Restoration Recovery Plan Free Essay Example, 1750 words

Since managing the ISU entails more duties than observing and evaluating staff members, observations and evaluations provide limited protection for the system. Performing a host of other duties undoubtedly interferes with supervisors’ competence while evaluating subordinates. One way or the other, systems operators will invest time into their information systems—either they will be proactive and devise risk management plans, or they will be forced to restore the entire system or recover deleted files in a feeble response to the aftermath of disturbance. Apparently, FLPD’s security measures for its information systems are mediocre, at best. Thus, the following plan to identify and provide information systems’ restoration and recovery is duly warranted. Methods of Restoration Strengths of current restorative methods. The task of system restoration appears to be an easy fix, as the same method is utilized to restore systems. Wilson (2003) states, â€Å"Highly skilled engineers and technical experts who understand the systems would, as always, work tirelessly to restore functions as quickly as possible. † (p. 6) Using human labor as a means of restoration is beneficial. Technicians’ knowledge accompanies their skill in dealing with the information systems. We will write a custom essay sample on Restoration & Recovery Plan or any topic specifically for you Only $17.96 $11.86/pageorder now Since their work requires hands-on encounters with the systems, technicians can immediately assess and respond to the system’s malfunction. Weaknesses of current restorative methods. On the other hand, total dependency on human labor to complete such a critical task has an absolute disadvantage. Human labor is not instant. First, humans require time for arrival on site of the problem. Secondly, technicians must first perform a diagnostic assessment prior to implementing a possible solution. If that solution fails, technicians must reassess then apply a different solution. For the most part, the repair phase should not be trial and error, as a wrong could precipitate further damage. Combining strengths and weaknesses to maximize efficiency. Since most systems operators are dependent on the benefits of human labor, resolving the issue of damage in a timely manner proves to be challenging. To adequately protect its citizens, FLPD relies on the apt responses of its information systems and staff (flpd. org). To maximize the element of time, FLPD should plan to combine the benefits of human labor with the convenient basics of technology. Since technicians are equipped to deal with information systems, the proposed plan would require technicians to compile scenarios they have encountered and possible scenarios that would also warrant repairs.

The Revolutionary Revolution, By John Adams - 1198 Words

In contrast to a contemporary movement, one iconic Cuban Revolutionist Che Guevara proclaimed, â€Å"Many will call me an adventurer - and that I am, only one of a different sort: one of those who risks his skin to prove his platitudes† (James). I believe that this statement can be reflected in the colonist’s motivations and actions as well. These people did not travel to the New World and risk death because they wanted to, but because it was necessary for them in order to live at peace with themselves. They were in such a distressed state of mind and living in Europe that they needed to adventure and explore other options. I agree with this assessment by John Adams as the people’s mindset and creation of new independent thinking exemplifies†¦show more content†¦As Adams stated, the Revolution did not happen during the course of the war, but rather much longer beforehand in the minds and actions of the people. The main belief that was altered and influenced American ideals is their view on religion. What first prompted the people to move and separate was their need to worship freely. This shows that they no longer felt safe in conformity of the Church of England, where religion and politics were intertwined (Part V-The Reformation). They did not feel secure enough to worship or practice a different religion in their own homes. This fear led to distrust in the Church and politics of England. Eventually, they made the choice to stop suffering in silence and transport themselves to a land where they could live happily. The Puritans were the most notable because they wanted to â€Å"establish a colony based on religious ideals [...] to build America’s first utopian, or ideal, society† (Enduring Vision, 55). Safety also breeds diversity, so other religions like the Quakers and Baptists felt compelled to move as well (Enduring Vision, 91). Socially, the people had no need to live in fear of the Anglican Church and were able to open their minds to different views such as family rearing. There was more emphasis on the family and child rearing in Puritan societies. Women were given more liberties and protections than in

Characteristics of Metaphysical Poetry free essay sample

What is a metaphysical poem? Metaphysical poetry is concerned with the whole experience of man, but the intelligence, learning and seriousness of the poets means that the poetry is about the profound areas of experience especially about love, romantic and sensual; about mans relationship with God the eternal perspective, and, to a less extent, about pleasure, learning and art. Metaphysical poems are lyric poems. They are brief but intense meditations, characterized by striking use of wit, irony and wordplay.Beneath the formal structure (of rhyme, metre and stanza) is the underlying (and often hardly less formal) structure of the poems argument. Note that there may be two (or more) kinds of argument in a poem. In To His Coy Mistress the explicit argument (Marvells request that the coy lady yield to his passion) is a stalking horse for the more serious argument about the transitoriness of pleasure. The outward levity conceals (barely) a deep seriousness of intent. You would be able to show how this theme of carpe diem (â€Å"seize the day†) is made clear in the third section of the poem. Characteristics of Metaphysical Poetry ?Startling comparisons or contrasts of a metaphysical (spiritual, transcendant, abstract) quality to a concrete (physical, tangible, sensible) object. In A Valediction: Forbidding Mourning, Donne compares the love he shares with his wife to a compass. ?Mockery of sentimental romantic poetry ?Gross exaggeration (hyperbole) ?Presentation of a logical argument.Donne argues that he and his wife will remain together spiritually even though they are apart physically. Metaphysical Poetry The Flea + Sune Rising Metaphysical poets use startling juxtapositions in their poetry to create a greater significance in their arguments and intended meanings throughout the poem. John Donne is said to be the unsurpassed metaphysical poet, metaphysical poetry being poetry relating to a group of 17-century English poets whose verse is typified by an intellectually arduous style, admitting xtended metaphors and comparing very disparate things. In 17th century England new discoveries were being made and social customs such as men being the dominant over women still applied. Through Donnes poetry we can see that he is goaded and confused by the new discoveries and the social customs avert him from reaching his desires. This is incalculably recognized in his two poems, The Sunne Rising and The Flea where Donnes arguments challenge some beliefs of the 17th century England.Through The Sunne Rising we gain a sense of meaning that Donne is irritated and perplexed with new discoveries and that he believes his loveis everything in the whole world. In The Flea we can see Donne challenging the social costumes of the 17th century, such as chastity of women, his tremendous persistence to sexually unite with the woman and the overall dominance presented over the woman. In both of these poems Donne uses vividly striking differences in the argument to emphasize the overall meaning of the poem.These dramatic contrasts include conceit, binary opposition, imagery, specific words and the movement of the poem, which are additionally affirmed by poetic devices. The Sunne Rising implies that when a couple unearths perfect love together they become one, shaping a world of their own, which has no need for the outside world. He suggests that even the physical laws of the universe must defer to those persons caught up in the larger universe of infatuation. We also see Donne is going through a struggle of the old and new during the poem.In the Sunne Rising Donne uses a number of dramatic.. . Metaphysical Poetry Metaphysical poetry, a term coined by Samuel Johnson, has its roots in 17th-century England. This type of poetry is witty, ingenious, and highly philosophical. It topics included love, life and existence. It used literary elements of similes, metaphors, imagery, paradoxes, conceit, and far-fetched views of reality. John Donne is regarded as the â€Å"leading poet† of this highly intellectual form of poetry.Donne was influenced by the belief that the precision of beauty in the adored (loved one) behaved as a commemoration of ideal beauty in the everlasting kingdom (heaven). He also used unconventional and colloquial rhythm and tone, which was highly contrary to the Elizabethan poetry style. Metaphysical poets : The name given to a diverse group of 17th? century English poets whose work is notable for its ingenious use of intellectual and theological concepts in surprising conceits, strange paradoxes, and far? fetched imagery.The leading metaphysical poet was John Donne, whosecolloquial, argumentative abruptness of rhythm and tone distinguishes his style from the conventions of Elizabethan love? lyrics. Other poets to whom the label is applied include Andrew Marvell, Abraham Cowley, John Cleveland, and the predominantly religious poets George Herbert, Henry Vaughan, and Richard Crashaw. In the 20th century, T. S. Eliot and others revived their reputation, stressing their quality of wit, in the sense of intellectual strenuousness and flexibility rather than smart humour. The term metaphysical poetry usually refers to the works of these poets, but it can sometimes denote any poetry that discusses metaphysics, that is, the philosophy of knowledge and existence. John Donne, is remembered today as the leading exponent of a style of verse known as metaphysical poetry†. Metaphysical poetry typically employs unusual verse forms, complex figures of speech applied to elaborate and surprising metaphorical conceits, and learned themes discussed according to eccentric and

Our Town By Thorton Wilder (1897 - 1975) Essays - Our Town

Our Town by Thorton Wilder (1897 - 1975) Our Town by Thorton Wilder (1897 - 1975) Type of Work: Presentational life drama Setting Grover's Corners, New Hampshire; 1901 to 1913 Principal Characters Stage Ma Beer, the play's all-wise narrator Dr. and Mrs. Gibbs, an ordinary small- town physician and housewife George Gibbs, their son Mr. and Mrs. Webb, a news editor and his wife Emily Webb, their daughter Simon Stimson , the town drunkard and church choir organist A conglomeration of other ordinary people living out ordinary lives Story Overveiw Act 1. Daily Life: The Stage Manager speaks while pointing to different parts of the stage: "Up here is Main Street ... Here's the Town Hall and Post Office combined ... First automobile's going to come along in about five years; belonged to Banker Cartwright, our richest citizen ... lives in the big white house up on the hill." A train whistle is heard, and the early birds of the town start to appear. The newsboy and the milkman begin their rounds just as the doctor is finishing his. They stop for a brief exchange of gossip: the school teacher is getting married, the doctor just delivered twins, and the milkman's horse refuses to adjust to a change in route. Now Mrs. Webb and Mrs. Gibbs are spotlighted in their respective kitchens, preparing breakfast. Mrs. Gibbs calls up to her children, George and Rebecca, and, as they appear, complains to her husband that George isn't helping with the chores. Mrs. Webb reminds her son Wally to wash thoroughly. The Gibbs daughter, Rebecca, doesn't want to wear her blue gingham dress. George negotiates for a raise in his allowance. Each child is reminded to eat slowly, finish his breakfast, stand up straight ... The day has begun. Later, coming home from school, Emily Webb promises to give George Gibbs some help with his algebra. At the Congregational Church, choir practice can be heard. In the Gibbs home, George and his father have a "serious" talk about growing up. Returning from choir practice, Mrs. Gibbs prattles on about the drunken choir organist, Simon Stimson. The town constable makes his rounds to ensure that all is well, and the Stage Manager calls an end to this typical day in Grover's Corners. Act 2. Love and Marriage: "Three years have gone by," muses the Stage Manager. "Yes, the sun's come up over a thousand times . . . " The date is now July 7,1904. It's been raining. As Mrs. Gibbs and Mrs. Webb reappear in their kitchens, he continues: "Both of those ladies cooked three meals a day - one of'em for twenty years and the other for forty - and no summer vacation. They brought up two children apiece, washed, cleaned the house ... and never a nervous breakdown. It's like what one of those Middle West poets said: You've got to love life to have life, and you've got to have life to love life ... It's what they call a vicious circle." Howie, the milkman, makes his deliveries to Mrs. Webb and Mrs. Gibbs, and at each house you hear talk of the same two breakfast-table conversation topics: the weather and the upcoming wedding of Emily and George. The chit-chat is typical of things people say before weddings. Mrs. Gibbs worries out loud about the inexperience of the bride and groom; the doctor reminisces about being a groom himself. His fear was that he and his wife would run out of things to talk about which, he chuckles, hasn't been the case at all. When George comes downstairs and is about to leave for a visit with Emily, his mother reminds him to put on his overshoes. But Emily's mother, though she invites George into her kitchen, won't let him see her daughter. Traditionally, she says, a groom is not allowed to see his bride on the wedding day until the ceremony begins. Mr. Webb placates young George: "There is a lot of common sense in some superstitions." The nervous groom sits down to a cup of coffee with Mr. Webb, his equally nervous future father-in-law. Mr. Webb makes various attempts at small talk and reassures George that his nervousness about impending matrimony is typical. "A man looks pretty small at a wedding ... all those women standing shoulder to shoulder making sure that the knot is tied in a might grand way." He then shares with George the advice his father gave him when he married; the stern counsel to keep his wife in line and show her who's in charge. George is puzzled until Mr. Webb goes on: "So I took the opposite of my father's advice and I've

What Would A Content Marketing Degree Look Like

What Would A Content Marketing Degree Look Like What would a content marketing degree look like? Obviously, you dont need a degree to take part in content marketing. But if it were going to be your profession, what would you need to know?  Ive been stumbling onto blog posts and articles that try to pin down whether universities ought to offer actual degrees (or at least classes) in online content marketing, or whether there are certain types of courses someone ought to take in order to prepare for a career in content marketing. A Content Marketing Degree Im an art major, and while people often joke about the usefulness of that particular degree, I would point out that it is a degree that taught me important core creative principles that easily translate into other fields. It wasnt limited to the mechanics of drawing and painting, but included learning to give and receive critique, solving problems with my own ideas, working through a problem–good stuff to be able to do. In other words, some college degrees are about more than just their official title, building skills and qualities that translate well into other careers. Should universities offer specific content marketing degrees? #discussRather than worry about universities offering degrees for content marketing specifically, though, two better questions might be: What skills and knowledge would someone look for in hiring a content marketer? What kind of a training should you have if you want to pursue content marketing on your own? There are things every content marketer should know, and it doesnt take a university degree to learn them. What Every Content Marketer Should Know Content marketing is about writing, creativity, marketing, sales, data, and being socially engaging. Thats a lot of skills. How do you approach getting them? There are six core areas of knowledge that a content marketer should have a fair working grasp of, and if there were a content marketing degree, it might look a bit like this. 1. Psychology, Sociology, And Anthropology Psychology is the study of how we behave, and what motivates us to take action (or non-action).  Sociology  is the study of human social behavior, organization, and institutions.  Anthropology  is the study of people using social, biological, and natural sciences, as well as the  humanities  (studying human culture through a speculative and critical lens).  A special focus on  cultural anthropology  will give you insight into the customs, culture, politics, laws, religions, and language of a particular people group, which helps you understand a bit better why and how they react to things that other cultures perceive differently. Whew. All of that to say this:  You need to understand why people do what they do.  You need to know how to motivate or convince them to behave in the way that you want them to. If you are creating content that you want people to notice and share, take action on, and engage with in some way, you must know what causes them to do so. As a content marketer, youll need to know about: Pinging their emotions. Lets say there really are four basic emotions (happy, sad, afraid/surprised, angry/disgusted). Do you know which emotions encourage sharing? Which emotions get people to buy? Which emotions create loyalty? (Psychology) Pinging their motivations. Do you know what motivates people to take action? What verbal cues they look for? What visual cues they want? What turns them off right away? (Psychology) Banking on the group. Understanding how people act in groups or packs is important because that is exactly what social media is. It gets the individual to instigate something to the group. We talked about social proof, and how important it is to build that for your content marketing. Do you know how to leverage the group? (Sociology) Offending their sensibilities. Understanding your audiences culture is paramount. We all view the world through different cultural lenses. What might be offensive or crass in one culture might be admirable in another. Additionally, cultures arent purely based on geopolitical boundaries. They might be startup culture, mommy blogger culture, Star Trek culture–or all of the above. You should know your audiences culture well if you have a niche blog. (Anthropology) Culture affects marketing. Know the zeitgeist you are operating in. Culture determines so much about how content marketing works. Whats trending? Whats old news? Whats hot and what has become passà ©? (Anthropology) Youll see a lot of content marketing blog posts with a psychological or physiological (how our brain responds to stimuli) bent these days, but Ive always felt that, until recently, anthropology was lacking in mention despite having a very large role in how people groups act. The outcome of psychology and sociology sometimes gets altered when filtered through anthropology. Suggested Reading Influence: The Psychology of Persuasion by Robert B. Cialdini The Power of Habit: Why We Do What We Do in Life and Business by Charles Duhigg How We Decide by Jonah Lehrer Any of Dan Arielys books on behavior and rationality. Anthropology, Inc. by Graeme Wood The Atlantic, Feb 20, 2013. Anthropologys Contributions To Marketing by Charles Winick, Journal of Marketing, July 1961. Cultural Anthropology In Marketing by Marketing Profs 3 Things Marketers Could (And Should) Learn From Anthropologists by Mitchell Osak, Financial Post, March 4, 2014. Psychology for Marketer: 9 Revealing Principles of Human Behavior by Ginny Soskey, Hubspot Blog 2. Creativity And Problem Solving The need to create content of all types, for all occasions, means that youll need to be on your creative toes. A how-to guide on creativity is a bit hard to nail down, since we all approach it differently with habits, systems, preferences, and experiences. As a content marketer, youll need to know how to: Develop a system. Creativity and problem solving are concrete concepts in that they actually do tend to happen in the same way in each of us. We often get the idea that creativity is accidental, on a whim, and not predictable, but this is not the case. Will your system use brainstorming? Will you schedule creative time? Do you understand how creativity works? Do you know how to approach a problem that needs solving? Work through blocks. Sooner or later, youll face a dead-end when it comes to ideas, and this is when youll be glad you took the time to learn techniques to help you get past that. Maybe you have writers block, or cant think of absolutely anything to do for the next video. Really, when you think about it, problem solving  is  creativity. Suggested Reading: Inside the Box: A Proven System of Creativity for Breakthrough Results by Drew Boyd Ogilvy On Advertising by David Ogilvy Scientific Advertising by Claude C. Hopkins Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration by Ed Catmull Orbiting the Giant Hairball: A Corporate Fools Guide to Surviving with Grace by Gordon MacKenzie An Easy Way To Increase Creativity  By Oren Shapira and Nira Liberman, Scientific American, July 21, 2009 3. Journalism And Creative Writing Journalism and creative writing both have a place in content marketing. The journalist approach–getting the important facts and presenting the data with impartiality–mixes well with creative writing, the telling of a good story. As a content marketer, youll need: Research skills. When you approach your blog posts like a journalist, youll start to make use of serious research tools to collect necessary data. The New York Times has compiled a great list of resources you could use to do this kind of research, as has Poynter. Interview skills. Even if you are not doing an outright interview post, you still need to know the art of interviewing because that is really just the art of asking the right questions. Sometimes, when doing research, you are interviewing yourself, asking yourself the questions so that you know what answers to find. Storytelling skills. Do take the time to practice the art of storytelling, which mixes in many of the elements of psychology that motivate readers to keep reading: suspense, emotion, connection, and curiosity. In a sense, both journalists and creative writers are storytellers; one just has tangible facts that must be included with a goal of informing and educating the reader, while creative writing approaches the same goal through a more winding path. In the end, all great writing, no matter what form or style it takes, tells the truth to and about the reader.

Best Character Analysis Nick Carraway â€The Great Gatsby

Best Character Analysis Nick Carraway –The Great Gatsby SAT / ACT Prep Online Guides and Tips Nick Carraway is The Great Gatsby’s narrator, but he isn’t the protagonist (main character). This makes Nick himself somewhat tricky to observe, since we see the whole novel through his eyes. How can you watch the narrator? This difficulty is compounded by the fact that Nick is an unreliable narrator – basically, a narrator who doesn’t always tell us the truth about what’s happening. In this post we will explore what we objectively know about Nick, what he does in the novel, his famous lines, common essay topics/discussion topics about Nick, and finally some FAQs about Mr. Carraway. Article Roadmap Nickas a character Nick's background Actions in the novel Character Analysis Quotes about and byNick Nick as a narrator Nick as a character FAQ clarifyingconfusing points about Nick Quick Note on Our Citations Our citation format in this guide is (chapter.paragraph). We're using this system since there are many editions of Gatsby, so using page numbers would only work for students with our copy of the book. To find a quotation we cite via chapter and paragraph in your book, you can either eyeball it (Paragraph 1-50: beginning of chapter; 50-100: middle of chapter; 100-on: end of chapter), or use the search function if you're using an online or eReader version of the text. Nick Carraway's Background Nick grew up in the â€Å"middle West,† (what we call the Midwest), in a wealthy family that was â€Å"something of a clan† (1.5). His family made their money from a wholesale hardware business his grandfather’s brother began after sending a substitute to fight for him in the Civil War. Nick attended Yale, like his father, and then fought in WWI. Upon his return, he found the Midwest incredibly boring and so set off for New York to become a bond salesman: â€Å"I enjoyed the counter-raid so thoroughly that I came back restless. Instead of being the warm center of the world the middle-west now seemed like the ragged edge of the universe- so I decided to go east and learn the bond business† (1.6). Of course, we later find out that Nick’s also getting away from a woman who expects that they’re getting married, but Nick downplays this fact in his narration, which is one of our clues to his dishonesty. To see how Nick's background intersects with the stories of the other characters in the novel, check out ourGreat Gatsby timeline. Nick's Actions in the Novel This is a summary of everything Nick does during the novel, leaving out flashbacks he hears from other characters. (For a complete summary of the plot, check out our book summary!) At the beginning of The Great Gatsby, Nick Carraway takes up residence in West Egg, in a small house next to Gatsby’s enormous mansion. The year is 1922, the stock market is booming, and Nick has found work as a bond salesman. In Chapter 1, he is invited to his cousin Daisy Buchanan’s home to have dinner with her and her husband Tom, an old college acquaintance of his. There he meets Jordan Baker, Daisy’s friend and a professional golfer. In Chapter 2, while hanging out with Tom he ends up being dragged first to George Wilson’s garage to meet Tom’s mistress Myrtle Wilson, and then to the apartment Tom keeps for Myrtle in Manhattan. They invite over a bunch of friends and a drunken party ensues. Nick witnesses some of Tom’s ugliest behavior, including his physical abuse of Myrtle. In Chapter 3, Nick is invited to attend one of Jay Gatsby’s famous parties. There, he finally meets Gatsby, and also sees Jordan again. After seeing Jordan again at that party, they begin to date, and also does his best to win over her old Aunt, who controls her money. Once he starts dating Jordan he vows to stop sending weekly letters to the woman back in the Midwest. (Though, in typical Nick fashion, he never confirms that he stops sending the letters.) He also mentions a brief affair with a woman in his office that he lets fizzle out. After meeting Gatsby in Chapter 3 they begin spending time together. In Chapter 4 they drive to Manhattan together. At first he’s pretty wary of Gatsby and his story. This wariness of Gatsby is compounded by Nick’s poor (and very anti-Semitic!) impression of Meyer Wolfsheim, one of Gatsby’s associates. Later in Chapter 4, Nick meets up with Jordan in the plaza hotel and she tells him about Daisy and Gatsby’s romantic history (which she heard all about at the previous party). Nick agrees to arrange a meeting between Daisy and Gatsby, which occurs in Chapter 5. In Chapter 6, Nick goes to Gatsby’s house and witnesses an awkward exchange between Gatsby, a couple named Sloane, and Tom Buchanan. The trio had stopped by Gatsby’s house and Gatsby misreads how serious they are about having dinner together. Later, Tom and Daisy attend one of Gatsby’s parties. Tom is immediately suspicious about where Gatsby gets his money while Daisy has a bad time, looking down her nose at the affair. Gatsby confides in Nick afterwards that he wants to repeat his past with Daisy. In Chapter 7, Nick is invited along to a lunch party at Tom and Daisy Buchanan’s house, along with Gatsby and Jordan. Gatsby is hoping Daisy will tell Tom that she never loved him and is leaving him for Gatsby, but starts to feel nervous doing that in Tom’s house. Daisy is anxious as well and suggests they all go to Manhattan. Nick rides to Manhattan with Tom and Jordan, in Gatsby’s yellow car. They stop by the Wilson’s garage, where he learns that George has discovered Myrtle’s affair, but not the man she is cheating on him with. In Manhattan, the group rents a room at the Plaza hotel. A bunch of secrets come out, including the fact that Tom knows Gatsby is a bootlegger. Daisy tries to say she never loved Tom but can’t stand by the statement, Tom, satisfied he’s won, tells Gatsby to take Daisy back home in his yellow car while he drives back with Nick and Jordan. Perhaps the least subtle car in the history of cars. On the way back, they come along Myrtle Wilson’s death scene: she has been hit by the yellow car. Later that night, Nick stays outside of the Buchanans’ house while waiting for a cab back to West Egg, too disgusted with their behavior to go inside. He sees Gatsby waiting outside – he wants to make sure Daisy is alright. Meanwhile, Nick spots Tom and Daisy inside looking like co-conspirators. In Chapter 8, Nick goes to work but can’t concentrate. Jordan calls him to say where she’s staying, but he’s disgusted she doesn’t seem shaken by Myrtle’s death and they fight and break up. Nick later spends time with Gatsby in his mansion and learns his whole life story. The next day, Gatsby is shot and killed by George Wilson (and George kills himself). In Chapter 9, Nick struggles to arrange a funeral for Gatsby, which in the end is only attended by Gatsby’s father and Owl Eyes. Disgusted with the morally lawless life in the East, he decides to retreat back home to the Midwest. Key Nick Carraway Quotes In my younger and more vulnerable years my father gave me some advice that I've been turning over in my mind ever since. "Whenever you feel like criticizing any one," he told me, "just remember that all the people in this world haven't had the advantages that you've had." (1.1-2) The first lines establish Nick as thoughtful, thorough, privileged, and judgmental. This line also sets the tone for the first few pages, where Nick tells us about his background and tries to encourage the reader to trust his judgment. While he comes off as thoughtful and observant, we also get the sense he is judgmental and a bit snobby. To see more analysis of why the novel begins how it does, and what Nick's father's advice means for him as a character and as a narrator, read our article on the beginning ofThe Great Gatsby. When I came back from the East last autumn I felt that I wanted the world to be in uniform and at a sort of moral attention forever; I wanted no more riotous excursions with privileged glimpses into the human heart. Only Gatsby, the man who gives his name to this book, was exempt from my reaction- Gatsby, who represented everything for which I have an unaffected scorn. (1.4) Another quote from the first few pages of the novel, this line sets up the novel’s big question: why does Nick become so close to Gatsby, given that Gatsby represents everything he hates? It also hints to the reader that Nick will come to care about Gatsby deeply while everyone else will earn his â€Å"unaffected scorn.† While this doesn’t give away the plot, it does help the reader be a bit suspicious of everyone but Gatsby going into the story. Every one suspects himself of at least one of the cardinal virtues, and this is mine: I am one of the few honest people that I have ever known. (3.171) This is likely the moment when you start to suspect Nick doesn’t always tell the truth – if everyone â€Å"suspects† themselves of one of the cardinal virtues (the implication being they aren’t actually virtuous), if Nick says he’s honest, perhaps he’s not? Furthermore, if someone has to claim that they are honest, that often suggests that they do things that aren’t exactly trustworthy. Suddenly I wasn't thinking of Daisy and Gatsby any more but of this clean, hard, limited person who dealt in universal skepticism and who leaned back jauntily just within the circle of my arm. A phrase began to beat in my ears with a sort of heady excitement: "There are only the pursued, the pursuing, the busy and the tired." (4.164) Nick’s interactions with Jordan are some of the only places where we get a sense of any vulnerability or emotion from Nick. In particular, Nick seems quite attracted to Jordan and being with her makes a phrase â€Å"beat† in his ears with â€Å"heady excitement.† If there are only the pursued, the pursuing, the busy, and the tired, it would appear Nick is happy to be the pursuer at this particular moment. "They're a rotten crowd," I shouted across the lawn. "You're worth the whole damn bunch put together." (8.45) This line, which comes after Myrtle’s death and Tom, Daisy, and Jordan’s cold reaction to it, establishes that Nick has firmly come down on Gatsby’s side in the conflict between the Buchanans and Gatsby. It also shows Nick’s disenchantment with the whole wealthy east coast crowd and also that, at this point, he is devoted to Gatsby and determined to protect his legacy. This hints to us that our once seemingly impartial narrator is now seeing Gatsby more generously than he sees others. Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that's no matter- tomorrow we will run faster, stretch out our arms farther. . . . And one fine morning- - So we beat on, boats against the current, borne back ceaselessly into the past. (9.153-4) This is Nick’s conclusion to his story, which can be read as cynical, hopeful, or realistic, depending on how you interpret it. You can read in detail about these lines in our article about the novel’s ending. Nick Carraway Character Analysis Nick is the narrator, but he is not omniscient (he can’t see everything), and he’s also very human and flawed. In other words, he’s an unreliable narrator, sometimes because he’s not present for a certain event, other times because he presents the story out of order, and finally because he sometimes obscures the truth. (It takes most students two reads of the novel to even catch the fact that Nick has a woman waiting for him back in the Midwest.) Because of his unreliable narrator status, the central questions many teachers try to get at with Nick is to explore his role in the story, how the story would be different without his narration, and how he compares to Gatsby. In short, you often have to analyze Nick as a character, not the narrator. This can be tricky because you have to compare Nick’s narration with his dialogue, his actions, and how he chooses to tell the story. You also have to realize that when you’re analyzing the other characters, you’re doing that based on information from Nick, which may or may not be reliable. Basically, nothing we hear in the novel can be completely accurate since it comes through the (necessarily) flawed point of view of a single person. The best way to analyze Nick himself is to choose a few passages to close read, and use what you observe from close-reading to build a larger argument. Pay close attention to moments, especially Nick’s encounters with Jordan, that give you a glimpse at Nick’s emotions and vulnerabilities. We will demonstrate this in action below! Pictured: the rose-tinted glasses Nick apparently starts to see Gatsby through. Nick as the Narrator These first questions analyze Nick's role as a narrator. Why Is Nick the Narrator and Not Gatsby? Since Nick gives a roughly chronological account of the summer of 1922, we get to see the development of Gatsby from mysterious party-giver to love-struck dreamer to tragic figure (who rose from humble roots and became rich, all in a failed attempt to win over Daisy). If Gatsby was the narrator, it would be harder for Fitzgerald to show that progression, unless Gatsby relayed his life story way out of order, which might have been hard to accomplish from Gatsby’s POV. The novel would have also been a much more straightforward story, probably with less suspense: Gatsby was born poor in South Dakota, became friends with Dan Cody, learned how to act rich, lost Cody’s inheritance, fell in love with Daisy, fought in the war, became determined to win her back, turned to crime. In short, Fitzgerald could have told the same story, but it would have had much less suspense and mystery, plus it would have been much harder to relay the aftermath of Gatsby’s death. Unless the point of view abruptly switched after Gatsby was shot, the reader would have no idea what exactly happened to Gatsby, what happened to George Wilson, and finally wouldn’t be able to see Gatsby’s funeral. Plus, with a narrator other than Gatsby himself, it’s easier to analyze Gatsby as a character. Nick is very observant, and he is able to notice things about Gatsby, like the way he misses social cues, subtle shifts in his mood, and even smaller details like his arresting smile. We probably wouldn’t have seen these facets of Gatsby if Gatsby himself were telling the story. Finally, since Nick is both â€Å"within and without† the New York elite, he is an excellent ticket in to the reader – he can both introduce us to certain facets of that world while also sharing in much of our shock and skepticism. Nick is just like the â€Å"new student at school† or â€Å"new employee† trope that so many movies and TV shows use as a way to introduce viewers into a new world. With Gatsby as narrator, it would be harder to observe all the details of the New York social elite. Is Nick Carraway an Unreliable Narrator? In many ways, Nick is an unreliable narrator: he’s dishonest about his own shortcomings (downplaying his affairs with other women, as well as his alcohol use), and he doesn’t tell us everything he knows about the characters upfront (for example, he waits until Chapter 6 to tell us the truth about Gatsby’s origins, even though he knows the whole time he’s telling the story, and even then glosses over unflattering details like the details of Gatsby’s criminal enterprises), and he’s often harsh in his judgments (and additionally anti-Semitic, racist, and misogynistic). As a reader, you should be skeptical of Nick because of how he opens the story, namely that he spends a few pages basically trying to prove himself a reliable source (see our beginning summary for more on this), and later, how he characterizes himself as â€Å"one of the few honest people I have ever known† (3.171). After all, does an honest person really have to defend their own honesty? However, despite how judgmental he is, Nick is a very observant person, especially in regard to other people, their body language, and social situations. For example, in Chapter 6, Nick immediately senses Gatsby isn’t really welcome at the Sloanes’ house before Tom says it outright. Nick is also able to accurately predict Daisy won’t leave Tom at the end of Chapter 1, after observing her standing in the door with Tom: â€Å"I was confused and a little disgusted as I drove away. It seemed to me that the thing for Daisy to do was to rush out of the house, child in arms- but apparently there were no such intentions in her head† (1.150). If only Jay could have seen Daisy’s intentions so clearly! We also come away with a very clear understanding of the messy climax (Myrtle’s death at the hands of Daisy in Gatsby’s car, George Wilson’s psychological decay and murder/suicide of Gatsby), since Nick tells the events from his point of view but also from Michaelis’s, who owns a coffee shop near George Wilson’s garage. In short, Nick delegates to another narrator when he knows he doesn’t have enough information, and makes sure the reader comes away with a clear understanding of the fundamental events of the tragedy. In short, you shouldn’t believe everything Nick says, especially his snobbier asides, but you can take his larger characterizations and version of events seriously. But as you read, try to separate Nick’s judgments about people from his observations! Is Nick Actually the Hero of the Story? A hero, or protagonist, is generally the character whose actions propel the story forward, who the story focuses on, and they are usually tested or thwarted by an antagonist. So in the most traditional sense, Gatsby is the hero – he drives the action of the story by getting Jordan and Nick to reintroduce him to Daisy (which leads to the affair, confrontation in Manhattan, the death of Myrtle, and then the murder-suicide), he goes up against an antagonist of sorts (Tom), and the story ends with his death. Gatsby’s story is thus a cynical take on the traditional rags-to-riches story. However, some people see the protagonist as also the person who changes the most in the course of a story. In this case, you might argue that since Nick changes a lot during the novel (see below), while Gatsby during the story itself doesn’t change dramatically (his big character changes come before the chronology of the novel), that Nick is in fact the protagonist. Nick’s story is a take on the coming of age narrative – he even has an important birthday (30) in the novel! Basically, if you think the protagonist is the character who propels the action of the story, and someone who has an antagonist, it’s Gatsby. But if you think the protagonist is the person who changes the most, you could argue Nick is the hero. Nick as a Character We never get a physical description of Nick, so don't blame yourself if your mental image of him is bland and amorphous like this fellow. How Does Nick Change Throughout the Novel? Nick starts out naà ¯ve and hopeful about his summer, and his future in New York more generally, as revealed through his narration (this optimism about his own life is mixed up with his sharp, snarky characterizations of others, which remain mostly the same all through the novel). And so with the sunshine and the great bursts of leaves growing on the trees- just as things grow in fast movies- I had that familiar conviction that life was beginning over again with the summer. There was so much to read for one thing and so much fine health to be pulled down out of the young breath-giving air. (1.-12) (emphasis added) As the summer goes on, he meets someone wildly more hopeful than he is – Gatsby, of course – and he begins to be more cynical in how he views his own life in comparison, realizing that there are certain memories and feelings he can no longer access. Through all he said, even through his appalling sentimentality, I was reminded of something- an elusive rhythm, a fragment of lost words, that I had heard somewhere a long time ago. For a moment a phrase tried to take shape in my mouth and my lips parted like a dumb man's, as though there was more struggling upon them than a wisp of startled air. But they made no sound and what I had almost remembered was uncommunicable forever. (6.135) (emphasis added) Finally, after the deaths of Myrtle, Gatsby, and Wilson, as well as the passing of his thirtieth birthday, Nick is thoroughly disenchanted, cynical, regretful, even angry, as he tries to protect Gatsby’s legacy in the face of an uncaring world, as well as a renewed awareness of his own mortality. "I'm thirty," I said. "I'm five years too old to lie to myself and call it honor." She didn't answer. Angry, and half in love with her, and tremendously sorry, I turned away. (9.125-6) After Gatsby's death the East was haunted for me like that, distorted beyond my eyes' power of correction. (9.127) On the last night, with my trunk packed and my car sold to the grocer, I went over and looked at that huge incoherent failure of a house once more. On the white steps an obscene word, scrawled by some boy with a piece of brick, stood out clearly in the moonlight and I erased it, drawing my shoe raspingly along the stone. (9.150) In short, as much as this is a novel about Gatsby’s failed dream/love for Daisy, you could also argue it tells the story of Nick’s loss of hope and innocence as he enters his 30s. How Does Nick Feel About Gatsby? Why Does He Come to Like Him so Much? Nick goes from initially taken with Gatsby, to skeptical, to admiring, even idealizing him, over the course of the book. When he first meets Gatsby in Chapter 3, he is drawn in by his smile and immediately senses a peer and friend, before of course Gatsby reveals himself as THE Jay Gatsby: He smiled understandingly- much more than understandingly. It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced- or seemed to face- the whole external world for an instant, and then concentrated onyouwith an irresistible prejudice in your favor. It understood you just so far as you wanted to be understood, believed in you as you would like to believe in yourself and assured you that it had precisely the impression of you that, at your best, you hoped to convey. (3.73) In Chapter 4, Nick is highly skeptical of Gatsby’s story about his past, although he is somewhat impressed by the medal from â€Å"little Montenegro† (4.32). He looked at me sideways- and I knew why Jordan Baker had believed he was lying. He hurried the phrase "educated at Oxford," or swallowed it or choked on it as though it had bothered him before. And with this doubt his whole statement fell to pieces and I wondered if there wasn't something a little sinister about him after all. (4.24) He also seems increasingly skeptical after his encounter with Meyer Wolfshiem, who Nick describes very anti-Semitically. When Wolfshiem vouches for Gatsby’s â€Å"fine breeding,† (4.99) Nick seems even more suspicious of Gatsby’s origins. In Chapter 5, as Nick observes the reunion between Gatsby and Daisy, he first sees Gatsby as much more human and flawed (especially in the first few minutes of the encounter, when Gatsby is incredibly awkward), and then sees Gatsby has transformed and â€Å"literally glowed† (5.87). As Nick watches Gatsby blossom in Daisy’s presence, I think Nick himself is won over by Gatsby. Notice how warm Nick’s description is: But there was a change in Gatsby that was simply confounding. He literally glowed; without a word or a gesture of exultation a new well-being radiated from him and filled the little room (5.87) In Chapter 6, Nick honestly and frankly observes how Gatsby is snubbed by the Sloanes, but he seems more like he’s pitying Gatsby than making fun of him. It almost seems like he’s trying to protect Gatsby by cutting off the scene just as Gatsby comes out the door, coat in hand, after the Sloanes have coldly left him behind: Tom and I shook hands, the rest of us exchanged a cool nod and they trotted quickly down the drive, disappearing under the August foliage just as Gatsby with hat and light overcoat in hand came out the front door. (6.59) By Chapter 7, during the confrontation in the hotel, Nick is firmly on Gatsby’s side, to the point that he is elated when Gatsby reveals that he did, in fact, attend Oxford but didn’t graduate: I wanted to get up and slap him on the back. I had one of those renewals of complete faith in him that I'd experienced before. (7.221) As the rest of the novel plays out, Nick becomes more admiring of Gatsby, even as he comes to dislike the Buchanans (and Jordan, by extension) more and more. Why exactly Nick becomes so taken with Gatsby is, I think, up to the reader. In my reading, Nick, as someone who rarely steps outside of social boundaries and rarely gets â€Å"carried away† with love or emotion (see how coldly he ends not one but three love affairs in the book!), is admiring and even somewhat jealous of Gatsby, who is so determined to build a certain life for himself that he manages to transform the poor James Gatz into the infamous, wealthy Jay Gatsby. On the last night, with my trunk packed and my car sold to the grocer, I went over and looked at that huge incoherent failure of a house once more. On the white steps an obscene word, scrawled by some boy with a piece of brick, stood out clearly in the moonlight and I erased it, drawing my shoe raspingly along the stone. (9.150) Gatsby’s fate also becomes entangled with Nick’s own increased cynicism, both about his future and life in New York, so he clings to the memory of Gatsby and becomes determined to tell his story. Is Nick Carraway Gay? At first, this might not seem plausible – Nick dates Jordan during the book (and also admits to a few other love affairs with women) and at one point confesses to being â€Å"half in love with [Jordan].† So why do people think Nick is gay? First of all, consider the odd moment at the end of Chapter 2 that seems to suggest Nick goes home with Mr. McKee: "Come to lunch some day," he suggested, as we groaned down in the elevator. "Where?" "Anywhere." "Keep your hands off the lever," snapped the elevator boy. "I beg your pardon," said Mr. McKee with dignity, "I didn't know I was touching it." "All right," I agreed, "I'll be glad to." . . . I was standing beside his bed and he was sitting up between the sheets, clad in his underwear, with a great portfolio in his hands. "Beauty and the Beast . . . Loneliness . . . Old Grocery Horse . . . Brook'n Bridge . . . ." Then I was lying half asleep in the cold lower level of the Pennsylvania Station, staring at the morning "Tribune" and waiting for the four o'clock train. (2.128-136) Nick’s narration is confused and sporadic as he was quite drunk after the party. However, what we do see – the elevator boy chiding him to â€Å"keep your hands off the lever† (hint hint wink wink nudge nudge), shortly followed by Nick saying â€Å"I was standing beside [Mr. McKee’s bed and he was sitting up between the sheets, clad in his underwear†- seems to pretty strongly suggest a sexual encounter. And in a novel that is so short and carefully constructed, why add this short scene unless it’s supposed to help us understand Nick? Some people see that scene as a confirmation of Nick’s sexual preference, or at least an indication he’s attracted to men as well as women. However, since this was the 1920s, he couldn’t exactly be out and proud, which is why he would never frankly admit to being attracted to men in his sober narration. So instead, as the theory goes, his love for and attraction to for Gatsby is mirrored through a filter of intense admiration. So, using this reading, The Great Gatsby is narrated by a man suffered from unrequited love. Do you have to take this reading as fact? Not at all. But if you’re curious you can check out a fuller write-up of the â€Å"Nick as gay† reading and decide for yourself. Final Questions These are questions students often have about Nick after reading the book, but ones that don’t always come up in classroom discussions or essay topics. Read on if you still have unanswered questions about Nick! Also, be sure to let us know in the comments if you have more questions about Nick! What’s Going on With Nick and Jordan’s Relationship? Do They Actually Like Each Other? Nick says in his opening narration that most people in the east have earned his â€Å"unaffected scorn,† so it’s confusing to see him cozy up to Jordan in the next few chapters (1.4). However, keep in mind that scorn is earned over the course of the novel, and Nick writes the opening narration looking back at everything. So before the tragic conclusion, Nick actually is strongly attracted to Jordan and hasn’t yet realized that her attractive skepticism actually means she can be callous and uncaring. Our quote above from Chapter 4, as Nick finds himself attracted to the â€Å"hard, clean, limited† Jordan, illustrates that strong initial attraction. But post break-up, do they still feel anything for each other? Their break-up scene is really helpful to analyze to answer this question: "Nevertheless you did throw me over," said Jordan suddenly. "You threw me over on the telephone. I don't give a damn about you now but it was a new experience for me and I felt a little dizzy for a while." We shook hands. "Oh, and do you remember- " she added, "- - a conversation we had once about driving a car?" "Why- not exactly." "You said a bad driver was only safe until she met another bad driver? Well, I met another bad driver, didn't I? I mean it was careless of me to make such a wrong guess. I thought you were rather an honest, straightforward person. I thought it was your secret pride." "I'm thirty," I said. "I'm five years too old to lie to myself and call it honor." She didn't answer. Angry, and half in love with her, and tremendously sorry, I turned away. (9.130-136) Jordan, for her part, seems to admit to having genuinely liked Nick when they break up at the end and was quite hurt. And Nick, for once, is a mess of emotions: â€Å"angry† and â€Å"half in love.† So despite Nick’s earlier proclamation that everyone from the east coast is the object of his â€Å"unaffected scorn,† it would seem his attachment to Jordan is a bit more complicated: he’s disgusted by some of her behavior and yet still feels a strong attraction to her, strong enough that he’s angry and sorry during their break-up. Of course, if you subscribe to the â€Å"Nick loves Gatsby† theory you could chalk much of this scene up to repressed desires, especially Nick’s comment about not wanting to lie to himself. Why Does Nick Say â€Å"You’re better than the whole damn bunch of them†? This statement officially marks Nick’s disillusionment with the East Coast, old money crowd. Remember that this line comes after the car accident, and the scene in the hotel just before that, so he’s just seen Daisy and Tom’s ugliest behavior. Nick is proud of the statement since it was one of the last things he ever got to say to Gatsby. What can be a bit harder to spot is when exactly Nick’s earlier distrust of Gatsby morphed into respect. I argued above it begins in Chapter 5, when he watches Gatsby’s reunion with Daisy and sees Gatsby transformed and enraptured by love. What’s Next? Nick sets the stage in Chapter 1 by first explaining why he can be trusted as a narrator. Read our summary of Chapter 1 for more analysis as to why Nick’s opening makes him a bit suspicious as a narrator. Want to read more about Nick and Jordan’s relationship? Curious as to why they get together despite their differences in background? Read about love, desire, and relationships in Gatsby for more on their relationship. Did Fitzgerald see himself as more of a Carraway or a Gatsby? Read our history of F. Scott Fitzgerald’s life for more on the man behind the book. Want to improve your SAT score by 160 points or your ACT score by 4 points?We've written a guide for each test about the top 5 strategies you must be using to have a shot at improving your score. Download it for free now:

Change and Culture Case Study I Example | Topics and Well Written Essays - 1500 words

Change and Culture I - Case Study Example Hence it can be safely said that for the management of a newly consolidated firm, the single most important issue that requires the utmost attention is the development of a strategy that ensures that the employees of the firms can smoothly transit between the pre and the post merger periods. This essay discusses the impacts that a merger has had on the employees of a healthcare organization and the strategic decision-making on part of the management of the organization which allowed the respective workforces to develop a system of trust and respect for each other. The essay also discusses the way mergers can effect the business processes and structures of firms and how management can deal with these issues in a way which ensures that the organizational values and culture is kept intact. According to Camara& Renjen (2004), studies by researchers and analysts has confirmed that mergers are as likely to destroy as to create shareholder value. A major cause for this is that mergers bring together two companies which had previously been working according to different policies, had entirely different business procedures and had unique cultures. Due to this, the differences that arise between the employees, as well as the changed rules and procedures seemingly create an atmosphere of uncertainty which is most commonly viewed by the employees as a direct threat. The organization in whose context we will discuss this issue further is a medical centre which has been active in the healthcare sector for the past 25 years. Having a reputation for providing excellent services , it is one of the leading hospitals in the country and according to the reports, a total of 22,080 inpatients and 230,000 outpatients were served in the last fiscal year. Before the said merger took place, the hospital, although extremely well-regarded, was working on a relatively smaller scale and housed 400 beds among which 58 were

Declaration of Independence Evaluation Essay Example | Topics and Well Written Essays - 1000 words

Declaration of Independence Evaluation - Essay Example Declaration of independence was not entirely congress original work in terms of convictions and ideas. It has several similarities with the work of John Locke work about the American treatise. The beginning clauses of the document that states that human kind was created alike with inalienable rights of liberty, life and freedom is in conjunction with the Locke philosophy. Locke point of view was that all the jurisdiction and power is equal with no citizen having more than the other does. The document further proceeds to emphasize that government is established through the decision of the citizens to protect their rights. Furthermore, it claims that in case the state does not address and protect the rights of the people then it will be the democracy of the citizens to abolish or alter the government. The Locke’s philosophy is well enshrined in the document. Hobbes counter declaration mimics the ideologies of declaration of independence and the Hobbes ideas was to justify the ki ng's action in England as perfectly legitimate. Hobbes perception and beliefs allowed the people to elect sovereign once and after that, the people should be obedient to the government without questioning. The sovereign as called by Hobbes decides the successor and the rules. The perspective was seen the United States founding fathers that this method will leave the government vulnerable to corruption. With the idea they opted to apply Locke’s’ philosophy. Hobbes document saw the need for the people to abolish any political bond that is connecting them and take the power sovereign land. He further expounded that opinion of the humankind necessity declaring the cause that forces the people to dissolve. His ideologies were evident that humanity are created alike and endowed with life by the creator and securing the rights the governments were to be formed among the few. Hobessian perspective on the declaration of independence could have stated that if any type of leaders hip cannot protect the people then the rights of the citizens to dissolve it could have been necessary. As the government could protect the citizens then the people must respect and obey the said government. His perspective also was of the view that the said government had the obligation of assenting to bills even if it was not the opinion of the people. The government is endowed with rights that are suitable as far as it will not disable its ability to protect the people. Hobbes argued that equality and freedom in respect to individual rights meant that individuals could pursue their interest and survival without limitation in the state of nature. The government is without duty to respect the rights of the individuals. The state of nature herein is the state of war hence Locke has claimed the people have the duty to respect the individual’s rights even in the state of nature source of the duty being the natural law. There is also a difference to the Hobbes perception in that Locke argued differently about the property. They both agree that individuals have rights to any property in the state of nature. They also differed in that Hobbes denies the individual duty of the citizen to respect the property of others. In this perspective, the property is made less or useless in a state of nature according to Hobbes. On the other side, Locke is of the opinion that individuals

Banquos Murder Macbeth Essay Example for Free

Banquos Murder Macbeth Essay This morning, our beloved Banquo, friend of the king, was found dead. His body, bearing a slit throat and twenty deep lacerations to the face, was discovered by a farmer from the area. The farmer discovered the body outside of his Salmon farm roughly a mile from castle Dunsinane. The motive for this horrific act is still questionable. Upon questioning the farmer police were unable to discover any leads. Although the farmer produced no useful information the crime scene yielded a possible location for authorities to begin the search. When officials investigated the ditch were Banquo was found they observed footprints and drags marks that led to the road outside Castle Dunsinane, there was also another set of footprints that led straight to the castle to suggest a possible connection between the castle and the murderers. When the authorities found the scene where Banquo was expected to be murdered, a total of five sets of footprints were found at the crime scene along with blood and two sets of horse’s hoofs. The police were able to eliminate two sets of footprints as Banquo’s and another as his son Fleance’s, based on the size. What still concerns authorities is the disappearance of the young Fleance. The boy was thought to be with Banquo at the time of the murder. Police are searching for the boy diligently. The face of the murdered Banquo after his body was found a mile from Castle Dunsinane. The face of the murdered Banquo after his body was found a mile from Castle Dunsinane. From the crime scene the police have concluded that they are looking for three possible murders. With the fifth set of footprints leading away from the scene, police began their search at the castle. The authorities talked with King Macbeth, who was reported to have been acting strangely at the court gathering the previous night. The king said, â€Å"I drink to†¦our dear friend Banquo, whom we miss. † The king continued on to say that he will miss his good friend and also hopes that Banquo finds heaven. Lady Macbeth was also asked for a statement and she refused, saying only she was too weak with sadness to speak of the event. In conclusion, authorities have no credible leads or motives for this terrible crime at this time. Police ask that anyone with any information regarding the murderers contact them at their field office. Their office is in Castle Dunsinane on the second floor, they ask that people with information please contact them as soon as possible.

Till We Have Faces Essay -- Till we Have Faces Essays

Till We Have Faces In Till We Have Faces, C. S. Lewis retells the myth of Cupid and Psyche from the point of view of Psyche's sister, with powerful insight into the nature of human affection and the relationship between human and divine. In the original myth, Psyche is the youngest of three princesses, so beautiful that men begin to worship her instead of Venus. The goddess avenges herself by commanding that Psyche be exposed on a mountain to die, but her son Cupid secretly rescues her, having fallen in love with her. He hides her in a palace where he visits her nightly, but he forbids her to see his face for fear of his mother. After a time Psyche is granted a visit from her sisters; seeing the splendor of her palace, they are jealous. They tell her that her "husband" must be some horrible monster, and they persuade her to disobey the god's command and light a lamp while he sleeps, to see if it is not so. This she does, but he wakes and rebukes her, and she goes into exile to be tested until worthy of her husband. Lewis's retelling makes the god's palace invisible to mortal eyes; thus Psyche's sister Orual, the narrator of the tale, can insist it is not jealousy but concern for Psyche that motivates her to act as she does. Told from Orual's point of view, the story shows her journey to self-discovery and understanding--her quest to find her face, for as she learns, the gods cannot "meet us face to face till we have faces"--until we know our own selves. Faces are thus a strong source of imagery and symbolism in the book. One's face is a reflection of one's soul and true character. It is, symbolically, one's identity. The faces of Orual and Psyche, of Ungit and her son the God of the Grey Mountain, give us insight into their ... ..., both beautiful. The faces of the gods do not change; but those of Psyche and Orual do, and in their developing we see the developing of character--the search for identity. Psyche, who was born nearly divinely beautiful, becomes even more so when she is married to the god, and her "brightface" appearance reflects the new joy and maturity created in her character by that union. Orual's character development takes longer, for she fights it; she is unwilling to believe in the god, and even when she sees his face she becomes bitter against him for her loss of Psyche. Yet through great suffering and a long time of facelessness, she too finds her face--her identity--and becomes beautiful in the end. She is finally able to meet the gods face to face, when she has a face of her own. Work Consulted: Lewis, C.S. Till We Have Faces. Harcourt Brace: New York, 1980.

Lame Deers story “ Alone on the Hilltop” Essay

In Lame Deers story â€Å" Alone on the Hilltop† he recalls the moment in life when his first hanblechia occurred at the age of 16. The first scene begins on the hilltop where Lame Deer had been brought by Chest, the medicine man. Lame Deer has been left all alone on the hilltop for 4 days nights with no water or food. The only thing that he had with him where his star blanket which his grandmother had knitted for him, a pipe with kinnickinnick, and gourd which contained forty pieces of his grandmothers flesh and tiny stones picked up from an ant heap. Lame Deer knew though that after all of this was over he would no longer be a child, he would be a man and he would be given a man’s name. He started to smoke the pipe he began to feel comforted and his fear started to diminish. He describes that he felt like his forefathers, whom this pipe once belonged to, where with him on the hilltop and that he was no longer alone. The thought of not being able to have vision still worried Lame Deer though. He wanted to be able to become a yuwipi but he knew that he could only become that was what his vision was. If he dreamt of Thunder Beings then that would make him a heyoka , a clown. Night time had arrived and began to feel the overwhelming presence of a big bird. He became overwhelmed by the feeling of the bird touching him and grasped the rattle in order to calm his fears. Then he began to smoke from his pipe and began to sing and pray. He felt himself change, and began to hear human voices that were not ordinary. A voice began to speak to him and he felt comforted by them, he then saw his greatgrandfather Lame Deer and he understood that his grandfather wanted him to bear his name. After this Lame Deer described feeling his nagi inside of him and a power surging throughout his body. Lame deer knew his vision had been fulfilled and that he would become a wicasa wakan. Time was lost for Lame Deer and before he knew it Chest had come for him. His hanblechia was complete and it was time for them to interpret his visions. He had also been given his man’s name Lame Deer. Opinion This in my opinion was a very interesting account of American Indian rituals. Lame Deer did a great job on comparing and contrasting the â€Å"white folks† way of life with his own. He told us how Indian children are typically never left alone which gives us a better understanding on why he was so afraid of being alone on the hilltop. I feel like in this story I really got a better understanding of the Indian way of life. They seem to be very tight knit group who value tradition above everything. Family seems to be the most important theme as demonstrated by his grandmothers willingness to cut forty pieces of her own flesh in order to make the rattle. This whole aspect about them is admirable but at the same time I feel like they don’t really take any actual logic into account. The whole vision determines your life labor seem really fallible in my opinion. I can’t really relate to this story in the sense that I have never really experienced any of these things as im not a Sioux. I do think though that this story can be related into our modern world in the sense that many kids are pushed into choosing a life career at a relatively young age. Lame Deer was only 16 at the time but that is only a mere two years younger than kids today. To some extent I found admirable that he at such a young age had already known what his life’s calling was. Overall the story was very enjoyable to read and it gave me very good insight on the tribulations of being a Indian. Vocabulary gourd- the hard-shelled fruit of any of various plants,whose dried shell is used for bowls and other utensils

With specific focus on Anthem for Doomed Youth evaluate the methods the poet uses to bring across his convictions, feelings and ideas

â€Å"Who longs to charge and shoot, Do you my laddie.† This jingoistic wartime poem by Jessie Pope ignites Owen's anger at these false impressions of war. This is evident in such poems as Dulce et Decorum est, originally penned towards Pope, hence the initial title, To a Certain Poetess. Owen's â€Å"senses were charred† at the sight of the â€Å"suffering of the troops†, such accusations about the nature of warfare fuelling the malice of his work. Owen never openly retaliates, instead opting to include his resentment towards writers like Pope in his poems. Owen frequently conveys his convictions of lost youth in Anthem For Doomed Youth by referring to â€Å"the hands of boys†, evidently refusing to acknowledge the maturity of the men. Owen's numerous references to religious symbols heightens the effects of his poems. In Anthem, we hear the â€Å"demented choirs of wailing shells.† Angelic choirs are ironically reversed as Owen negates Christian ritual as being unfitting for those who die amid screaming shells. In Mental Cases, we also bear witness to Biblical images, asking if we are: â€Å"Sleeping, and walk hell But who these hellish?† Owen often compares war to Hell, comparing soldiers to creatures undergoing eternal torment, â€Å"Wherefore rock they, purgatorial shadows†. This adds to the created impression of those driven mad by war, as he asks if the â€Å"multitudinous murders† these men have committed has doomed them to Hell. Owen insists these soldiers are not to blame, for ‘we' dealt them this â€Å"tormented† fate. Anthem is a similar reversal, where Owen utilizes heavenly elements, â€Å"orisons†. Yet, these spiritual references are used negatively: the only true regret is the â€Å"holy glimmers of goodbyes† in the dying soldiers' eyes. The gloriousness of Heaven and God is ignored, extending the distressing impact of the poem on the reader, as similar devilish imagery is used in other poems, such as the gas victim's â€Å"devil sick of sun† face in Dulce. This imagery is so contorted it is unearthly, and seemingly impossible – just as the devil bec oming tired of sinning is impossible. Owen's verbal images are parallel to artwork of the time, in particular Otto Dix's Assault Under Gas, shown below. In this art piece, Dix mirrors the tortured, hellish scenes of Dulce, with the cries of â€Å"Gas!† almost audible. The visual imagery suggests the mental effects of the attacks on the soldiers, highlighted by the colour grey – as if life had been drained from them. Owen would have been aware of this, as he was treated at Craiglockhart Hospital for shellshock, amongst men whose â€Å"slumbers were morbid and terrifying.† In Futility, the image of the Sun is frequently used. It is often associated with life and its joys, however, Owen is very sarcastic in his reversal of the sun, first writing: â€Å"If anything might rouse him now The kind old sun will know.† Owen then goes on to criticise the Sun, labelling it as useless. He asks why we are created and given warm life, when war destroys everything of value: â€Å"O what made fatuous sunbeams toil To break earth's sleep at all?† Owen also adopts animal imagery to his poems to further the displayed messages. In Anthem, Owen's opening line contains the powerful simile comparing soldiers as those, â€Å"who die as cattle?† referring to the high numbers of dead soldiers, especially young soldiers, being cut down in their prime, just as cattle would. Owen suggests they were grown for a specific reason (to fight), and killed once they had met their purpose (being slaughtered on the battlefield). In Owen's first draft of Anthem, written, with guidance from Siegfried Sassoon, in Craiglockhart, he stressed the â€Å"cattle† reference as an emotional jeer at the overly ambitious generals who used the men as cannon fodder. The parallel to animals is used to great effect. In Dulce et Decorum est, Owen details the men who â€Å"had lost their boots, limped on, blood-shod.† â€Å"Boots† and â€Å"shod† remind us of the horses used in the war, who had iron-shod shoes – portraying men as if they were beasts of burden, slumbering forward with heavy loads on their back – the worry and terror of what would face them weighing the men down. We see the effects of such an affliction in Mental Cases, where the â€Å"jaws that slob their relish† disparage â€Å"us who dealt them war and madness† by â€Å"pawing†. Such quotes accentuate the dehumanisation of these men that once â€Å"sang their way†, signalling the end of their transition into â€Å"rocking† wrecks. Owen recreates the horrors of war through his gruesome graphic imagery, particularly in Dulce's â€Å"green sea†, where the â€Å"flound'ring† of the victim â€Å"smothers† his dreams. The realisation of such a sight is alarming to the reader. Even in Owen's time, such a description would shock the reader into picturing the â€Å"sick of sin hanging face†. Owen's passion displays the real effects of such a grim and â€Å"monstrous† war, trying desperately to erase the false screen created by such jingoistic writers as Pope. One of Owen's tendencies is to incorporate intense sounds to support the potent imagery: â€Å"We were caught in a tornado of shells† This extract, from one of Owen's letters, provides insight into his writing of Anthem: â€Å"The shrill, demented choirs of wailing shells† Owen uses his â€Å"submerged memories of warfare† to great effect, frequently applying onomatopoeia to his poems – the â€Å"stuttering rifle's rapid rattle† in Anthem, and the â€Å"batter of guns† in Mental Cases. The powerful resonance of the weapons intensifies the empathy the reader has for the â€Å"sacrificed men†, as the hellish scene recreates the â€Å"rattling† in our own ears, as if we, the reader, were there. In Futility, a direct contrast is apparent, as the â€Å"whispering of fields at home† signifies the sharp difference between the frontline action, and the calmness of Blighty. This is a stark reminder from Owen that, whilst everything's fine and calm in Britain, there are â€Å"full-nerved† men dying in France. The continuation of Anthem's onomatopoeic clatters is mirrored most notably by Mental Cases' â€Å"batter of guns and shatter of flying muscles†. The rhyming extends Owen's vivid ideas by suggesting that, as well as fighting and seeing the misery of comrades falling, the sounds of the â€Å"multitudinous murders they once witnessed† replay constantly in their minds, reminding them of the torment they met. In Dulce, we can ‘hear' the â€Å"guttering choking† and â€Å"gargling† of the â€Å"hanging face†, as well as visualize the grotesque scene, subjecting the reader to view the true nature of war further. As well as applying haunting adjectives to his work, Owen utilizes pace to maintain his high level of passion. This is most evident in Dulce, where each verse is different in speed. The opening verse is drawn out -very slow – with long, elongated vowels and verbs completing the stanza, â€Å"lame†, â€Å"lost† and â€Å"coughing†. This mirrors the fatigue of the soldiers, who would be deprived of sleep and be very slow in their speech. As the poem progresses into the gas attack, a pacy, urgent tone is adopted, with the cries of â€Å"Gas! Gas! Quick, boys!† As Owen describes the gas victim's painful end, the solemnly spoken words are slower, reverting back to the lingering sounds of the first verse, â€Å"writhing† . In Anthem, the â€Å"passing bells† of the funeral suggests a slow, sombre tone, as is the case with funerals. However, with the â€Å"bugles calling† and the â€Å"wailing†, the mournful mood is lost, just like the youth of Britain. Owen often ends his poems with an accusatory conviction, a controversial one that projects his innermost feelings, chosen to express the untold truths about war, and how the patriotic campaigns to conscript men are disgraceful. In Anthem, Owen ends with: â€Å"Their flowers the tenderness of patient minds, And each slow dusk a drawing down of blinds† This is a direct contrast to the whole poem, where Owen suggests the â€Å"monstrous anger of the guns† accompanies them in death. Instead of his habitual ending of a â€Å"Lie†, Owen's ending is surprisingly peaceful, displaying a compassion for the dead previously unseen in his other poems. Mental Cases, Futility and Dulce, however, all oppose the somewhat ‘upbeat' ending. Dulce ends with â€Å"The old Lie: Dulce et decorum est Pro patria mori.† Owen flat out accuses the old saying, and the certain poetess, that to die for your country is not sweet and meet. Owen even goes as far as ironically rhyming â€Å"glory† and â€Å"mori†, as to satirically jeer at Jesse Pope, completely contradicting her. Owen asks if â€Å"my friend, you would not tell†¦the old Lie†, passionately addressing the reader, but also the frank direction at Pope not to print her jingoes, ironically donning her â€Å"friend†. This mirrors the ending to Mental Cases, where a sharp change of address sees the blame of the â€Å"extrication† shift to â€Å"us who dealt them war and madness†. Owen deliberately develops the poem to the startling climax, enveloping the blame around society as a whole, and not just certain poetesses. Dulce and Mental Cases match in descriptions, where the futile attempts to â€Å"pick† and â€Å"snatch† combine to provide the reader with an overwhelming sense of grief, at having sent these men off to war. Owen's ideas mean that we, the modern reader, feel this guilt at having sent innocent youths to their untimely deaths, when we had done nothing. However, contextually, the reader would have read this, and known that they had done wrong, becoming guilt-ridden at their mistake. This is similar to Futility, where Owen accuses the â€Å"fatuous sunbeams† of wasting human life, agreeing with the Doomed Youth title, but opposing its final lines. Futility describes how men are killing others, ending life, when we should not be ordering the termination of it – undoing God's work, when it is not our right to. Owen's feelings towards death, and the ending of life, are the fundamental issues in his poems. In Dulce, Owen is constantly comparing young with old, â€Å"bent double, like old beggars† and â€Å"knock-kneed, coughing like hags†. Dulce also details how the men â€Å"marched†¦drunk with fatigue†, explaining the exhausted state of the men. These three quotes are shocking, as these men are young, energetic men, but they're being reduced to quivering wrecks – suggesting men age quicker in the trenches, due to the horrors they see, and what they have to experience. This is a direct juxtaposition, where the young are dying before the old (A role reversal), but are seen as being ‘old' themselves. Owen's visual ideas on death are nothing short of morbid, describing: â€Å"at every jolt, the blood Come gargling from the froth-corrupted lungs† In Dulce and Mental Cases, Owen adopts a macabre approach to extend the demons of these men. In Dulce, the â€Å"white eyes† of the â€Å"hanging face† suggest death is upon the man, and that he is looking at the men to choose his next victim. This idea is carried into Mental Cases, where there are men â€Å"whose minds the Dead have ravished†. Owen suggests, through a conviction of anxiety, that death is omnipresent, and that the worst fear is to become a â€Å"purgatorial shadow†. Owen writes to display one main conviction: that the false pretences of war are just that – false. By writing about such shocking and disturbing issues, Owen breaks the fabricated lies and makes his feelings known by adding ambiguous sentences to his poems, â€Å"marching asleep† – fatigue of war, or asleep to the glorious propaganda that recruited them? Owen's poems are full of truths, however controversial they seem, and he projects his convictions and feelings any way he can, regardless of consequences.

The eNotes Blog Light in February Plantation Diary Find Sheds New Light on FaulknerNovels

Light in February Plantation Diary Find Sheds New Light on FaulknerNovels For scholars, there is no bigger coup than finding new information that offers insight to a writers processes, character construction, or plot development.  Ã‚  Even if one is working with a lesser known writer, there is joy in discovery.   To  find previously  unknown information for an author as popular and extensively researched as William Faulkner is akin to  finding a  gem in a junkyard. Sally Wolff-King is  a professor and Southern literature scholar at Emory University. She appears to have found the ledger  that Faulkner used as a model for the famous scene in Go Down, Moses in which  the character Isaac McClassin opens his grandfathers farm ledgers and discovers his familys slave-owning past.   Many of the character names, used in this and other works, seem to have come from this ledger as well. The diary/ledger belonged to Frances Terry Leak, a plantation owner. Leaks great-grandson, Edgar Wiggin Francisco Jr. was a childhood friend of Faulkners, and the two men remained friendly throughout their lives.   Mr. Franciscos son, now 79,  recalls that Faulkner was a frequent guest in their home and had a keen interest in the ledgers. Character names that appear in both the ledgers and Faulkners novels include Moses, Isaac, and Toney in Go Down, Moses, Caddy/Candace (Candis) and Ben in The Sound and the Fury and Old Rose, Henry,   Milly, and Ellen in Absalom, Absalom!. Of particular interest to scholars is that Faulkner has given many of his white characters the names of slaves listed in the ledgers. Why did Faulkner do this?   Professor Wolff-King believes Faulkner is trying to give the slaves a voice.

Land Breeze Definition

Land Breeze Definition A land breeze is a local nighttime and early morning wind that occurs along coasts and blows offshore (from the land out to sea). It arises at sunset when the sea surface is warmer than the adjacent land due to the land cooling off faster and having a lower heat capacity, and continues into the early morning hours until the heating of the day begins. Although commonly associated with ocean shorelines, land breezes can also be experienced near lakes and other large bodies of water. An Overnight and Early Morning Wind Like all winds, land breezes form because of a difference in air pressure and temperature. During the day, the sun will heat land surfaces, but only to a depth of a few inches. At night, water will retain more of its heat than land surfaces. (This is because it has a higher heat capacity than land.) Land breezes usually occur at night. At night, the temperature of the land cools quickly without the insolation from the sun. Heat is rapidly re-radiated back to the surrounding air. The water along the shore will then be warmer than the coastal land, creating a net movement of air from the land surfaces towards the ocean. Why? Well, the movement of the wind is a result of differences in air pressure over the land and the ocean. Warm air is less dense and rises. Cool air is more dense and sinks. As the temperature of the land surfaces cool, the warm air rises and creates a small area of high pressure near the land surface. Since winds blow from areas of high to low pressure, the net movement of air (wind) is from the shore to the sea. Steps to Land Breeze Formation Heres a step-by-step explanation of how land breezes are created. Air temperatures decrease at night.Rising air creates a thermal low at the ocean surface.Cool air collects forming a high-pressure zone above the surface of the ocean.A low-pressure zone forms above the land surface from the rapid loss of heat.A high-pressure zone forms as the cooler land cools the air immediately above the surface.Winds aloft flow from the ocean to the land.Winds at the surface flow from high to low pressure creating a land breeze. Longer Near Summer's End As the summer wears on, the temperature of the sea will slowly rise in comparison to the daily temperature fluctuations of the land, meaning that the land breeze will last longer and longer. Nighttime Thunderstorms If there are sufficient moisture and instability in the atmosphere, land breezes can lead to overnight showers and thunderstorms just offshore. While you might be tempted to take a nighttime beach walk, be sure to follow these lightning safety guidelines to reduce your risk of a lightning strike. Watch your step as well, since storms can stir up and encourage jellyfish to wash ashore! Land breezes are the opposite of sea breezes gentle winds that develop over the ocean and blow onshore, keeping you cool during a scorching hot day on the beach.

Language Difficulties Of Foreign Students Essay Example | Topics and Well Written Essays - 750 words

Language Difficulties Of Foreign Students - Essay Example While other students would consider the learning difficulties presented by being a non-native English speaker quite insurmountable. I faced the obstacle more as a challenge that I was meant to overcome. By facing my demons and challenging myself to achieve more than others believed I could, I would be able to find a place during the semester where I would begin to enjoy the English classes. Over time, I was able to find my place, my voice, and a comfortable way to tackle my English assignments, coursework, and exams that allowed me to begin to feel comfortable with the use of the English language. As such I am now more comfortable with the English language classes I am taking this semester than the last term. I would have to say that peer reviews from my classmates served a definite purpose in helping me to improve my English writing technique. That is because I am given an opportunity to see the way other people view my writing. Which also helps me get a clearer idea as to the weak points that I have with my writing skills and how I can improve upon those errors. It is because of the peer reviews that I was also able to develop an idea as to what good writing is all about and how to recognize a well-written essay. For me, a well-written essay does not have much to do with the grammar or structure of the paper. Neither does it have to do with the way the writer approaches the subject. Although these things are of some importance to the written word, it is not the be all and end of a perfect essay.

Rural Tourism in UK Dissertation Example | Topics and Well Written Essays - 10000 words

Rural Tourism in UK - Dissertation Example 1 Introduction 1.1 Background study Large-scale globalisation has led to widespread economic reframing, which has created an environment where local economies must necessarily adjust, for augmenting or maintaining the viability of their socio-economic conditions under the altered climate. Social and economic forces that are functioning at global levels ascertain both the type and and nature of rural regions and how they are used and valued (Butler, Hall, and Jenkins, 1998). These socioeconomic modifications along with new approaches and thoughts on recreation and leisure time activities are increasingly promoting rural tourism worldwide (Williams 1995). Developing areas not perceived favourably as tourist destinations, for rural tourism depends on two main factors. First, in some cases, tourist attraction may be slowly built-up by entrepreneurs through innovative businesses, like entertainment parks. Secondly, on some cases visitors may suddenly discover an area, generating a sudden increase in demand for recreation and leisure time activities, which gives the local entrepreneurs an opportunity to respond and develop their local area. However, development of rural tourism is not merely based on the concept of balancing local supply with tourist demand, but includes issues of sustainability, and evaluating the suitability and acceptability, as regards the local community, in view of developing the area as a tourist spot. There are various debates over defining the term rural tourism, and a review of the literature reveals that no consensus over the issue has been arrived yet (Pearce and Moscardo, 1985; Bramwell 1994). As Oppermann claimed, â€Å"there is not even a commonly accepted definition of what rural tourism is† (1996, pp. 86-87). This lack of consensus, as regards defining rural tourism, arises from the absence of a common standard used for measuring nature and type of rural tourism by different countries, worldwide. Therefore, rural tourism seen in various countries of the world, do not share any common characteristics. Observations also reveal that rural tourism does not necessarily pertain to only the typical rural form of activities, it can also be urban type situated in a rural area. Rural areas all over the world are experiencing intricate socioeconomic changes due to effect of globalisation, technology and communications that have altered the conditions for market operations and distributions for local and traditional items (Frochot, 2005). Besides this, owing to globalisation many of the rural areas have witnessed large-scale depopulation while others have experienced large-scale influx of immigrants or inflow of elderly people looking for retirement, or others looking for establishing innovative business types that may not be local or traditional in nature. Generally, rural tourism is associated with the form of tourism where rural culture is the chief element or the main component of

American football Essay Example | Topics and Well Written Essays - 750 words - 2

American football - Essay Example The game evolved as new of rules were set including the introduction of the snap, the downs concept, the neutral zone and legalization of the forward pass. The introduction of the snap caused the unexpected development of the â€Å"block game† where a team would keep hold on the ball indefinitely to keep the other team from scoring. To prevent this practice from becoming the norm, a rule change was necessary. There was the introduction of three downs or tackles to advance the ball five yards or forfeiture of ball control to the other team. The rule probably stopped the game from becoming boring and fading into the confines of other less popular sports. Rules were also developed to specify field size and a scoring system to be used by teams during play. It clear from the evolution and revision of the rules and guidelines of the game that American foot was growing to be a popular sport among many people. Professional football was first recorded when William heffelfinger was paid 500 Dollars to play a game in 1892. After that, it became apparent that there needed to be rules to govern how people handled this aspect. Fortunately, there was the rise of the NFL that has reigned over the game for a long time. Despite its disadvantages, professional play may have improved the standard of the game by making sure that only the best players compete professionally. In a team, there are three major backfield positions, namely the quarterback, the halfback and the fullback. The quarterback leads the offense and calls the plays. He usually takes the snap and may hand off the ball, throw it or run with it. Consequently, quarterbacks have sometimes been seen as the most important players in the team. The halfback or tailback usually carries the ball during running plays. He may also be a receiver. A fullback primarily acts as a blocker but may sometimes act as a runner the for short distance situations. The center leads the

Cult Practices in Cyprus During the Late Bronze Age

Cult Practices in Cyprus During the Late Bronze Age Assess the evidence for cult practices on Cyprus during the LBA (Late Bronze Age). There is a variety of evidence for cult practices on Cyprus during the LBA although it is often difficult to interpret and scholarly opinion of the significance or meaning of any particular piece of evidence may vary widely. In absolute terms, the LBA on Cyprus approximately covers the period from 1650-1050BC, some six hundred years, and in relative terms is divided by Steel into the phases LC (Late Cypriot) I-IIIA (Tatton-Brown 1997, 91; Steel 2004, 13). The later phase down to c1050BC, traditionally termed LCIIIB, may be considered a transitional Bronze/Early Iron Age. Such a considerable amount of time offers considerable scope for change in religious thought and practice, which may be more or less visible in the archaeological record, and although some material change through time may be observable, any interpretation still poses the danger of imposing a possibly non-existent uniformity on the material. A lack of any written references such as inscriptions, dedications or other t exts to deities in LBA Cyprus further complicates matters (Tatton-Brown 1997, 62). Nevertheless, the archaeological evidence usually discussed in terms of religious or cultic beliefs and practices in LBA Cyprus seems to fall into several interlinked categories: clay figurines, architectural remains (eg of sanctuaries) and artefacts, such as statuettes, imported pottery or bucrania, found in association with those architectural remains. The identification of any particular deities has been fraught with difficulty, but several bronze statuettes, the most well-known being known as the Ingot God and the Bomford figurine, are often thought to represent Cypriot or sometimes foreign gods and to show a link between cult and metalworking. This essay shall therefore examine these in turn, focussing on LCII and LCIIIA in particular. There are various types of figurine from LBA Cyprus and as with figurines from elsewhere, their interpretation and significance is disputed. Considering the earlier stump and plank type human figures, Tatton-Brown (1997, 62) suggests that whether they were fertility charms or goddesses ‘in practical terms their function would have been the same’. It is perhaps appropriate to bear this in mind with the LBA figurines. Karageorghis (2001, 323) has noted two types of female symbolism in the religious iconography of LBA Cyprus: one type of nude female figurine holding or supporting her breasts first appears on Cyprus in the Chalcolithic and continues down to the sixth century BC (see Tatton-Brown 1997, 49, fig. 49); another type, the kourotrophos (or boy-feeder; see Tatton-Brown 1997, 62 fig. 67 for an early plank-shaped kourotrophos) appeared firstly in the LBA and was also present in the Aegean as well as Cyprus. The former are sometimes known as ‘Astarte’ type figures, after the Syrian goddess. This emphasis on female characteristics such as breasts and genitals, as well as the feeding infant or infant in arms, is certainly suggestive of an interest in fertility and the feminine aspect, often thought to be represented by a ‘Great Goddess’ of Cyprus. Although there is no textual evidence regarding female deities from LBA Cyprus, much later fourth century BC dedications at Paphos refer to ‘Wanassa’ – the ‘Lady’, which seems to be an old title known in the LBA Linear B record of mainland Greece (Tatton-Brown 1997, 63). Greeks knew this goddess as Aphrodite or the Cyprian in the eighth century BC while Cypriots knew her as the Paphian, from the religious centre at Paphos. Whatever the female figurines represent – and they may not even represent goddesses, it has nevertheless been concluded that anthropomorphic clay figurines ‘are not a typical element of LC cult equipment in LCII or LCIII’ but become popular towards the end of the LBA (Steel 2004, 205, 211). Indeed, it seems that especially at Enkomi in LCIIIB, in the Sanctuary of the Ingot God, smaller and larger figurines (wheel-made with upraised arms) became especially popular, perhaps representing worshippers and deities. The larger figurines seem to be related to Cretan examples (Karageorghis 2001, 325). Most of the 120 figurines were deliberately broken, which may be indicative of changes in cult practice at this time (Webb 1999, 107). Anthropomorphic figurines are not the only type of figurine that may be related to cult practices on LBA Cyprus. Another key type may be the bull figurine. Steel (2004, 178) suggests that ‘most LC cult sanctuaries are equipped with at least a single terracotta bull figure.’ Hadjisavvas (1989) describes the tentative identification of two sanctuaries and a household cult area at Alassa-Pano Mandilaris from LCIIC-IIIA, where in total more than ten bull figurines were found on floors (see Hadjisavvas 1989, 38 fig. 3.6). Evidence of metalworking and a miniature ox-hide ingot were also found associated. Since bull figurines tend to be found on the floors of sanctuaries rather than deposited in pits (bothroi) or wells, Webb suggests they served as cult equipment rather than offerings (Webb 1999, 219). Bucrania had appeared on clay sanctuary models from the Early Bronze Age testifying to the longstanding significance of the bull in the Cypriot mindscape (Preziosi and Hitchcock 1999, 202) and the LBA figures emphasise the continuing importance of the bull in LCIIIA cult practices, reflected in the finds of cattle bones and skulls at sites such as the Sanctuary of the Horned God at Enkomi (Steel 2004, 205). It may be significant that at several sites, including the Sanctuary of the Double Goddess at Enkomi, no bull figurines were found. The focus of communal ceremonial activity seems to have changed in LCIIA from the extramural cemeteries that seemed to dominate the ceremonial of LCI to sites specific to religious activity – sanctuaries, that now appear in the archaeological record (Steel 2004, 175). There are notable examples of specialised cult centres from LCIIA at Myrtou-Pighades, Athienou and perhaps Ayios Iakovos-Dhima and in LCIIC-IIIA at the urban centres of Kition, Enkomi and Palaepaphos (Steel 2004, 176). As seen above, the religious nature of a place may often be suggested by the finds associated with it, such as bull figurines or miniature ingots, supposing that they are a specialised assemblage distinct from domestic assemblages. Particular architectural features or installations, such as horns of consecration (a feature from the Aegean, particularly Crete), altars and a cult room, may also be used to identify LC sanctuaries. The remains of sacrifice, stores cult objects and images and specialise d prestige and religious objects, such as figurines, bucrania and imported pottery should also be indicative of a sanctuary (Knapp 1996, 75-6 cited in Steel 2004, 175). However, the identification of cult buildings is not always straightforward since as Webb (1999, 11) points out ‘there appear to be few artefacts or architectural or locational indicators exclusively diagnostic of cult activity. Virtually all object types, with the probable exception of horns of consecration, are found in domestic and funerary as well as apparently ritual contexts’ and there is a danger of circular argumentation. Bearing in mind the problems of identification, Webb (1999, 157-6; 166-88) has nevertheless suggested a number of characteristics of LC cult buildings. Such buildings are mostly rectangular and freestanding and incorporate an enclosed courtyard or temenos. They tend to be laid out on an east-west axis and often comprise two or three units of rooms – the hall, sometimes supported by rows of pillars, the cella or adyton and a vestibule. A range of internal installations may be present, including: benches, for storage and display; hearths, often with burnt animal bone suggestive of sacrifice; stone podia for food and drink offerings or the display of votives or cult equipment; stone platforms or altars with horns of consecration, as at Myrtou-Pighades; terracotta larnakes or bathtubs and pits or bothroi, for the disposal of debris from sacrifices. Also characteristic of LCII cult places are faunal remains of sheep, goat, cattle and deer, perhaps in the form of ash and burnt bone, the remains of sacrifice and feasting. The main function of cult buildings may have been to house the deity and any ritual or public assembly may have made use of the courtyard or temenos area (Webb 1999, 162). There may have been restricted access to particular areas reflecting the specialised role of religious functionaries, as in other ancient Near Eastern societies. Keswani (1993, 74) has commented that what is striking about LC religious sites is their diversity in architectural form, which might argue for the existence of independent local polities. However the relationship between religion and its expression in material terms, let alone the relationship between religion and politics, is unclear and, to use an analogy, the similarity of Gothic cathedrals or Christian churches across various countries does not reflect political unity. Furthermore, whether the modern scholar’s distinction between cult building and non-cult building reflects any particular distinction bet ween sacred and secular that may or may not have existed in LBA Cyprus is moot. Turning now to the artefacts that are often found in the sanctuaries, Steel (2004, 177) notes that in contrast to the variety in architecture, the cult equipment of LCII sanctuaries is fairly uniform. Although she comments that this may suggest ‘a certain degree of uniformity of cult practices and religious beliefs’ it should be borne in mind that material similarities and even similarities of ritual action do not necessarily betoken similarities in religious belief – the number of religions ancient and modern that utilise, for example, ritualised drinking (eg Christianity), while having very different sets of beliefs, should warn us of this. That said, the cult equipment is largely made up of ceramics that suggest certain features of cult practice. Liquid containers are common finds, especially Base Ring carinated cups which may have been used for wine consumption during feasting, for pouring libations or both (Steel 2004, 177). The pottery in these contexts is u sually fine Cypriot ware with some Mycenaean imports, mainly in the form of kraters, probably for mixing wine. Some Mycenaean rhyta, often conical vessels used for pouring libations, have been found, for example at Myrtou-Pighades and Kition (see Preziosi and Hitchcock 1999, 201 fig. 134) and a locally made imitation in ivory was found at Athienou, although they may not have been fully incorporated into Cypriot ritual (Steel 2004, 178). Other vessels such as Mycenanaean kylikes may have been used for libation ceremonies. The ceramic focus on drinking seems reminiscent of the mainland Greek LBA palace of Pylos, with its storerooms full of drinking cups. Another shared feature is the practice of using miniature votives, either ceramics or ingots, such as at Alassa-Pano Mandilaris (Hadjisavvas 1989, 38). Apart from ceramics, Steel (2004, 178) also mentions the presence of objects that may have been used in divination: incised ox-scapulae, astragalis and worked shells, and other valuabl e items such as faience, ivory, glass, alabaster, bronzes and sealstones, which may have been involved in competitive display, at least on the urban sanctuaries. Three of the most famous and enigmatic bronze finds, perhaps representing deities, are the Ingot God from Enkomi, the unprovenanced Bomford statuette and the Horned God from Enkomi, all of which would seem to belong to LCIIIA (Carless Hulin 1989; Steel 2004, 180, 205 plate 25). The Ingot God is a warrior with a horned helmet, holding a small round shield and spear. He appears to be standing on a characteristically shaped bronze ox-hide ingot. The Bomford statuette resembles an ‘Astarte’ figurine but also seems to stand upon an ingot. Many interpretations have been offered, including suggestions that the Ingot God is a Babylonian or Levantine god (Nergal) or the Greek smith-god Hephaistos; others have linked it with Syria-Palestine or the Aegean (Carless Hulin 1989, 127). The Bomford figurine, reckoned to be a local Cypriot goddess, has been assumed to be the consort of the Ingot God, since it also stands on an ingot, and thus Carless Hulin (1989, 127) has suggested that its identification must be seen in light of that figure. While these two figures have posed significant problems in interpretation and in particular origins as deduced from style have been a major concern of those examining them, they do seem to show a connection between religion and metalwork (Steel 2004, 180). This is not entirely surprising since such a link is suggested by the miniature ingots from cult areas mentioned above at Alassa-Pano Mandilaris or those from Enkomi, some with inscriptions. Further representations of ingots have been noted that seem to show them in a ritualised sense – ie being carried in a procession (unless this is mere transportation or loading), on sealstones, and in combination with human figures, trees and bucrania, the association of which would seem to indicate ritual significance (Knapp 1986, 37). Another link between religion and metalwork is shown by the physical proximity of cult and metalworking areas. This was the case at Alassa-Pano M andilaris (Hadjisavvas 1989, 41) and can be seen clearly at Kition-Kathari (see Steel 2004, 179 fig. 6.13) as well as many other sites. Hadjisavvas (1989, 41) concluded that there was a relationship between elite control (priesthood/priest-king) of craft production and trade in copper and other commodities and between cult and metalworking. As with drinking, the relationship seems reminiscent of that of Pylos as a specialised production centre with close links between production, storage and religious/political authority. The Horned God has also been classed as a warrior god (Steel 2004, 205), though it does not possess the military accoutrements (the spear and shield) of the Ingot God. The impractically horned helmet may in fact be arrogating or representing some aspect of the bull divinity in human aspect. The sanctuary of the Horned God at Enkomi in fact revealed cattle bones, skulls and possibly traces of an Aegean bull’s head rhyton that might be taken as supporting this conjecture. Although these three bronze figures are commonly referred to as gods, the problem of interpretation nonetheless remains. Do the statues represent deities and were they venerated? Are they votives or substitutes for worshippers or individuals? Perhaps they were simply items of cult equipment used in ceremonies, perhaps revealed during ceremonies of divine appearance or the enactment of myths. Their deposition seems to suggest deliberate closure ceremonies (Steel 2004, 206), suggesting that these rituals and stat uettes are tied to specific times in LBA Cyprus and presumably responded to specific social needs. Thus it is perhaps unwise to draw period wide generalisations from such evidence. Another type of evidence appearing in LCIII that should be mentioned briefly is the terracotta masks from the urban sanctuaries of Enkomi and Kition (Steel 2004, 204). These have been divided into anthropomorphic and demonic types, both of which are slightly less than adult life size. Some have traces of paint and eight of the anthropomorphic masks show a bearded male with cut-out eyes and a closed mouth. The demonic faces are deeply grooved. The masks have been interpreted as ritual objects worn during rites of passage from childhood to adulthood – the demonic masks representing the wild state of childhood and as masks used in mythological re-enactments connected to metalworking (Steel 2004, 205). This essay has attempted to outline and assess the evidence for cult practice in LBA Cyprus. Inevitably not all of the evidence has been mentioned here but it is hoped that reasonable coverage has been given to the main points. It has shown that while there is much evidence linked to cult in the LBA, such as figurines, sanctuaries and specialised artefacts, their interpretation is often problematic. Even when it is fairly certain that items may have been involved in cult in one way or another, any more specific comment is often impossible, even when deciding if a figurine represent a divinity. It has also been demonstrated that to link variety in architectural form to any interpretation of the political geography of LBA Cyprus may be problematic, since the wider relationships between material and non-material remain obscure. Furthermore, the essay examined the significance of several bronze statuettes, usually taken to be divinities, and the problems in their interpretation as well a s the novel terracotta masks that appear in LCIII. On the other hand, it has been shown that there seems to have been lively religious activity on LBA Cyprus that involved drinking and feasting using particular ceramics and in particular places, the pouring of libations and sacrifice of animals, as well as the deposition of valuable items. There seems to have been a particular reverence for bulls and their imagery as well as the female aspect represented by figurines and the Bomford statuette, as well as a significant link between metalworking and religion, as demonstrated by both the proximity of cult and metalworking areas and the presence of miniature ingots. Another important aspect of LBA Cypriot religion seems to be the willingness to incorporate features from outside Cyprus, the Cretan horns of consecration, for example, rhyta, Mycenaean cups, kraters and the like and the ability of Cypriot religion to change over time. References Carless Hulin, L. 1989. The identification of Cypriot cult figures through cross-cultural comparison: some problems. In Peltenburg, E. (ed.) 1989. Early Society in Cyprus. Edinburgh: Edinburgh University Press, pp127-39. Hadjisavvas, S. 1989. A Late Cypriot Community at Alassa. In Peltenburg, E. (ed.) 1989. Early Society in Cyprus. Edinburgh: Edinburgh University Press, pp32-42. Karageorghis, V. 2001. The Great Goddess of Cyprus Between the Aegeans and the ‘Etrocypriots’. In Laffineur, R. and Hagg, R. (eds.) 2001. POTNIA. Deities and Religion in the Aegean Bronze Age Aegaeum 22. Gà ¶teborg: Gà ¶teborg University pp323-27. Keswani, P.S. 1993. Models of Local Exchange in Late Bronze Age Cyprus. BASOR 292: 73-83. Knapp, A.B. 1986. Copper Production and Divine Protection: Archaeology, Ideology and Social Complexity on Bronze Age Cyprus. SIMA Pocketbook 42. Gà ¶teborg: Paul Astrà ¶ms Fà ¶rlag. Preziosi, D. and Hitchcock, L.A. 1999. Aegean Art and Architecture. Oxford: Oxford University Press. Steel, L. 2004. Cyprus Before History. From the Earliest Settlers to the End of the Bronze Age. London: Duckworth. Tatton-Brown, V. 1997. Ancient Cyprus. (2nd edition) London: British Museum Press. Webb, J.M. 1999. Ritual Architecture, Iconography and Practice in the Late Cypriot Bronze Age. Jonsered: Paul Astrà ¶ms Fà ¶rlag.