Holocaust :: essays research papers

This is a story of how a young boy and his family lived through the holocaust. It begins in a town called Transylvania. The young boy was Elizer Weisel, one of four children and the only son. Elie was very spiritual, in which he wanted to find a master in Sighet to instruct him in the Zohar (the cabbalistic books, the secrets of Jewish mysticism). Moshe the Beadle was a poor man of the town that lived humbly. He was the one that would begin teaching Elie the Zohar.   Ã‚  Ã‚  Ã‚  Ã‚  But one day, Moshe the Beadle, was expelled from Signet by the Hungarian police. He and others were crammed into box cars on a train. Several months had passed when Moshe the Beadle was spotted sitting in a bench in town. He began to tell his story of the terror he encountered. They were taken to a Polish territory where the Gestapo was in charge. They climbed into trucks and were driven into a forest where they dug their own graves. Then the Gestapo began firing at the Jews and throwing babies in the air as flying targets. Moshe was shot in the leg and pretended to be dead. Moshe began to make the journey home telling the horror that he experienced. No one could believe such an unimaginable story. The people just simply thought that he had gone mad. He begged people to believe his story but no one would.   Ã‚  Ã‚  Ã‚  Ã‚  Elie’s family listened to the London radio every evening. It was at the end of 1942 life had returned to normal. Bu the spring of 1944 all the Jews of Sighet were convinced that Germany’s defeat was near and they were all safe from harm. They even doubted Hitler wanted to exterminate them. But one day, they heard that German troops had entered Hungarian territory which brought on some anxiety. Then they moved on to Budapest where the Jews there were living in fear and terror. The Jews of Signet convinced themselves that the Germans would not move any further. But three days later German army cars had appeared in the streets. The officers were put up in private homes even some Jewish homes. Their first impressions of the Germans were mostly reassuring. They were calm, likeable, polite and sympathetic. The synagogues were closed.   Ã‚  Ã‚  Ã‚  Ã‚  The week of Passover they gathered at private houses to celebrate, but their hearts were not into it because of what was happening to their town.

Suffrage Movement during the Progressive Era

During the late 1800's and early 1900's women's lives were consumed with fighting for what they should have always had; equality. This fight for fairness is the main driving force behind the Progressive Era. Women were coming together all over the country in a unified fight for women's rights. This massive change had been silently building up in the background for many years prior to 1900 but it is here that we see the biggest changes. Women moving from the homes and houses to the factories and commercial sites. There are other significant changes taking place as well. Women became much more involved in politics even though they could still not vote in public elections. This change in the thoughts and lives of women is one of the main focus of the 20th century and the reason for our 19th amendment. During the Progressive Era the roles of women were changing dramatically due to a number of reasons, but most importantly to the efforts of clubwomen. In 1890 women founded The General Federation of Women's Clubs (GFWC). This was a major step for women's rights advocates as it established a major political presence in the country. The formation of the GFWC represented the changing roles of women in the political world. Many women felt they were being oppressed and wanted change. â€Å"Violence against women is part of a continuum of sexist power relationships which define our roles in the home, workplace & society. Inequality, poverty & alienation spawn further violence & make women more fearful†¦ which in turn causes them to limit their right to participate fully in city life. † -1988 -â€Å"The Safe City† METRAC, Metro Action on Public Violence Against Women & Children, Toronto. The women of the GFWC rallied to support women all over the country and they fought for equality on almost every political front. The creation of the GFWC started a women's movement towards the clubwoman ideal. They were now beginning to move away from their roles as caregivers and housewives towards more industry oriented positions. Progressive women began to create clubs which supported many different causes such as temperance and better working conditions. The most affluent of these clubs was the Woman's Christian Temperance Union. The WCTU led the way with women's rights and allowed women to voice their fears about home abuse as well as legal rights. Drawing from all over the country the WCTU gained much of its support from the middle-class women of the 1900's. By allowing these women to voice their thoughts and fears these clubs became very powerful tools in the political arena. The WCTU consisted of over 39 different departments dealing with everything from labor restructuring, lobbying, and public affairs, to health, education, and peace. By the 1890's the WCTU had over 150,000 members and over one million by the 20th century. The WCTU was important to white southern women in particular. These southern women were the most need in change due to a common southern idyllic that the woman should be a model of the family and should not be subjected to the harsh world outside the home. This act of keeping the women inside the home all day caused much resentment from the woman and led many women to join the WCTU. These women gradually became active working women and many left their abusive husbands in search of better living standards. Women's lives in the home also changed a great deal. In the 1890's Catharine Beecher began to publicize her ideas on housework. She believed that it was possible to â€Å"professionalize† housework. As the first female to graduate from MIT she held a great deal of authority. Her ideas were received with mild success. She tried to blend technology, housework, and science together to create a better picture of the importance of women. The main result of this change was that it made women realize that they were more than a status symbol. A Major cause of the changing roles in the home was that women found themselves not able to join some new professions. Officially excluded from the politics of men during much of Canada's history†¦ , Canadian women have had their own politics. † â€Å"Who were these women who were willing to sacrifice the relative comforts of home, & the frequently permanent parting from family & friends†¦ most of them must have found their lives enormously changed†¦ but they adapted to new ways of doing things. † -1988. – Prentice, Bourne, Cuthbert Brandt, Light, Mitchinson, Black They were unable to hold even some of the most unwanted jobs such as janitors and delivery persons. Women were also restricted from voting. Their input was unimportant in both national and even local elections and this made them angry. Women could not hold public offices and were, for the most part, restricted from seizing any adequate amount of power. At the time many men believed women should not hold any power and that they were unsuited for work outside the home. This belief was so strong in certain areas that women had even believed it for a time. Soon women began to become educated. Many colleges were beginning to allow women, both black and white, to attend. Reasons include financial stability, public outlook and support, but most importantly the efforts of women like Susan B. Anthony, Jane Addams, Marion Talbot, Mary Church Terrell, and a number of other courageous women. Through the suffrage movement many women were allowed to receive a higher education. Education was originally only for men but women soon fought that tradition and many colleges began to allow women into classes. Women soon began to challenge their places in society as well as their roles and both mothers and as part of the workforce. Because they stood up to the resistance slowly jobs were beginning to open up. There were many visible signs of women's changing roles. In the home they no longer looked after children as much as they used to. They were out getting jobs and didn't have the time to commit themselves to the children's upbringing. They were also very much more involved in politics than ever before. Women wanted a voice and they were willing to fight for it. They did this by forming clubs and joining in many different movements. Many women felt they should become more involved in the community through clubs and politics and many wanted to expand their realm of control. These women had once been situated mostly in the home but were beginning to challenge this idea. Some women liked the idea of clubs and unions because it allowed them to challenge the norm without sacrificing themselves completely. They believed it was necessary for the removal of the age old gender distinctions. The biggest affect that clubs had on women was their ability to bring all the middle-class women together. This was such an amazing feat that it was hard for male politicians to challenge them. Women began to take control of the finances more than they had in the past. They were bringing in income and felt that they should therefore be allowed to have a say in the finances. They were also more educated and as such believed they were capable of taking care of the finances. Another area that women's lives were changing in was that of relationships. At one time women's lives were controlled almost completely by men. The women had little say in anything and could not object to what the husband believed was right. Women were so restricted that they could not speak out even in cases of abuse. Being unable to object to their husbands caused a great deal of resentment and hurt the family's relationship. â€Å"There are two general divisions to this subject of Equal Franchise. Is Woman Suffrage just and right? Is it expedient and desirable? I think an affirmative answer may be taken as granted all round. If it is admitted that Government is a human concern and that woman is just as human as man, all the rest follows. The fact that woman is different from man mentally and morally as well as physically is not an argument against her enfranchisement, but, in a representative system, a conclusive argument for it†¦. No man, without woman's co-operation can make a real home. Look at the conditions: Countries that are nominally free being made the prey of monopoly, privileges and injustice, with such evil fruits as the liquor traffic, white slavery, child labor and abject poverty side by side with unimaginable wealth. Man has been a failure as a housekeeper, and it is high time that he took an equal partner — the natural partner he should have had from the first†¦. The infusion of woman's keener moral perceptions and stronger spiritual ardor into statesmanship is what is needed to meet the perils of the day, and to bring the triumph of the Cause of Peace by securing the triumph of the Cause of Justice. † Woman Suffrage, By J. W. Bengough (1922) http://www. adams. edu/academics/art_letters/hgp/civ/111/5suffragequotes. html This was all beginning to change as women gained a voice and financial independence they also obtained the ability to divorce their husbands and discard earlier beliefs that women were showpieces. Women are persons in matters of pains and penalties, but are not persons in matters of rights and privileges. † (1876 British Common Law ruling). This was overturned by the 18 Oct. 1929 Person's Case. When women won, Nellie McClung said â€Å"Ladies, hang Lord Sankey's picture on the wall of the Community Rest Room with Newton Wesley Rowell's beside it, & let these names & the names of the other Lords of the Judicial Com mittee of the Privy Council be kept in perpetual and grateful remembrance†¦ † The Progressive Era is known for many achievements, but most importantly for how it helped to shape the world we live in today. Women's lives have changed dramatically since the late 1800's. Women were once treated unequally both in the home and in the workplace. They were unrepresented in politics as well. Women had to face many hardships during their fight for equality and much of this fighting began during the Progressive Era (1890-1920). Both in the home and in politics the lives and lifestyles of women have greatly improved. Women who once had no voice now were becoming clubwomen and voting on behalf of their parties. Women who were once confined to the role of housewife could now begin to seek financial stability in jobs such as nursing and textiles. Women's lives were far from equal to that of men but the steps taken during the 1900's ensured that they would forever fight until that uniformity was established. There were many times when women struggled to gain equality, but none as important or as far reaching as the women's rights movement of the Progressive Era.

Creative Writing Essay

Specific poetic forms have been developed by many cultures. In more developed, closed or â€Å"received† poetic forms, the rhyming scheme, meter and other elements of a poem are based on sets of rules, ranging from the relatively loose rules that govern the construction of an elegy to the highly formalized structure of the ghazal or villanelle. Described below are some common forms of poetry widely used across a number of languages. Additional forms of poetry may be found in the discussions of poetry of particular cultures or periods and in the glossary. Sonnet Among the most common forms of poetry through the ages is the sonnet, which by the 13th century was a poem of fourteen lines following a set rhyme scheme and logical structure. By the 14th century, the form further crystallized under the pen of Petrarch, whose sonnets were later translated in the 16th century by Sir Thomas Wyatt, who is credited with introducing the sonnet form into English literature. A sonnet’s first four lines typically introduce the topic. A sonnet usually follows an a-b-a-b rhyme pattern. The sonnet’s conventions have changed over its history, and so there are several different sonnet forms. Traditionally, in sonnets English poets use iambic pentameter, the Spenserian and Shakespearean sonnets being especially notable. In the Romance languages, the hendecasyllable and Alexandrine are the most widely used meters, though the Petrarchan sonnet has been used in Italy since the 14th century. Sonnets are particularly associated with love poetry, and often use a poetic diction heavily based on vivid imagery, but the twists and turns associated with the move from octave to sestet and to final couplet make them a useful and dynamic form for many subjects.] Shakespeare’s sonnets are among the most famous in English poetry, with 20 being included in the Oxford Book of English Verse. Shi (poetry) Shi (traditional Chinese: è © ©; simplified Chinese: è ¯â€"; pinyin: shÄ «; Wade-Giles: shih) Is the main type of Classical Chinese poetry.Within this form of poetry the most important variations are â€Å"folk song† styled verse (yuefu), â€Å"old style† verse (gushi), â€Å"modern style† verse (jintishi). In all cases, rhyming is obligatory. The Yuefu is a folk ballad or a poem written in the folk ballad style, and the number of lines and the length of the lines could be irregular. For the other variations of shi poetry, generally either a four line (quatrain, or jueju) or else an eight line poem is normal; either way with the even numbered lines rhyming. The line length is scanned by according number of characters (according to the convention that one character equals one syllable), and are predominantly either five or seven characters long, with a caesura before the final three syllables. The lines are generally end-stopped, considered as a series of couplets, and exhibit verbal parallelism as a key poetic device. ]The â€Å"old style† verse (gushi) is less formally strict than the jintishi, or regulated verse, which, despite the name â€Å"new style† verse actually had its theoretical basis laid as far back to Shen Yue, in the 5th or 6th century, although not considered to have reached its full development until the time of Chen Zi’ang (661-702) A good example of a poet known for his gushi poems is Li Bai. Among its other rules, the jintishi rules regulate the tonal variations within a poem, including the use of set patterns of the four tones of Middle Chinese The basic form of jintishi (lushi) has eight lines in four couplets, with parallelism between the lines in the second and third couplets. The couplets with parallel lines contain contrasting content but an identical grammatical relationship between words. Jintishi often have a rich poetic diction, full of allusion, and can have a wide range of subject, including history and politics. One of the masters of the form was Du Fu, who wrote during the Tang Dynasty (8th century). Villanelle The villanelle is a nineteen-line poem made up of five triplets with a closing quatrain; the poem is characterized by having two refrains, initially used in the first and third lines of the first stanza, and then alternately used at the close of each subsequent stanza until the final quatrain, which is concluded by the two refrains. The remaining lines of the poem have an a-b alternating rhyme.The villanelle has been used regularly in the English language since the late 19th century by such poets as Dylan Thomas, W. H. Auden,and Elizabeth Bishop. Tanka Tanka is a form of unrhymed Japanese poetry, with five sections totalling 31 onji (phonological units identical to morae), structured in a 5-7-5 7–7 pattern.There is generally a shift in tone and subject matter between the upper 5-7-5 phrase and the lower 7-7 phrase. Tanka were written as early as the Nara period by such poets as Kakinomoto no Hitomaro, at a time when Japan was emerging from a period where much of its poetry followed Chinese form. Tanka was originally the shorter form of Japanese formal poetry, and was used more heavily to explore personal rather than public themes. By the 13th century, tanka had become the dominant form of Japanese poetry, and it is still widely written today. Haiku Haiku is a popular form of unrhymed Japanese poetry, which evolved in the 17th century from the hokku, or opening verse of a renku. Generally written in a single vertical line, the haiku contains three sections totalling 17 onji, structured in a 5-7-5 pattern. Traditionally, haiku contain a kireji, or cutting word, usually placed at the end of one of the poem’s three sections, and a kigo, or season-word. The most famous exponent of the haiku was Matsuo BashÃ…  (1644–1694). An example of his writing: Ã¥ ¯Å'Ã¥ £ «Ã£  ®Ã© ¢ ¨Ã£â€šâ€žÃ¦â€°â€¡Ã£  «Ã£  ®Ã£ â€ºÃ£  ¦Ã¦ ±Å¸Ã¦Ë† ¸Ã¥Å"Ÿç” £ fuji no kaze ya oogi ni nosete Edo miyage the wind of Mt. Fuji I’ve brought on my fan! a gift from Edo Ode Odes were first developed by poets writing in ancient Greek, such as Pindar, and Latin, such as Horace. Forms of odes appear in many of the cultures that were influenced by the Greeks and Latins.The ode generally has three parts: a strophe, an antistrophe, and an epode. The antistrophes of the ode possess similar metrical structures and, depending on the tradition, similar rhyme structures. In contrast, the epode is written with a different scheme and structure. Odes have a formal poetic diction, and generally deal with a serious subject. The strophe and antistrophe look at the subject from different, often conflicting, perspectives, with the epode moving to a higher level to either view or resolve the underlying issues. Odes are often intended to be recited or sung by two choruses (or individuals), with the first reciting the strophe, the second the antistrophe, and both together the epode.Over time, differing forms for odes have developed with considerable variations in form and structure, but generally showing the original influence of the Pindaric or Horatian ode. One non-Western form which resembles the ode is the qasida in Persian poetry. Ghazal The ghazal (also ghazel, gazel, gazal, or gozol) is a form of poetry common in Arabic, Persian, Turkish, Azerbaijani, Urdu and Bengali poetry. In classic form, the ghazal has from five to fifteen rhyming couplets that share a refrain at the end of the second line. This refrain may be of one or several syllables, and is preceded by a rhyme. Each line has an identical meter. The ghazal often reflects on a theme of unattainable love or divinity. As with other forms with a long history in many languages, many variations have been developed, including forms with a quasi-musical poetic diction in Urdu. Ghazals have a classical affinity with Sufism, and a number of major Sufi religious works are written in ghazal form. The relatively steady meter and the use of the refrain produce an incantatory effect, which complements Sufi mystical themes well. Among the masters of the form is Rumi, a 13th-century Persian poet who lived in Konya, in present-day Turkey. Genres In addition to specific forms of poems, poetry is often thought of in terms of different genres and subgenres. A poetic genre is generally a tradition or classification of poetry based on the subject matter, style, or other broader literary characteristics. Some commentators view genres as natural forms of literature. Others view the study of genres as the study of how different works relate and refer to other works. Narrative poetry Narrative poetry is a genre of poetry that tells a story. Broadly it subsumes epic poetry, but the term â€Å"narrative poetry† is often reserved for smaller works, generally with more appeal to human interest. Narrative poetry may be the oldest type of poetry. Many scholars of Homer have concluded that his Iliad and Odyssey were composed from compilations of shorter narrative poems that related individual episodes. Much narrative poetry—such as Scottish and English ballads, and Baltic and Slavic heroic poems—is performance poetry with roots in a preliterate oral tradition. It has been speculated that some features that distinguish poetry from prose, such as meter, alliteration and kennings, once served as memory aids for bards who recited traditional tales. Notable narrative poets have included Ovid, Dante, Juan Ruiz, Chaucer, William Langland, Luà ­s de Camà µes, Shakespeare, Alexander Pope, Robert Burns, Fernando de Rojas, Adam Mickiewicz, Alexander Pushkin, Edgar Allan Poe and Alfred Tennyson. Epic poetry Epic poetry is a genre of poetry, and a major form of narrative literature. This genre is often defined as lengthy poems concerning events of a heroic or important nature to the culture of the time. It recounts, in a continuous narrative, the life and works of a heroic or mythological person or group of persons.] Examples of epic poems are Homer’s Iliad and Odyssey, Virgil’s Aeneid, the Nibelungenlied, Luà ­s de Camà µes’ Os Lusà ­adas, the Cantar de Mio Cid, the Epic of Gilgamesh, the Mahabharata, Valmiki’s Ramayana, Ferdowsi’s Shahnama, Nizami (or Nezami)’s Khamse (Five Books), and the Epic of King Gesar. While the composition of epic poetry, and of long poems generally, became less common in the west after the early 20th century, some notable epics have continued to be written. Derek Walcott won a Nobel prize to a great extent on the basis of his epic, Omeros. Verse drama and dramatic verse, Theatre of ancient Greece, Sanskrit drama, Chinese Opera, and Noh Dramatic poetry is drama written in verse to be spoken or sung, and appears in varying, sometimes related forms in many cultures. Greek tragedy in verse dates to the 6th century B.C., and may have been an influence on the development of Sanskrit drama, just as Indian drama in turn appears to have influenced the development of the bianwen verse dramas in China, forerunners of Chinese Opera.East Asian verse dramas also include Japanese Noh. Examples of dramatic poetry in Persian literature include Nizami’s two famous dramatic works, Layla and Majnun and Khosrow and Shirin, Ferdowsi’s tragedies such as Rostam and Sohrab, Rumi’s Masnavi, Gorgani’s tragedy of Vis and Ramin, and Vahshi’s tragedy of Farhad. Satirical Poetry Poetry can be a powerful vehicle for satire. The Romans had a strong tradition of satirical poetry, often written for political purposes. A notable example is the Roman poet Juvenal’s satires.[128] The same is true of the English satirical tradition. John Dryden (a Tory), the first Poet Laureate, produced in 1682 Mac Flecknoe, subtitled â€Å"A Satire on the True Blue Protestant Poet, T.S.† (a reference to Thomas Shadwell).Another master of 17th-century English satirical poetry was John Wilmot, 2nd Earl of Rochester.Satirical poets outside England include Poland’s Ignacy Krasicki, Azerbaijan’s Sabir and Portugal’s Manuel Maria Barbosa du Bocage. Lyric poetry Lyric poetry is a genre that, unlike epic and dramatic poetry, does not attempt to tell a story but instead is of a more personal nature. Poems in this genre tend to be shorter, melodic, and contemplative. Rather than depicting characters and actions, it portrays the poet’s own feelings, states of mind, and perceptions.Notable poets in this genre include John Donne, Gerard Manley Hopkins, and Antonio Machado. Elegy An elegy is a mournful, melancholy or plaintive poem, especially a lament for the dead or a funeral song. The term â€Å"elegy,† which originally denoted a type of poetic meter (elegiac meter), commonly describes a poem of mourning. An elegy may also reflect something that seems to the author to be strange or mysterious. The elegy, as a reflection on a death, on a sorrow more generally, or on something mysterious, may be classified as a form of lyric poetry. Notable practitioners of elegiac poetry have included Propertius, Jorge Manrique, Jan Kochanowski, Chidiock Tichborne, Edmund Spenser, Ben Jonson, John Milton, Thomas Gray, Charlotte Turner Smith, William Cullen Bryant, Percy Bysshe Shelley, Johann Wolfgang von Goethe, Evgeny Baratynsky, Alfred Tennyson, Walt Whitman, Louis Gallet, Antonio Machado, Juan Ramà ³n Jimà ©nez, William Butler Yeats, Rainer Maria Rilke, and Virginia Woolf. Fable The fable is an ancient literary genre, often (though not invariably) set in verse. It is a succinct story that features anthropomorphized animals, plants, inanimate objects, or forces of nature that illustrate a moral lesson (a â€Å"moral†). Verse fables have used a variety of meter and rhyme patterns. Notable verse fabulists have included Aesop, Vishnu Sarma, Phaedrus, Marie de France, Robert Henryson, Biernat of Lublin, Jean de La Fontaine, Ignacy Krasicki, Fà ©lix Marà ­a de Samaniego, Tomà ¡s de Iriarte, Ivan Krylov and Ambrose Bierce. Prose poetry Prose poetry is a hybrid genre that shows attributes of both prose and poetry. It may be indistinguishable from the micro-story (a.k.a. the â€Å"short short story†, â€Å"flash fiction†). While some examples of earlier prose strike modern readers as poetic, prose poetry is commonly regarded as having originated in 19th-century France, where its practitioners included Aloysius Bertrand, Charles Baudelaire, Arthur Rimbaud and Stà ©phane Mallarmà ©.Since the late 1980s especially, prose poetry has gained increasing popularity, with entire journals, such as The Prose Poem: An International Journal,Contemporary Haibun Onlinedevoted to that genre. Speculative poetry Speculative poetry, also known as fantastic poetry, (of which weird or macabre poetry is a major subclassification), is a poetic genre which deals thematically with subjects which are ‘beyond reality’, whether via extrapolation as in science fiction or via weird and horrific themes as in horror fiction. Such poetry appears regularly in modern science fiction and horror fiction magazines. Edgar Allan Poe is sometimes seen as the â€Å"father of speculative poetry†.

How does the presentation of Iago in Act1 sn1 lines 41-66 and Act1 sn3 lines 365-385 prepare the audience for the tragedy of Othello?

The two passages in question, the first a speech Iago makes at the start of the play, and the second, a short soliloquy at the end of Act one, introduce the audience to the character of Iago and the feelings he has towards Othello which will drive the action of the play and shape the tragedy. In the play, we see Othello, a heroic character, fall from grace. Shakespeare's successful use of peripeteia is accentuated by Othello's strive through adversity and what he has managed to achieve, especially in Venice which was the most powerful society in the world for a time. It was un-heard of for a â€Å"moor† to have reached such a momentous position considering the racism at this point in history. Othello is also a character that the audience can empathize with easily. This emphasizes the tragedy of Othello due to the fact that he doesn't deserve to have been plagued by trickery resulting in him murdering Desdemona and then killing himself. He has been entirely manipulated by Iago. He is the artist behind the fall of Othello. He realizes that Othello can be â€Å"tenderly led by the nose as asses are† and is clever and ruthless enough to take advantage of him and exploit his flaw, jealousy. Iago's exploitative nature is communicated to the audience when he is talking to Roderigo about how he dislikes the â€Å"Moor† and says, â€Å"I follow him to serve my turn upon him. † This statement reveals Iago's feelings towards Othello, as well as an insight into the way he thinks and his priorities in life. This suggests that Iago's motive is just to climb to the top of society without regard or respect for anyone else's emotions. An example of this is when Iago is telling Roderigo how he feels about certain types of employees, the types that â€Å"line their coats†. He states that these people have â€Å"soul† and believes â€Å"such a one I do profess myself. † This shows the audience Iago's selfish and power hungry temperament. It is interesting how Shakespeare has chosen to put a full stop after the word â€Å"myself†. He has chosen not to use enjambment, which he uses abundantly throughout the text. When listening to someone act out this speech, there would be a pause after this word that would let the audience have time to think about the statement just voiced. Iago's desire for status brings to light the theme of class. Iago feels an extremely strong desire to climb to the highest class and profess himself a success. This could be seen as his primary motive for money and power and ultimately status. However, he also wishes to break the bond between Othello and Desdemona. As well as revealing his character to the audience, these two quotations foreshadow and prime the audience for a tragic ending, one in which Iago will turn upon Othello, a noble and trusting character. Iago's motives are often unclear and we end up speculating that he is jealous, racist or insecure. The presentation of Iago in the penultimate sentence of the first speech, invokes images of pain, destruction, darkness and possibly some of the aforementioned insecurity. He voices a sinister yet almost vulnerable statement to Roderigo when he says â€Å"I will wear my heart upon my sleeve/ For daws to peck at. † This can be interpreted in many ways. One of which is that Iago feels that he has done so much wrong that he is leaving his feelings open for the people around him to â€Å"peck at† with the â€Å"daws† symbolizing the people. This would suggest that Iago does have a heart because he feels punished for how he treats his companions and the net of lies he weaves around them. Moreover, leaving ones heart upon ones sleeve could be seen as an act to open their heart to the world, leaving one vulnerable and defenceless. This metaphorical image of a bird pecking at his heart paints an enduringly dark and depressing picture for the audience. Conversely, we could see this quote as Iago feeling he should be punished. We could also see it as Iago being self destructive and almost psychopathic. The structure chosen here by Shaksespeare suggests that this statement should be read as a sinister one as opposed to a vulnerable one. The writer has chosen to continue this sentence onto the next line. His use of emjambement here suggests that the audience should hear the statement all as one. There is no pause between † sleeve† and â€Å"for daws†¦.. â€Å". In addition, the fact that Iago doesn't care that he is leaving his feelings so vulnerable makes us think that he has no care for his emotions and anyone else's whatsoever. It is also ironic because he is saying he will reveal his feelings, his emotions and his true self, but succeeds in manipulating all of the characters due to his immense power to lie, deceive and erect an impregnable faiade. Shakespeare alludes to themes such as race and class in the last sentence of the first speech that also portray Iago's deceitful character. Iago ends his speech to Roderigo by saying â€Å"I am not what I am. † We have already learned that he is a deceptive and confusing character however this statement means that he could have been putting up a faiade this whole time and none of what he said could be true. As and audience, we feel that Shakespeare has employed this dramatic device to keep us guessing. Moreover, this is interesting because we would usually expect Iago to reveal this about his character in a soliloquy rather than in conversation with another character. Shakespeare has most definitely chosen this short punchy sentence to end his speech for a reason. This is the main thought that the audience are left with. This is a key function in helping the audience to suspend their disbelief. Watching the play you would be confused trying to understand his character and then seconds later the dialogue resumes between Iago and Roderigo. There is also another interesting interpratation of this statement that relates to class and race. At the time, white people considered themselves the higher power compared to black people. White people considered themselves clean and proper and considered black people dirty and improper. However, this is ironic because Othello, the black character or â€Å"Moor† is the noble, kind and strong character. And Iago is portrayed as being evil, deceptive and crazy. We could see this as an attempt by Shakespeare to attack the ideals and beliefs of the time by turning them over and challenging them. The end of this passage gives the audience the idea that good will not prevail over evil resulting in a devastating end to the play. The second passage, Iago's soliloquy, starts with him telling the audience that whenever he can, he will take advantage of any â€Å"fool† for his profit. This again communicates his exploitative nature and alludes to the idea that eventually Othello will become his â€Å"purse†. He then goes on to say â€Å"I hate the Moor,†. Once again Shakespeare has used structure to emphasize a certain point. This being that Iago despises Othello. He does this by starting the sentence with â€Å"I† and has placed a comma after † moor† which sections off this declaration causing a pause after hearing which leaves time for this statement to be absorbed by the audience. Iago is portrayed as being sexist in the beginning of his soliloquy when he says that by Othello sleeping with his wife he has â€Å"done his office†. Referring to his wife as â€Å"his office† now would be a potentially life threatening comment, however at the time it was thought that men were above women and a women's place was at home, cooking, cleaning and holding together the home-life. He is referring to Emilia as if he can do with her as he wants. This suggests she is his sex object and reaffirms him as the duplicitous man that he is. Iago's character is portrayed as evil and scheming in the last sentence of his soliloquy. After Iago has been plotting he has conjured up a plan to frame Othello by exploiting his trusting nature. This is communicated when he says â€Å"Hell and night/ Must bring this monstrous birth to the world's light. † This conjures up images of death, pain and evil beasts. This is a very powerful statement and has the most significance in terms of alluding to the tragic ending of Othello. It is also interesting because Shakespeare has chosen to write this in verse. This adds a poetic and almost beautiful aura to what Iago is saying. It is intriguing yet horrific at the same time. He has also chosen to use figurative speech that makes the audience think more about what is being said. This is typical of Shakespeare's fondness for dramatic irony. He may have been alluding to the overall themes of the play here in this one line. Specifically, the contrasting notions of heaven vs hell, light vs dark and good vs evil. In conclusion, we can see that both speeches play key roles in preparing the audience for the tragedy of Othello. The first speech reveals much about Iago's character including his manipulative and exploitative nature. It is revealed to the audience that Iago is complex and intelligent but that these traits are ominous ones. Iago is portrayed in such a negative way that it leaves the audience thinking that there could only be a negative ending to the play. The assumption is that evil will prevail. However at this point in the play we have not met Othello. We are not sure whether what Imago is saying about Othello is true which means that the audience are ill prepared at this point for the tragedy of Othello. In Iago's soliloquy he begins to engineer his plan to defeat Othello. At this point we have met Othello and we are aware of his trusting nature that becomes his downfall at the end of the play. Shakespeare uses a combination of structural techniques, language and themes to help the audience prepare for the tragedy that follows. I believe that Shakespeare was attempting an attack on the ideals and beliefs in society at the time and was trying to tell the worlds that fairytales do not usually come true and that humans will ultimately be the makers of their own downfall.

Article Analysis Essay Example | Topics and Well Written Essays - 1000 words - 1

Article Analysis - Essay Example It became apparent that retention rates within the organization were abysmal with approximately 50% of new hires would not last 97 days within the organization. Employee retention has significant associated costs, and a study by Cox/Frank for the U.S. Department of labor statistics estimated that in the supermarket context, employee turnover cuts into the industry’s profit by approximately 40%. It was from this study that Angela Hornsby decided that many of the problems that plagued the supermarket industry were similar to that of T.G.I. Fridays The article then went on to identify problems with retention. Firstly it is the case that many restaurants focus on turnover and not retention. Salary is not the most common reason for somebody leaving an organization. It was postulated that employers who provide their employees with better direction lose only about half of their employees in 148 days as opposed to 86 days which marks a 72% difference in the grocery industry. Furthermore it should be noted that retention drivers are different for management employees as opposed to hourly laborers. As such retention programs need to be tailored to meet the different needs of different employees. The article finally postulated that according to Teresa Siriani of the People report suggests that the restaurant industry’s high turnover can be attributed to many factors and no one simple problem. She suggested that a shrinking labor pool, declining employment rate (in 2006) and more competition amongst other labor fields such as health care will continue to make retention difficult. It is only through continual innovations can a restaurant hope to achieve better employee retention and as such lower the associated costs. The challenges presented in this article are simple. It is the case that in the restaurant (And Supermarket) industry there is inherently a very high employee turnover rate. The way that this affects the food and beverage

Society and its Attraction to Jury Trial Essay Example | Topics and Well Written Essays - 2500 words

Society and its Attraction to Jury Trial - Essay Example Furthermore, the individual jurors, chosen randomly, often face a lot of pressure in the form of intricate and lengthy case proceedings, which are unjustified and often lead to negative impact on the case outcome. There have been issues as regards the jury expertise on objectivity of decisions taken, as some experts argued that jury trials tend to be more emotional or sentimental (hence biased) in nature, rather than being logical, thus, attracting more than the due share of media and society attention.2 In fact, Penny Darbyshire describes the jury system as â€Å"an anti-democratic, irrational, and haphazard legislator, whose erratic and secret decisions run counter to the rule of law.†3 Such problems as pointed by the critics are inherent within the UK jury trial system, leading to demands for bringing in radical reforms in the UK legal policies and for abolishment of this many centuries old celebrated institution of criminal justice. The role of the juries within the legal system translates to the simple fact that legally unqualified people (the layman) are given significance within the highly specialised profession of law, and their assistance taken to provide justice to the public. The chief function of the jury is to listen to the facts presented during the case proceedings and based on these facts produce a verdict (in terms of case resolution within criminal/ civil cases), of guilty or not guilty. This essay will examine the role of the jury and explore the advantages and disadvantages of the system to seek whether Roskill had rightfully claimed that jury trials do not deliver justice, as they are more sentimental and emotionally driven, instead of being logical in nature, and tend to attract more media and society attraction than necessary. Discussion The jury system in UK Jury system in UK has been in vogue for more than 1,000 years, and according to some reports even existed before the Norman Conquest.4 The jury system, thus, always played a s ignificant part in balancing the British legal system. In the present legal scenario, jury independence is given a great deal of importance, where many feel that juries should not be meddled with or pressurised, while deciding a case. The position of the juries as the only arbiters in a case was evident in the famous Bulshell case of 1670, 5 and in the more recent R v Mc Kenna (1960).6 In both the cases, the independent roles of juries were highlighted, where they had acted separately from the judge, while taking a decision. While selecting a jury, an official at the Crown Court selects jurors randomly, from the official data system, and even though only a 12-member jury is needed for a case hearing, more members are generally selected, to provide for any absentee jury members.7 In England and Wales there are three forms of criminal offences, where ‘summary’ offences (ones considered as being of minimal seriousness) can be tried only at the Magistrates’ Court, wi th two to three magistrates in presence.8 Criminal offences that are more serious in nature and categorised as ‘

Tourism and France Research Paper Example | Topics and Well Written Essays - 1250 words

Tourism and France - Research Paper Example The international tourists provide importance to rich natural vegetation, cultural and historical heritage of a tourist destination. Within this context, France is one of the best examples for the rapid growth and development of tourism as a profitable business. Thesis statement: The economic, cultural and social impacts of tourism in the French society prove that tourism is a business, which is interconnected with the process of development. The glory of France as an international tourist destination is interconnected with Charles VIII, because he conquered Mont Aiguille in France (say, in the year 1492). This incident is important in the history of tourism in France because the same deeply influenced the development of mountaineering as an adventure sport. Hudman and Jackson stated that, â€Å"France has a long history of tourism and well-established reputation of being the playground of Europe† (p.200). In the field of beach tourism in France, the inauguration of seaside resort in Dieppe in the year 1822 is another development. Within the context of infrastructure development, especially the development of railroad network in 1850-1850 is another initiative, which accelerated tourism. One can see that resorts and casinos play an important role in the development of tourism. For instance, the launching of Monte-Carlo Resort and the casino attached to the same is another development in the field of tourism in Fra nce. Most of the international tourists are interested in music and entertainment. In the year 1867, the French authorities in Orange, which deeply influenced the tourism sector, organized a music festival. The opening of the first tourist office in the year 1889 and the opening of the National Tourist Office in the year 1910 are other historical developments. Besides, the establishment of the Vanoise National Park (say, in 1963) in France initiated the development of sustainable tourism. The creation of French Conservatory for Coastal