concertized to come to accept and agree to the present reforms that are being suggested by the company. Though a lot of these reforms would initially come with some level of challenge to clients and perhaps denied them of some initial benefits, it is important that the clients will be made to appreciate the reforms as long term strategies that come with future benefits that will be of importance to not just the company but to the clients as well (Lewis and Heckman, 2006). If this concretization is not done, there is a very high probability that several clients of the company will leave the company in this crisis time that the company needs them most. The role of management and production team Management is expected to be a pool of strategic