Square Dancing free essay sample

Square dancing was first developed by lonely farmers as a means of entertaining and wooing their livestock (or at least that’s the rumor I’m choosing to believe/spread). But honestly, how drunk on moonshine and bored with wife-beating did people used to be to develop this jig of humiliation? More importantly, how—I reiterate HOW is it still around today? I mean wasn’t Bugs Bunny mocking this like 60+ years ago? Barnfolk during a hootenanny. Personally, I’m for jettisoning into the sun everyone involved in any non-farming interaction that regularly takes place in a barn. Who the hell wants to dance around a friggin’ barn?! Barnfolk, that’s who— and they permanently forgot to evolve. Let’s talk about some things that would be present at any square dance jig-off. First, it’s impossible to picture a group of people square dancing without there being that one guy with the obscenely long Rip Van Winkle beard. We will write a custom essay sample on Square Dancing or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Of course, he wasn’t magically asleep for 20 years when it grew, unless you count his life-long whiskey haze and vow against critical thinking. Second, the band always does that foot-stomp knee-slap head-bob thing, telepathically conveying the message â€Å"we’re all a bunch of asinine hicks and we love it!† The head-bob is the â€Å"and we love it part.† Third, well you may not see this, but square dancing is the only dance where it’s easy to picture a random farm animal suddenly standing up on two legs, joining in, and it seems natural. Another bumpkin seduced by a jigging goat. Bumpkins promenading across the room with goats and sheep; why not? They make-out with them regularly anyhow. I will admit I’m fairly surprised they called it â€Å"square dancing† at all considering the highest level of schooling in the room is probably a forged G.E.D. (like they know what a â€Å"square† is) †¦Bunch of geometrically confused hill-folk buck-toothed and guffawing as they spin around a cow trough. Damn I hate that square dancing still exists! One thing that’s hard for me to picture is anyone hearing square dance music coming from a barn and not getting the imperative urge to run in the opposite direction. Speaking of the music, isn’t there just that one â€Å"swing your partner† song and that’s it? Photo taken during a rendition of their song Proud to be Illiterate. I guess it’s hard to play a variety of tunes when your band consists of people playing the washboard, broomstick-bass, and blowing into that jug with the â€Å"XXX† on it. Stay tuned for my upcoming entry on jug bands†¦ Speaking of the musicians, apparently square dancing was so lacking in class that renamed the violin the â€Å"fiddle.† I can picture that conversation: â€Å"Hey hairy, drooling jug band member, is that a violin you’re playing?† â€Å"A vi-o-what? Welp, I don’t rightly know, mister. An accurate description of square dancing. I just fiddle with it, so I guess that’s what it is†¦. a fiddle†¦ *drool, drool, drool, slurping up drool, more drool*† I’m sure he also â€Å"fiddles† with other things like the engine of his primer-colored pick-up truck and his malformed wiener whenever his cousin is watching. I don’t mean to over generalize, but in reiterating my idea to launch all square dancers into the sun, I propose it would do the world more good than harm. This is exactly what square dancing looks like to me. I’m willing to bet that other long-standing â€Å"traditions† like racism, sexism, fear of progress, and hatred for the scientific community would prove directly correlated as they dropped exponentially. Sad Fact 1: There’s an international association of square dance callers named Callerlab. Seriously. An international organization†¦. Sad Fact 2 : Did you know that square dancing has been designated the official state dance in 19 states? State dance?! Why the HELL are there even— oh I give up! (*gun fires and body hits the floor*) End. Supplemental material: Link to Bugs Bunny in â€Å"Hillbilly Hare.† Excerpt of lyrics from â€Å"Pickle Up a Doodle,† a square dance call. When that devil comes a-courtin’, Ah-haw! He’ll catch all eight, with a right hand half, Back by the left, go once and a half. Turn the corner by the right, make a wrong-way thar, And ya’ pickle up a doodle in the middle of the star. Shoot that star, left allemande, gonna pass your partner by, You box the gnat with the next one, and you swing ‘er mighty high. Walk all around that corner, turn a left hand round your girl, Four ladies chain, chain the big, wide, wicked world. Roll promenade a shady lady. Gents roll back, but only one, Promenade, you’re gonna have a little fun. It ain’t no sin to swing and sway, An’ you pickle up a doodle in the middle of the day.

Interview with Fiction Author Jeff Kozlowski

Interview with Fiction Author Jeff Kozlowski Interview with Fiction Author Jeff Kozlowski Interview with Fiction Author Jeff Kozlowski By Gregg This is the first of many interviews that we plan to publish on Daily Writing Tips. Below you will find the questions that Gregg Donaldson, a contributing writer for the blog, asked to Mr. Jeff Kozlowski, a fiction author and English teacher for college preparatory students with learning disabilities. Donaldson: Tell me about your latest book, Sea of Movement. Kozlowski: Sea of Movement is my first novel written for mainstream audiences. It is a multi-cultural journey taking readers through the intoxicating waters of the South Pacific, into the shattered heart of Bangladesh, and along the rugged interior of Indonesia. I attempted to write a book that appeals to the adventurous side of both male and female readers. Female readers are generally attracted to intimate, well-developed characters and male readers are typically driven by rising action. Therefore, the characters find themselves on an elegant voyage into freedom, power, and self-destruction. I envision a couple lying in bed together or side-by-side on the beach, unable to put their twin copies down. Donaldson: Hows the first release gone? Kozlowski: Ive received great feedback from my readers. Setting, characters, and plot have been praised. The biggest compliment has been that many, many people say they couldnt put the book down, often finishing it in a single night. So I guess so far Ive accomplished my goal. Donaldson: Any tips regarding how beginners can start at fiction writing? Kozlowski: Ive actually been mentoring a few of my students who are interested in the process. My advice is to get as much formal training as you can while youre young. But at the same time, remain true to your self, true to your own voice, because writing is an art form. Listen to the feedback of your readers and make revisions accordingly, but dont take criticism to heart. Learn to combine the skills learned from formal training with the secret ideas that can only come from your own heart. Enjoy the process, it is incredibly rewarding on a personal level. Donaldson: Why do you write? Kozlowski: Each story or novel I write has a unique purpose. As a teacher, one of my biggest challenges has been getting teenagers interested in reading. Over time, Ive made it a priority to bring into my classroom high interest material that makes a difference with my students. But often teenagers are the toughest critics of great literature. So I wrote The One for various students who were especially challenging to me over the years. But even more than that, I wrote the book in attempt to reach out to everyone who has faced confusion and trauma along their journey into adulthood. I tried to portray the idea that we can make it to our dreams, no matter how dark and disturbing it is when were young. And this spring, I was given the honor of reading The One with my students. I was rewarded with feedback describing the books ability to draw readers in, believability, well-defined theme, and potential impact on the youth of our society. After facing my lovable but brutally hone st tenth graders, handling other critics feedback has been a breeze. Donaldson: Why did you write The One? Kozlowski: I hope to write a series of books geared toward young males ages 18-25 about growing up. And in part to have a male perspective in answer to the Chick Lit books Donaldson: How do you create your characters? Kozlowski: Many of my characters are created from combined memories of unique individuals Ive encountered in my life altered to fit the circumstances that Im trying to portray. The most often asked question I get from readers is, How much of this happened to you? Although I choose not to share how much of my work is biography and how much is fiction, I do get to know my characters on a personal, intimate level and feel love, hatred, sorrow, or contempt for them as their actions unfold. Sometimes, my characters become such a part of me that Im compelled to bring them into future pieces of work. Donaldson: Where do your ideas come from? Kozlowski: My inspiration comes to me when Im living in a moment of purity, often while surfing, listening to music in the car, or while reading a great authors work. The ideas come from a combination of real life circumstances experiences, extenuating, and cockamamie fantasies. While writing, I feel as though Im living through my characters and attempt to bring my readers there both visually and emotionally. Donaldson: What is your writing process? Kozlowski: I would have to say that I fall more into the Kurt Vonnegut style of writing than the Stephen King model. That is to say that I am a perfectionist and cannot move forward in my plot until I am absolutely convinced that Im satisfied with the current paragraph Im working on. But I do build my stories from skeletal bones to fully clothed beings by alternating between pouring out repressed ideas in a moment of inspiration and then going back and refining them over and over again until they tell me to move on. Donaldson: What are the positives of self-publishing? Kozlowski: I believe self-publishing has been a very rewarding experience for me. First of all, Ive done all the marketing myself, and have learned many valuable strategies that I can apply in the future. I like to be my own boss and feel like Ive been in tune with the writing process from beginning to end. But the best part of the whole process is the fact that Ive used Myspace to promote my work. Ive met many wonderful people who have given me excellent feedback on my writing through the site. I have formed intimate relationships with my readers that transcend typical author/reader relations. People tell me specifically how my words touched them and what parts were most meaningful. So what I may have lost in quantity of sales has been replaced with a sense of accomplishment in the quality of my sales. Im not merely trying to sell books, but make an impact on each individual who chooses to read my work. Donaldson: How is the Web affecting fiction writing? Kozlowski: Last spring, I was in an online contest through Gather.com, which was sponsored by Borders and Simon and Schuster. Over two thousand novels competed for a single publishing contract with Simon and Schuster and I had a great ride. Sea of Movement was chosen as one of the top twenty to move on to the finalist round. Through that contest, I realized how competitive the writing industry is, whether its through mainstream publishing, or through the net. Again, I met some great people and we keep in touch to this day. I have also made great connections through Myspace and its been very beneficial to have a more personal relationship with my readers. I also believe the web has allowed many more voices to be heard around the world. Modern publishing has become a grassroots endeavor, but at the same time the web allows it to be global. Readers have purchased my work from around the world from places such as New Zealand, England and Australian and that would not have been poss ible in the past. Donaldson: What General advice would you give to other aspiring writers? Kozlowski: My advice is to write from your heart and soul. Every one of us is a human being and we all have unique stories to share. Dont let the market get in the way of the person you are or the writer you want to become. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Fiction Writing category, check our popular posts, or choose a related post below:Avoid Beginning a Sentence with â€Å"With†Capitalization Rules for the Names of Games20 Slang Terms for Law Enforcement Personnel

6 Disappeared LinkedIn® Partner Applications and What to Do About Them †Part III Box.net

6 Disappeared LinkedIn ® Partner Applications and What to Do About Them – Part III Box.net For a long time, I have been recommending to job seekers and other professionals that they use Box.net to post a copy of their resume (with street address and any other confidential information removed) to their LinkedIn profile. I have also offered Box.net as an option for attaching scanned recommendation letters when your recommender is not a LinkedIn member or just doesn’t come through with a LinkedIn recommendation. Box.net was a useful way to attach any documents you might want your LinkedIn visitors to view. Although the partner application for Box.net no longer exists, the website Box.net does- and my advice has not changed. If you want to post a document to your LinkedIn profile, the current way to do so is through entering a link to the document. In your Summary and Experience sections, you can add links to videos, images, documents or presentations by clicking on the blue box with a + sign in the corner. Once you click on that box you will be brought to a box where you can paste a link: If you don’t have a website where you can conveniently create pages with the documents you want to link to, just create a Box.net account! Box.net will give you a link you can use. Upload your document to Box.net, click on Share; you will receive a link to share the document. Here are the instructions sent out by Box.net regarding the change: Recently, LinkedIn announced its new profile design that replaces the current inApps platform with a new method for viewing content like documents, presentations and videos. You likely received a message from LinkedIn as well, but we wanted to be sure that as a user of the former Box inApp you know the best way to display and share a Box file on your new profile. After opting in to the new profile type, you’ll be able to easily add a specific Box file. To get started, copy and paste the file’s direct link in the LinkedIn professional gallery on the page. Find the direct link by previewing the file as you normally would in Box, selecting File Options Share Get Link to File and then clicking on Direct Link to generate the URL. Paste it directly in the LinkedIn professional gallery. Repeat the same steps for other files you’d like to add to your profile. Note that the LinkedIn professional gallery supports a limited set of file types, so check the Box support site if you experience any issues adding a file to your profile. We hope you enjoy the new way to share your important files from Box on LinkedIn. Here’s what my profile looks like with the resume linked from Box.net: What documents do you want to share with your LinkedIn audience? You can build your image through adding links using Box.net. Have fun! For more LinkedIn tips and tricks, go to the #1 best-selling e-book How to Write a KILLER LinkedIn Profile! Next week: What to do about TripIt and SlideShare? Category:Archived ArticlesBy Brenda BernsteinFebruary 11, 2013

Argument Essay Example | Topics and Well Written Essays - 2000 words

Argument - Essay Example I believe that in our judgments about reality we cannot abstract ourselves from the sensual reactions and subjective judgments; as a result, empiricism is the philosophy that is closer to the reality and reflects the true way of judging and evaluating the surrounding reality. Rationalism is an important trend in philosophy. Plato is fairly regarded as one of the basic proponents of rationalism in philosophy. Rationalism in general and Plato, in particular, assert that knowledge never comes from senses but is innate (Anonymous 335). As such, there is nothing sensual in nature and individuals who seek to objectivity in their judgments should rely on their innate knowledge and avoid using personal experience and observations. It should be noted, that where Plato opposes to the relevance of the senses as a potential source of reliable knowledge, his opposition is justified by the fact that the senses are bodily and thus morally tainted (Anonymous 335). Actually, everything associated with body, in Plato’s opinion, is morally tainted and cannot be considered as a good source of knowledge. Such rejection of the senses is the definitive feature of rationalism (Anonymous 335). To some extent, Plato’s arguments about the senses his opposition to using the senses as the source of knowledge are justified. He is confident that absolute truth and absolute good do exist (Anonymous 335). However, never in life was he able to perceive and grasp the meaning of these absolute beauties and absolute good with his senses; rather, a rational person in search for objective knowledge will do everything possible to develop an intellectual vision of reality which has nothing to do with the senses but applies to reason (Anonymous 335). Surprisingly or not, but in his defense of rationalism, Plato does not only exclude the senses as potential sources of knowledge but also implies that other emotions, including love, lust, fear, and

Seeking An MBA From The University Of Chicago Graduate School Of Essay

Seeking An MBA From The University Of Chicago Graduate School Of Business - Essay Example Although I have a highly technical background, I have competitively assumed the positions of a vendor, client and service provider. Despite the tough times I had while starting, I believe that my management skills have substantially helped me efficiently perform various tasks at hand and led me to where I am now. However, I often wonder how I would have played these roles if I had been equipped with a management degree. I always believe that one will be in much more confident if he/she has the necessary skills for any position before taking it. Bearing these in mind, here I am seeking admission into one of the best schools in the world, aiming to make a substantial contribution to the organization and further hone my skills for the years to come. Pondering upon my career history, I have come to realize that learning experientially is invaluable. Experience enhances critical thinking and propensity for self-direction in learning. The roles I have played are quite challenging for these stints are unique and demand a great deal of thought and hard work. As I have grown in the organization from a programmer to program manager to product manager, I have imbibed all aspects of product management.

Fight Club (Film) by David Fincher Essay Example for Free

Fight Club (Film) by David Fincher Essay This confronting movie casts the brilliant Edward Norton and the extremely popular Brad Pitt as they team together to bring the public one of the greatest suspense movies of all time. Norton plays Jack, a middle-aged man, who isnt sure what his purpose for living is anymore and Pitt plays Tyler Durden, a soap salesman, who has come to the same realization about life. Directed by David Fincher, written for the screen by Jim Uhls, and based on the acclaimed novel by Chuck Palahniuk, Fight Club is a powerful film, which fuses the highly sensitive issues that haunt its frustrated and confused protagonist with the visual representations of his mental states. It all begins when Jack becomes so frustrated with his life that he just cant take it any longer. For his entire life, the media has painted a glorious image of wealth for everyone and has made everyone believe that they would be rich and famous eventually, while in fact they werent. Flooding society with more useless products and making them slaves to their own needs, Jack realizes that it is all just a joke. Under the realization of this, Jack searches for a way to find new excitement away from the material world. He starts to visit numerous support groups for cancer victims and other diseases. This is where he meets Marla Singer (Helena Bonham Carter), a middle-aged woman who is also going through the same thing as he is. Together these seem to be the only places for them to find real emotions, and to be able to express their own emotions at the same time. One day while on an airplane, Jack meets Tyler Durden. While talking with Tyler, Jack notices that they have the same exact suitcase along with many other things in common. Tyler gives Jack his business card and tells him to call if he ever needs anything. When Jack returns home, he finds that his entire apartment has been blown to pieces. With nowhere to go, he takes out Tylers business card and proceeds to call him. Tyler comes to Jacks rescue and the two begin living together in an old run-down house. One night outside a bar, confused in their frustration of the world, they begin hitting each other for the pure excitement and adrenaline rush. After much thinking, Tyler has made up his mind about society and has created his own beliefs. He opposes all material wealth and lives for the moment, unafraid of pain or death. Slowly he teaches Jack these traits as well, as they now begin to build Fight Club, an underground association where equally frustrated men can take out their emotions by fighting with one another. Soon many Fight Clubs spring up across the country and Tyler is hailed as a celebrity among the members. With Fight Clubs popularity increasing, Tylers plans become much bigger and he establishes Project Mayhem, his plan to destroy the material world. He recruits an army of equally powered men and goes on a spree to destroy all signs of materialism he sees. While watching the mayhem Tyler has created, Jack becomes disturbed by the idiocy of the followers and the violent acts they are committing. He wants to put an end to the insanity, but without Tyler he cant stop it, and Tyler is nowhere to be found. With Tyler now missing, Jack begins travelling from city to city in search of Tyler. When asking people if they know Tyler Durden, he is given the same answer over and over: Yes sir, youre Tyler Durden. Jack finally comes to the conclusion that he and Tyler are the same person. Tyler is simply a figment of Jacks imagination. Tyler is everything that Jack wishes he could be. He looks how he wants to look. He acts how he wants to act. He is Tyler Durden. This movie combines great action sequences, romance, and suspense all rolled up into one. The great casting of Edward Norton and Brad Pitt give the movie just the right amount of masculinity it needs. How the composer creates meaning The composer creates a chilling setting, which is familiar and stereotypically American with its high-tech devices, also with fast and crisp movement of camera angles to show some extraordinary effects. The composer also used lighting to create meaning. The lab in which Jack was sitting down which we witness in the fast and crisp movement of camera shots, had very dark and dull colours. The music also rolled along to help create this setting, which is very important within the film. The director David Fincher utilizes a number of techniques to present his ideas of change. The film opens with voice-over from our lead character Jack, played by Edward Norton. He hasnt slept in months and its beginning to take a toll on his sanity. He finally finds release from his troubles by going to support groups for people with various diseases testicular cancer, bowel disease, etc. where he finds freedom in pretending hes a survivor, that he has nothing to lose. Thus, it also represents a new foundation as a result suggesting a change in Jacks lifestyle. Through the character Jack the composer is also able to create meaning. Here we see that through zoom and close-up camera angles the composer shows a change in the behaviour of Jack. It becomes evident that after bearing in mind explosion of his apartment, he becomes astound and through the facial expressions we see that he is discontented. The smile that was witnessed prior to this terrible tragedy has mislaid as a consequence symbolizing a change in his attitude and his perception of the slight civilization. The composer also creates meaning, through the use of Jacks lifestyle. In this motion picture the main character Jack, changes his lifestyle through self-destruction rather than self-development. The composer has done this to show that there is more than one way to change, that change does not always have to occur in a positive way. This is one of the most important themes running through the movie. Fight Club; a movie about the change within one mans life, Jack, with the help of his friend Tyler, who is actually a creation of Jacks mind. Jack breaks away from all of societies conventions and this leads to the many changes in his life. Jacks changes are made all the more significant through the use of colours. Before Jacks enlightenment all the colours used are dull blue-greys. The camera angles are narrow and focused. This creates a tone of monotony and boredom. Later, the scenes become brighter and colours are powerfully contrasted. Many of the scenes take place at night with neon lights in the background with contrast with the bright red leather jacket worn by Tyler throughout much of the film to create an exciting, almost surreal element to the scene. The camera angles become wider, reflecting Jacks broader perspective of life. A further structural device used by David Fincher is to allude to Jacks earlier life. One example is when he receives a phone-call from the detective looking into the explosion of his house. Jack responds to his questions by discussing how much the things in his apartment meant to him, how they were part of his identity. When the phone-call is over he says, I would like to thank the academy. From this statement, it is obvious that he looks back on his former lifestyle with contempt. From this film we can see how difficult it can be for one to move to another door of perception when everything around them reinforces the accepted view of the world. It is easy to accept everything that is occurring and live in denial without changing. Jack would not have been able to escape from the media induced, corporate driven life that he led if his brain had not created Tyler Durden. In Fight Club we see there are many reasons for people to choose not to change. The risk may seem too high. It might be hard work. There is a loss of the security a person has when he or she is in familiar territory where everything is known to them. Even when the opportunity stares at them right in their faces they refuse to take it. In the movie, we see Jack struggling at first with quitting his ikea-guy life but is soon able to boldly step away from the illusions that held him. Explanation of how the text links to both a text from the Stimulus Booklet and the play Away Clearly, change brings consequences. These consequences can vary in importance and significance; they can be beneficial, detrimental or even impartial. Change, its impact on self and the resulting consequences, which it inevitably brings, is an issue explored by many composers in a variety of texts. Change is the process of being made different. Change can be caused by anything such as time, birth, death, people and fighting The concept of changing self and its significance to the individual is explored in a number of texts including the play Away written by Michael Gow, Sky High by Hannah Roberts (BOS Changing) and the film Fight Club by David Fincher. All these texts symbolise change in a variety of ways. To show the consequences of change composers have used a number of techniques in terms of language, imagery, contrast and repetition. This film Fight Club deals with the approach in which we transform ourselves. In this film Jack transforms his standard of living through self-destruction to assertion self-development. The director David Fincher has fulfilled this to exemplify that the things we own, actually end up owing us. The change occurs when Tyler opens the door for him to amend. Unfortunately, Tyler becomes too powerful. This shows the rituals of both sides. Allusions is a structural device used by the director Fincher to contrast the Jack-then to the Jack-now, constantly making references to his earlier life presented at the beginning of the film. An example of this is when Jack is living in the dilapidated house he often receives calls from a Detective Stern from the arson unit, inquiring about his destroyed condo or feeding him information about it (the police suspect he did it to claim insurance). Jack often replies by talking about how much the things in his condo meant to him and how they were a part of his identity. When the phone-call is over he says; I would like to thank the academy. From this statement it is obvious that he looked back on himself with contempt. The director shows that the choices that one makes during his or her life, defines the changes that would occur to them in the future. When one looks back at the decisions that they had to make, the difference before the choice was made and after becomes quite obvious. Another aspect of change presented in the film is that change is often cyclic. As we make one decision, we are soon required to make further decisions and it is a never-ending cycle until the day we die. Therefore one never stops changing until their death. From this film we can see how complex it can be for one to move to another door of perception when everything around them reinforces the accepted view of the world. It is easy to accept everything that is occurring and live in denial without changing. Jack would not have been able to escape from the media induced, corporate driven life that he led if his brain had not created Tyler Durden. In link to Sky High by Hannah Roberts it demonstrates that responsibilities force a person to change, and that the change is not always optimistic, other than it has to be embraced for a character to established, and that although there is a change it is most undoubtedly not an end, but rather a progression. This text has contributed a great deal to my understanding of change. It helps us to see how difficult it can be to change ones lifestyle and to change their view of the world when it is reinforced as being the accepted view of the world that we must adhere to, and sometimes it requires something as drastic as an imagined person to change that view. The other thing it has contributed is that there are many reasons for a person not to change, risk, too hard work or the loss of security in their new life, but once that change is made, the persons old lifestyle seems contemptibly inadequate. In Sky High by Hannah Roberts, it is not another person, which outlines a change in self of the persona, but an object (a clothesline) that triggers a memory from the personas youth. Personification of the clothesline, and its relation to the authors own change in self since her youth, is one technique incorporated by Roberts. When describing her and the clothesline in the first two paragraphs, we are given the phrases silver skeletal arms and smooth, sweat damp hands. Comparing this to age-warped washing line and hands, beginning to accumulatewrinkles one can see the dramatic realisation of the changed persona. Another representation of the changing influence of the clothesline is the descriptions of the hanging clothes. Where as in her youth the clothesline was festooned with socks and knickers and shirts like coloured flags in a secret code, Roberts now write(s) my own semaphore secrets in colourful t-shirts and mismatched sock. This suggests that as a child, the author thought that the clothes were hung out in secret code. Now as an adult she realises the ordinariness of the practice. The semaphore secrets that she writes as an adult expose to the reader the question if these are messages of unhappiness. The narrator utilizes an analogy to illustrate how responsibilities and social conventions limit a persons ability to follow urges. The writer wants to fly as she did when she was young, but she is concerned that the conventions of her modern life will not allow her to do so. Remembering the minute details of the garden develops a nostalgic mood. This is so as a person remembers details such as these if they treasure the memories Sky high has contributed to my understanding of change by showing that responsibilities force a person to change, and that the change is not always positive, but it has to be embraced for a character to mature, and that although there is a change it is most definitely not an end, but rather a process. On the surface Away by Michael Gow, may possibly appear like a simple narrative about three families who take off for a holiday. People are shown as going away, being pulled away, being washed away, walking away and so on. What is also stressed however is the act of recurring, regrowth and renewal that results from their away experience. Away presents the concept of change as self-recognition and renewal through the portrayal of the key characters who journey from fear, isolation and delusion to an understanding and acceptance of themselves and their relationships with others. Away is a short though direct play, which deals with many variations of change, each of which is a change of character or personality, which occurs as a realization as the events in the play, get through to them. A perfect example is Gwen, a middle-aged mother with the need to control. Her resistance to change is of an attitude as her family suddenly becomes separate in reaction to her behaviour. The family is on a holiday and what was meant to be enjoyable, becomes a conflict which causes her daughter Meg to isolate herself from her. Gwen depicts this resistance to change with the importance of it. Simply compare changing toothbrush to changing personality, which will have a resisting effect. Michael Gows play is very theatrical. While much of the dialogue is realistic, drawing on the idiom of the day, the storm and the appearance of the fairies break away from realism. Gow draws on the conventions of comedy and tragedy as the play moves from the comic to the tragic. Many of the characters appear as stereotypes found in comedy- the nagging wife, the henpecked husband, the pompous teacher, but as the play progresses these stereotypes are abandoned as the characters are confronted by the need for change. They become individuals capable of change. The composer exploit Language to provides a precious impending into the intelligences of the protagonists. Gwens continuous and tedious use of clichà ¯Ã‚ ¿Ã‚ ½s creates her the parody of a middle-class housewife with high-class aspirations. In the final act, mime plays a vital role. It is the explicit lack of language here that provides the audience with a perceptive of the high level of self-awareness and imminent that is now shared by the protagonists. Perhaps the two most significant characters in Away who experiences the most profound changes are Gwen and Coral. * Gwen is one of the most momentous protagonists in the play. She changes from being a stress ridden control freak of a mother and wife to coming to an understanding of life and the fact that humans are not in control. The plainest demonstration of this is the storm, which trashes her perfectly planned holiday. Note that in the stage directions, the fairies single Gwen out for particular attention in the storm. Gwen experiences an epiphany during the walk with Vic, presumably in reaction to the news that Tom is dying. She returns from the walk a changed woman, and it is she who stands and applauds Coral as she walks in Strange on the Shore. * Coral has lost her grip on reality. At the beginning she is a woman pervading grief at the death of her only son in the Vietnam War. In attempting to respond to her husband (Roys) plea that she behaves normally, she enters a relationship with a young recently married man named (Rick). She than adopts the persona of the artist on the beach, and it is Tom who recognises her as the headmasters wife. She achieves some kind of acceptance of life and loss through her performance in The Stranger on the Shore. (Im walking, Im walking represents a return to life). The walking becomes symbolic of Corals return to reality, her final acceptance of the death of her son who died in Vietnam. Tom is responsible for her healing. He determines Corals role in the play. In Act 5 scene 1 we see her reconciled with her husband Roy. These changes are represented dramatically in the play. Her situation in Away is symbolized by her role in the little play- when she walks at the end, she is retuning to life where she belongs. Opening on the last day of the school year in 1967 and closing on the first day of the next school year, the play spans only a few short weeks in the lives of its characters and yet their perspectives and understandings have changed radically over that time. Possibly the character who experiences the most philosophical change is Gwen. Through the intensity of the emotional conflict she encounters, she has had to acknowledge the inevitability of change in life and has adjusted her expectations accordingly. This change of perception over time can be contrasted to the reminiscing of Hannah Robert, in her story Sky High, Text 3 in the Board of Studies Changing Booklet. Where the older narrator looks back on a lighter, less burdened childhood. The rewarding repercussions of confronting change and of living for the present have been highlighted by the texts I have studied which in turn delineate the integral nature of change in the lives of people and their relationships.

Lord Of The Flies Passage Anal :: essays research papers

Golding uses chapter eight to show the changes within Ralph and Piggy. The experience on the island has caused them to mature early, and Golding develops this maturity in order to provide the reader with a believable story and memorable characters. He develops the characters through vivid details, distinct diction, simple syntax, and congested figurative language. Golding uses detail to show Ralph’s change from a civil leader to a mindless savage. When Ralph sits and pokes holes in the sand, he is â€Å"surprised† to see blood. He examines his nail and is interested, not concerned, about the blood. He originally was disgusted at the site of blood. This act shows his savage-like fascination with blood. Piggy’s development is also dependent on Golding’s use of detail. Within this passage, Piggy wipes off his glasses twice. There is a sense of paranoia and urgency in this act. Piggy wishes to disconnect from reality and does not want to admit to himself or Ralph their desperate situation. Piggy was originally the voice of reason in the novel. This simple act, however, shows he is changing into an unadmitting fool because he chooses not to see reality due to fear.   Ã‚  Ã‚  Ã‚  Ã‚  The use of diction is also vital to the development of the characters in Lord of the Flies. The passage opens with Ralph â€Å"smudging the sweat from his face with a dirty forearm.† This conveys to the reader an exhausted boy who is at wit’s end. The words â€Å"smudging,† â€Å"sweat,† and â€Å"dirty,† connote savagery, and they show Ralph’s animalistic characteristics coming out. He has changed from a polished, civilized boy to a dirty savage since the arrival on the island. Ralph also runs around the fire â€Å"holding up his hair† when he realizes that most of the boys have joined Jack. This reference to hair shows the savagery in Ralph, as opposed to his clean-cut original appearance.   Ã‚  Ã‚  Ã‚  Ã‚  Syntax is another technique used by Golding to further develop the characters. The frequent use of dashes, fragments, and simple sentences remind the reader that although they are encountering a very complex situation, the characters are still simple-minded children. It also shows the characters’ fragmented thoughts and fears. Originally, Ralph was a well-spoken leader, but in this passage, Golding shows he is a scared creature through syntax.   Ã‚  Ã‚  Ã‚  Ã‚  Figurative language is employed by Golding throughout the novel to develop plot and characters. In this passage, the most vivid figurative language is in the final paragraph.

Successful Property Development

Throughout this paper the masculine gender is used when referring to developers. This is purely for convenience and does not imply that successful developers have to be male. Demand for new buildings from tenants and owner occupiers is the basis of all commercial property development in the United Kingdom. A typical development scheme will be initiated by a developer identifying a demand for a new building or buildings in a certain location. A major office user for example may wish to combine a number of regional offices into one new building able to accommodate new echnology and enable all of the Company's departments to be housed under one roof. The image to be presented by the new building will also be important and the Company may prefer a prominent town centre location with easy rail access or a fringe of town location on the motorway network. The experienced developer will know that if a development is to be successful the location must be the one which will appeal to tenants or purchasers who will either pay rent or a capital sum to occupy the property. There are many examples of unsuccessful schemes which failed because of poor location. With shopping centre evelopment the choice can be very subtle and a slightly ‘off-pitch' location may be enough to discourage tenants from leasing shop units in the new centre. If a site for a new development is identified and the site (or redundant buildings) is available for purchase, planning consent for the scheme must be sought from the Local Authority. It is usually the case that the developer will have concentrated on those locations where the planners will support development proposals and planning consent is likely to be received. If the location is correct and planning consent is likely the developer must also rrange finance to buy the site, build the scheme and let (or sell) it. He may also wish to sell the completed income producing investment. If he does so and the money he receives from the sale of the investment is more than the capital and interest he borrowed to build the scheme, he will receive a monetary profit. There are many sources of finance for developers but conventionally money will be borrowed from banks to buy the site and build a scheme with long term finance being provided by life assurance funds and pension funds. Long term finance in this ontext means the purchase of the completed investment by the fund which will enable the developer to repay all his short term debt and (hopefully) give him a profit. The investment market and development market are therefore closely linked and the developer will be mindful of the fund's requirements from the start of the development process. The most common form of development funding which involves the institutions if known as ‘profit erosion, priority yield'. This method allows the developer to borrow most of his short term finance from the institution and not pay it back until the cheme is completed and let. At this time the fund takes over the scheme in return for providing the developer's short term monies. The developer departs with a lump sum fee for carrying out the project which will be calculated by capitalising that amount of rent from the scheme which will be calculated by capitalising that amount of rent from the scheme which exceeds the fund's required return on the money lent; in other words its ‘priority yield'. Even if the rent from the scheme does not exceed the fund's priority yield, the developer will still receive a fee but obviously not as uch as he would get if he lets the building(s) at a high rent. There are many other types of development funding some of which are described in ‘Property and Money' by Michael Brett (see the bibliography at the back of this booklet). The developer will employ a professional team to design and cost the proposed building. The architect as leader of the design team has a crucial role to interpret his client's intentions and produce a design which will meet the requirements of tenants, planners and long term funders. Other commentators such as journalists, he general public, and the Prince of Wales may also criticise the design of a scheme where it is perceived to be ugly or inappropriate for its location. Successful commercial development requires therefore a combination of good location, planning consent, good design and funding. Even if these factors are present the scheme may still fail, at least in the short term, if the economy is weak and firms cannot expand. This introduction provides a resume of a typical development and the process can now be considered in more detail. The Developer The developer is the instigator of the scheme. He provides the entrepreneurial flair to identify the development opportunity and bring it to a successful conclusion. In doing so he will make use of established relationships with commercial estate agents and his knowledge of the occupier market. Most large development companies specialise in particular areas of the market. Slough Estates for example, built its reputation in the development of industrial and warehouse property whereas Hammersons developed the first shopping mall in the United Kingdom at Brent Cross. Some life assurance funds act as their own developer and one example is Norwich Union in the development of the Bentalls centre in Kingston on Thames. Various government agencies also act as developers such as District and Regional Health Authorities with hospital building. Increasingly, the newly privatised utilities will carry out their own developments. There are many types of developers. Some are ‘developer traders' who build with a view to selling the scheme when it is complete. Others will develop and hold the completed investment in their investment portfolio. Some developers are quoted on the stock exchange and others are little more than one man bands. Throughout the development process, but crucially at the start before funds are committed, the commercial developer will carry out an appraisal which will predict the eventual profits to be earned from the scheme. A considerable amount of work has to be done to produce a full appraisal as all the costs of the scheme have to be considered. The site itself will have to be fully investigated and this will involve bore hole surveys to enable the structural engineer to estimate the cost of the foundations. An environmental impact study may be required before planning consent is forthcoming. With the assistance of his agent, the developer will also predict the rent which the scheme will produce and (if the investment is to be sold), the investment value. If a scheme is to be successful the investment value less all capital and interest costs will have to leave an acceptable profit. If a developer has used rents in the appraisal which are too high, perhaps in expectation of rent rises in the development period, he may eventually make no profit at all and the scheme (from the developer's viewpoint) will have failed. To avoid risk and to attract other tenants to a development, a developer will often eek a pre-let tenant for a scheme. Before construction starts, a tenant will sign an agreement to lease all or part of the scheme at an agreed rent. This is particularly valuable in shopping centre development where an anchor tenant such as a department store will make a commitment before development commenced, thereby giving confidence to other lessees to take shop units. A developer who borrows money to buy a site, construct a building, and seek lessees will have no appreciable earnings until the scheme is let. It would be difficult therefore, for any interest on capital borrowed to be repaid during the development period. It is usually the case that interest is repaid as a lump sum when the fully let investment is eventually sold. Interest in these circumstances is said to be ‘rolled up' until the end of the development period. In arranging finance, the developer will often have a short term interest in the scheme, whereas the fund purchasing the investment when fully let, has a long term interest. Funds are, therefore, particularly interested in tenant quality in the longer term and building flexibility which may not be of primary importance to the developer. Local Authorities may initiate development, particularly retail, by making town centre ites available on ground leases to developers. The Authority will have a long term interest in the scheme's success, as they will receive a grounds rent, probably geared to the full rental value of the development. Not all developers have a short term interest in a development. Major developers may hold completed investments in a portfolio rather than ar range long term finance by selling the investment to a fund. Planning In the words of Clara Green ‘planning applications (like prayers) receive one of three answers – yes, no or yes but. ‘ The process can be one of great frustration and ifficulty for developers and for a major scheme it is usual for a specialist planning consultant to be employed to negotiate a consent with the Local Authority. Planning law is complicated but in general terms, planning consent is required for most major building in the United Kingdom. The department of the Environment is responsible for planning and the Secretary of State for the Environment is advised by teams of professional planners, surveyors and architects. All applications are made to local councils and it is only the most important or controversial applications which will be of interest to the higher tier of overnment. Most applications are, therefore, decided locally although the Secretary of State may decide to call in any application at his or her discretion. To obtain planning permission, an application will be made to the District Council although applications in the future also may be considered by the new unitary authorit ies. The developer can choose the type of application he wishes to make. If he wishes to seek approval to the principle of development, he can make an outline application. This is sometimes referred to as a red line application, as a red ine is drawn around the site plan supporting the application. If consent is granted, this will be subject to reserved matters and the developer will have to seek a subsequent consent for these detailed matters later. Alternatively a full application may be made which will include all detailed matters as well as the basic principles. The Local Authority will decide the application in the context of plans which will have been previously published and approved by the Secretary of State. Under the present two tier system of Local Government, the County Councils produce structure lans for their area which show in strategic terms the type and location of development which will be permitted during the period of the plan. The District Councils produce local plans which deal with detailed matters related to specific areas of land. If the planning application does not accord with the local plan, the Local Authority will be justified in refusing the application but obviously a developer would be unwise to make an application of this type. Structure plans have a life of between 5 and 15 years and comprise a lengthy written statement supported by explanatory diagrams. The important matters dealt with in the structure plan are strategic matters such as tourism and leisure, waste disposal, new housing, employment and transport. The Authority has a two month period in which to decide an application but it can ask the applicant for more time. If the application is refused the applicant can appeal to the Secretary of state and the matter in the majority of cases, will be decided by a Government Inspector. In major cases, the Inspector will make recommendations to the Secretary of State who will, after advice, take a decision. There may also be a Public Local Enquiry here evidence is heard by the Inspector over a number of days from all interested parties. In producing their structure and local plans as well as deciding applications, Councils have to take into account policy statement produced by the government. These are called Planning Policy Guidance Notes (PPGs) and they are published or amended from time to time. Two of the most important are PPG 6 which relates to out of town retail development and PPG 13 which deals with transport. There are a total of 25 PPGs and many are frequently revised. For example a new PPG 12 was produced in April 1999. This revision emphasised the importance of regional planning which now has it own PPG (PPG 11) and also stressed the government's commitment to a plan led system. Any developer seeking to build against government guidance as stated in the PPGs faces a long, expensive and uncertain battle and therefore is well advised to tailor development proposals to accord with published guidance. The government is at pains to demonstrate that the plan led system is sensitive to demographic changes and this is seen in the revisions to PPG 3 (Housing) which take account of the prediction that ‘7 out of ten new ouseholds forming over the next 20 years are likely to be single person households' (Nick Raynsford, Housing and Planning Minister). A topical revision PPG 25 (Flood Risk) which aims to avoid development in flood risk areas and emphasises a precautionary approach in marginal areas with flood defences to be shown to be in place (and paid for by the developer) before development is approved. The Development Team The team will be employed by the developer at the start of a project and it role will encompass design, costing, funding and marketing. In summary its functions are as follows: Architect The Architect is the leader and coordinator of the design team who has a major role in interpreting his client's requirements and producing a design brief. The brief establishes the client's basic requirements and from this the Architect and other members of the design team will produce detailed design drawings. These will eventually be given to selected building contractors who will tender for the job of constructing the building. During construction, the Architect will inspect the work as it proceeds on behalf of his client. Because the Architect's work is so important he ill be paid a fee based on a percentage of the total cost of the building work. For a new building this will normally be between 4% and 5% of the cost of the work. Quantity Surveyor The Quantity Surveyor estimates the eventual cost of the new building and will produce regular cost checks as the design is developed. Before tenders are invited from building contractors, he will inform the client of the estimated cost of the works (the pre-tender estimate) and the client can then proceed to tender with confidence. Services and Structural Engineers In some instances the engineers will be responsible for producing design drawings nd specifications of the building services (air-conditioning, electrical installation etc) and the structure (foundations, structural frame). Increasingly however, the services engineer will only produce a statement of how the services will perform (a performance specification) rather than a full design. In these circumstances, design becomes the responsibility of the contractor. Estate Agents Developers usually have established relationships with firms of estate agents who will be aware of development opportunities. The agent will also provide marketing advice and will be responsible for letting the building. Other Consultants Other consultants include solicitors, landscape architects and planning consultants. With some complicated and large schemes, a project manager may oversee the project on behalf of the client. Specialist noise or environmental consultants may be required where development will take place in environmentally sensitive areas where special planning conditions have been imposed. Successful Schemes A scheme will be successful if its location and design has attracted a number of first class tenants and will continue to do so in the future should any tenants vacate. A uccessful scheme will provide a secure and growing investment for the eventual long term investor as well as an adequate monetary profit for the developer. There are many reasons why development schemes are unsuccessful, some of which are discussed below: Poor Location This is the most obvious but nevertheless very common reason for failure. A shopping scheme may be located where there is a lack of pedestrian flow. An office building may be located where vehicular access is difficult or the chosen site does not provide the required image and identity for the tenant/s. On a wider scale, he development may be located in a city which is in decline, to the detriment of long term investment quality. Some commentators are casting doubt on the future quality of fringe of town retail warehousing schemes which do not have the support of an established town centre. Poor Design A shopping centre must be designed to maximise pedestrian flow and enable shoppers to both park and gain easy access. If the design fails to do this, the public may avoid the centre and tenants will be hard to find. Also shopping centres must allow frequent changes of image and must provide the correct ambience for the ublic. Attention to detail with the internal design will allow this to benefit the investment. Thee are many examples of office buildings constructed in the 1960's and 1970's which do not provide the necessary ducting and image for modern tenants using today's technology. These developments may have been regarded as successful when they were first constructed, but in terms of a long term investment are of dubious quality. Lack of flexibility with many buildings means that where occupier requirements change the buildings cannot and voids are the result. Increased Costs during Design or Construction If a developer allows costs to increase, he will eventually make no profit whatsoever from the scheme. If costs increase beyond those used in the appraisal the developers profit will be eroded. The expertise of the design team to contain costs whilst, at the same time, producing a quality building is of vital importance but sometimes mistakes are made. A lack of coordination between building work and services is a typical example leading to redesign, delay and increased costs. Planning Errors When a contract is awarded to a contractor, it is important that the site of the evelopment is firstly in the legal control of the developer and secondly the same site for which planning consent has been granted. There have been many examples of mistakes in this area to the detriment of the project. Empty Property A newly built shopping centre with few tenants is clear evidence of a scheme which falls short of success. There are many examples amongst those centres completed during the recession. As with office and warehousing property pre-let tenants are particularly valuable in recessionary periods. Public Sector Development The Private Finance Initiative. In the past public sector development such as roads, hospitals and bridges were built by government contracting with the private sector for the design and construction works. Civil servants and their consultants would work to precise specifications of what was required to be built. When the development was complete the government would then be responsible for running the completed hospital, road or whatever to the benefit of the public. The Private ~Finance Initiative (or PFI) is intended to revolutionise the traditional method of producing public facilities described above. It was conceived in 1992 during Norman Lamont's troubled chancellorship and was vigorously supported by his successor Kenneth Clarke. In essence PFI only required the government to state how the building is to be used and the performance it must achieve. The private sector is then invited to tender for the design, construction and running of the new facility. The reward for doing this is negotiated with the government agency responsible for the facility and will usually take the form of a regular monetary payment so long as the facilities provided continue to meet the agreed criteria. Kenneth Clarke stated that PFI is ‘a radical and far reaching change in capital investment in public services which will break down further barriers between the public and private sectors'. The central argument in favour of PFI is that the private sector is more capable of promoting efficiency than government and will provide business solutions to public sector requirements. It is also argued that the risks of increased construction and running costs, which appears to be a feature of public sector schemes, will disappear with PFI where all the risks are borne by the private sector. Critics of PFI point out that it is extremely difficult to produce a performance specification for, say, a highly complex building such as a hospital and this will lead to private sector contractors being allowed to cut corners to the detriment of the public. It is also pointed out that the government can always borrow money more cheaply than the private sector and that this will inevitably lead to increased costs which will be passed on to the public. The change of government in May 1997 led to a thorough review of the experience gained from using PFI in the previous five years. Malcolm Bates was appointed to arry out a review which resulted in 29 recommendations aimed at rationalising and reinvigorating the PFI process. The ‘Treasury Taskforce' was the government's response to the review and this body consisted mainly of city financiers who were charged with building up PFI expertise in government. The taskforce had a life of three years and is replaced by ‘Partnerships UK' which will operate as a joint private/public consultancy to assist with the PFI process. There are currently hundreds of PFI schemes in the process of completion and the present government is wedded to this form of procurement for public sector projects.

How Far Do You Agree with the View That the Limited Appeal?

Mazzini was an important figurehead for the unification of Italy, historians such as Pearce and Stiles state that that ‘no one else campaigned for so long or so tirelessly in the cause of a united Italy'. He had extremely radical and liberal ideas about how Italy should be unified, and some historians Mazzini’s ideal was that Italy should be unified ‘from below’.He wanted the people of Italy to rise up from their high-powered oppressors, while still maintaining the opinion that if monarchs were prepared and wanted to fight against the Austrian domination, then they should be supported and not hindered. He wanted a ‘brotherhood of the people’ to all move toward greater social equality (Denis Mack Smith described him as having ‘contempt for xenophobia and imperialism) so that all of the people of Italy would unite in order to unify their country.Mazzini also stressed that Italy should be unified ‘by its own efforts’, wanting to avoid any outside help- especially from France- in fear that they may just replace one outside domination by another. However, the limited appeal of his ideas were shown when Italy was eventually united and done more-so from above than it was below- he was described as being ‘disgusted’ by this and criticized the new Italian unified state, describing it as a ‘dead corpse’.It could be argued that Italy could have been unified earlier under Mazzini’s watch if it had not been for how his ‘one overriding aim’ distracted from the main goal of a united Italy. It could also be argued, as Robert Pearce details, that Mazzini was ‘absent from Italy’ for such a long and extended period of him (totalling in ‘all over 40 years’) that he became ‘out of touch’ with this situation. This then caused him to over-exaggerate the ‘national identity’ of Italians.This meant that he dis-appreciated the revolut ionary potential of the peasants/ the common people, as he had little to none contact with them and knew little about them. As a result of this blindness, his further attempts to cause unification failed, an example of this is an organised mutiny within the Piedmont that then failed- but the most obvious was the failure of the planned uprising in Naples, in which Mazzini went on the assumption that the peasants were ‘a volcano about to erupt’-whereas this was not the reality of the situation.We can also see examples of his disassociation to the ‘real’ people of Italy in his political society ‘Young Italy’; despite being hailed as ‘Italy’s first real political party’, their membership was extremely limited to well educated, young, middle-class men. It was here that one of Mazzini’s major weaknesses became apparent- that as a result of his ‘complex thinking’ as well as his studies of law and medicine, his i deas became too intellectually advanced for most people to grasp and most certainly too radical for the ‘cautious, middle-class reformers’.This prevented many from joining the cause- leading to failed coups in Piedmont as well as uprisings in Naples and Savoy. His supporters described him as the ‘greatest, bravest, most heroic of Italians'. His deeply radical approach led his political enemies to accuse him of being an ‘enemy of Italy' and a ‘terrorist'. His ideas were of democracy, rights, and equality for all (he even campained for the rights of women, wanting to give them the vote).These ideas were exteremely liberal and were far from limited in the sense that they were not censored or right-wing and they inspired many to the cause. However, his ideas were unrealistic for the times (women would not get the full vote until after World War II), but it was the fact that his ideas were extremely modern and remarkably radical that converted people to Maz zini's idea of a ‘democratic, self-governing state'. This would suggest that his ideas were not limited, but appealing to the people of Italy.

30 Archaic Adjectives and Adverbs

30 Archaic Adjectives and Adverbs 30 Archaic Adjectives and Adverbs 30 Archaic Adjectives and Adverbs By Mark Nichol The words below are either obsolete, archaic, or old-fashioned, and though those in the latter category can still be found in modern writing, use all with caution. Sparing use keeps these words alive and adds a whimsical or quaint note, but too frequent recourse to such antiquities will have you sounding like a Renaissance Faire refugee. (Most are adjectives or adverbs or both; some can function as other parts of speech as well, as indicated.) 1. Anon (adv.): soon, or later (â€Å"They will arrive anon†; â€Å"I will reveal more anon†) 2. Aright (adv.): correctly (â€Å"Did I hear aright?†) 3. Athwart (adj., prep.): across (â€Å"The locked chest lay athwart the planks†) 4. Belike (adv.): probably (â€Å"Belike we are more similar than you think†) 5. Enow (adj., adv.): enough (â€Å"If I had loved enow, I would be a happier man†) 6. Fain (adj., adv.): willing, compelled, inclined, pleased (â€Å"Fain am I to hear you sing†) 7. Forsooth (adv.): indeed (â€Å"Forsooth, I do believe you envy him†) 8. Forthwith (adv.): immediately (â€Å"Carry this message forthwith†) 9. Froward (adj.): contrary, adverse (â€Å"His horse was froward, and threw him when he set his spurs†) 10. Heretofore (adv.): up to this time (â€Å"Heretofore, I had not believed it possible†) 11. Hither (adj., adv.): to this place (â€Å"Come hither when you are able†) 12. Hitherto: see heretofore 13. Lief (adj., adv.): beloved (â€Å"You are my lief friend†); willing (â€Å"I would as lief be beside you now†) 14. Mayhap (adv.): perhaps (â€Å"Mayhap we shall see them tomorrow†) 15. Meet (adv.): appropriate (â€Å"It is meet that you do so†) 16. Nary (adj.): not any or not one (â€Å"Nary a sign have I seen of him†) 17. Natheless (adv.): nevertheless (â€Å"Though it is dangerous, natheless will I go) 18. Needs (adv.): necessarily (â€Å"I must needs be heard so that all shall know†) 19. Nigh (adj., adv.; prep.): near, nearly, direct (â€Å"Those who pursue are nigh upon us†) 20. Peradventure (adj., adv., prep.): see mayhap (also n.: a doubt or chance) 21. Posthaste (adj., adv., n.): immediate (â€Å"Your posthaste reply is appreciated†); as quickly as possible (â€Å"We will arrive posthaste†) 22. Puissant (adj.): powerful (â€Å"She is a puissant adversary†) 23. Sith (adv.): since (â€Å"Sith that time, I have wept often over the memory†) 24. Strait (adj., adv.): narrow, or strict or rigorous (â€Å"I would have you be strait in your habits†) 25. Thither (adj., adv.): there, on the other or farther side (â€Å"Our host took us thither†; â€Å"What you seek is in the thither valley†) 26. Verily (adv.): certainly, truly, with confidence (â€Å"Verily, I did see it with my own eyes†) 27. Whereof (adv., conj.): of what (â€Å"Whereof have you seen in the world?†) 28. Withal (adv., prep.): besides, nevertheless (â€Å"Though you may be right, I withal must see for myself†) 29. Yare (adj.): agile, handy, ready (â€Å"She’s a yare vessel, all right†) 30. Yon (adj., adv., pron.): over there (â€Å"I ride to yon village†; â€Å"What do you see yon?†) Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:10 Grammar Mistakes You Should AvoidBetween vs. In BetweenWhat the heck are "learnings"?

Approaches to self-managed learning

Approaches to self-managed learning This report first notes how self-managed learning can enhance lifelong development by evaluating approaches to self-managed learning, ways in which lifelong learning in personal and professional contexts can be encouraged, and the benefits of self-managed learning to the individual and organisation. Thereafter, the report comments upon my own current skills and competencies. These are evaluated against professional standards and those of organisation objectives. In the third part of the report, I identify my own development needs and what additional activities need to be undertaken for me to meet them. Finally, a personal development plan outlining current and future needs is given. Introduction Self-managed learning is, as Graves (2012) notes, a process by which individual people find different ways of learning things, whether it be within the organisation they are working for, or with reference to longer-term individual career developments goals. Thus, as Pedlar, Burgoyne and Boydell (2013) suggest, self-managed learning is also about the setting of goals through evaluating the purpose for learning and planning ways by which to achieve such goals. People learn new things using a plethora of different techniques which can be shaped, for example, by culture, behaviour, personality, and perceptions. Indeed, commenting further, Bjork, Dunlosky and Kornell (2013) assert that individuals can learn things not only in a formal educational class but also through friends, and newspapers. Thus, as Ho (2011) posits, self-managed learning gives people a chance to come up with their own strategy in learning. The following section outlines a series of different approaches to self-managed learning. Approaches to self-managed learning Individuals can learn through the research they are undertaking as part of their work or as part of an assignment that they have been issued by either the university or college they are studying at. In addition, people can lea rn different techniques for doing the research. Seminars and conferences People can learn through seminars and conferences, as noted by Collin and Hammond (2013). Seminars and conferences are an effective tool as they give people the opportunity to present their knowledge about something to other people who end up learning new things; thus, seminars and conferences, for example such as that held by the University of Odense in 2013 on the role of Gender in Mediaeval European Cities, are a dynamic learning environment. Further, seminars and conferences help people to become more confident in speaking in public and may also develop their presentation skills: transferrable skills that can be useful in a range of organisational settings – thereby empowering both the organisational and the individual. Social networks There are, as Bourner (2011) notes, a range of different social networks including Facebook, Twitter, My Space, and so on, where people spend an increasing p roportion of their time. Whilst logged onto such sites, people can be chatting with friends or learning new things. This is particularly the case if people share information and knowledge through bulletin boards and forums. People can also learn how social network owners such as Mark Zuckerberg he became successful; and using the information that they obtain, people can apply this knowledge to their own lives thereby find the means of succeeding in

Knowledge in the Natural Law Case Study Example | Topics and Well Written Essays - 1250 words

Knowledge in the Natural Law - Case Study Example Natural law and Natural Rights, on which the modern Jurisprudence exists to a very large extent, are as old as human race, and form the fundamental base of Human Rights. Natural law is based on the good feeling, on the wellbeing of people around us. It is directly connected with the original form of human life closely knitted with nature and nature is knowledge. Understanding nature is understanding right and wrong, knowing which action leads to which results, and having intricate knowledge of actions and reactions in nature that would eventually reflect on the welfare of humans. It is also knowledge about all natural forms, lives, organisms, animals and the natural right of all species to be allowed to live without being harmed. This basic principle of natural law depends heavily on the knowledge of values, compassion, fellow feeling, and celebration of life. There is no Natural law or Natural Rights in the absence of this basic knowledge and reasoning. Natural law is believed to be the closest that law could get to divinity. "For they are not of human position purely or simply, but are laws of God or Nature clothed with human sanctions. As obtaining at all times and obtaining at all places, they are styled by the classical jurists jus gentium, or jus omnium gentium," (Hart (19712). We hear that our unedu... According to Finnis, knowledge stems from basic value and basic practical principle. He argues that knowledge of human conduct is necessary to evaluate it against values and good principles. Another point is that with the background of sound knowledge, the principle application becomes self-evident, and unquestionable. This particular knowledge is not attained by exalted pursuit of the most intricate information. On the contrary, it is attained by compassion, understanding, friendliness and a desire to do justice against odds. It also owes its existence to the moral ethics, impartiality and consideration of other humans' feelings and rights to exist. It is acknowledgement of basic human rights. It is knowing how to preserve natural innocence. Ultimately it is the knowledge and acknowledgement of the truth and an ardent desire to establish it against negative circumstances. When knowledge becomes the basic aspect of a human being, that individual could be assessed as a complete person. Here Finnis agrees with Bentham and Kant, even though he does not touch the high morality prescribed by them. "The purity exacted by both Bentham and Kant consists in imitating qualities of the divine. For Bentham, the quality of benevolence takes precedence, but it turns out that the theory demands the divine attribute of omniscience as well.however different their paths may be, Bentham and Kant share the Enlightenment impulse of grounding a moral theory in attributes of the human condition," (Fletcher, 19963). Finnis goes on to argue that it should be the good knowledge, and not an unpleasant one that could be of no use to the person's surroundings. He reflects on the natural human compulsion of curiosity and insatiable inquisitive desire to know which will lead