US National Security Policy and Analysis Essay Example | Topics and Well Written Essays - 1250 words

Miranda is an American short story, which was published in 1988 Free Essays

â€Å"Miranda† is an American short story, which was distributed in 1988. It face up the contentions that may emerge when a little youngster discovers that she is pregnant. Notwithstanding the compulsory segment B, I will in my exposition consolidate a short examination of the content. We will compose a custom paper test on Miranda is an American short story, which was distributed in 1988 or on the other hand any comparable point just for you Request Now The primary character’s name is â€Å"Miranda† as the title of the story. Miranda is a multi year old young lady who, in the start of the story, inhabits home by her folks in Los Angeles, California. The story begins the day preceding she leaves for College in Boston. As the story advances Miranda’s sentiments are evolving. In the start of the story she appears as though an even young lady. She has everything: opportunity, an extraordinary sweetheart and getting guardians. She appears some other young lady. Be that as it may, as she discovers she is pregnant, she is gradually evolving. She gets increasingly more incredulous towards her environmental factors and the entire thing with the pregnancy isn't simple for her either. She additionally turns out to be increasingly genuine and melancholic, since she gets familiar with life; about what is comprises of. Holly is Miranda’s companion and flat mate in Boston. She is a year more established than Miranda and an all the more free-disapproved of sort of young lady who attempts to get Miranda to see things from her perspective. She is a young lady who simply needs to have a ton of fun and not really consistently thinks about the results of her activities. That shows when she frequently lays down with her new companion Brian on week evenings, and afterward thusly gets visited by her beau Tom in the ends of the week. Holly’s job in the story is to put Miranda into a circumstance where she needs to pick, to mention to the peruser what sort of young lady Miranda is; the thing that her qualities are. That appears to be really clear when Miranda says that she needs to be claimed, and that she will wed Michael. (p. 4, l. 95) Holly speaks to the normal sentiment and she is the differentiation to Miranda. When Miranda returns home to her folks, they are having a discussion about her pregnancy with her and Michael. Their response mirrors the general public they live in and they are, shockingly, more than comprehension and identifying †or so doubtlessly. As a genuine result of their condition, they emphatically encourage Miranda to get a premature birth. Miranda’s guardians don't need a girl who doesn't consider and subsequently can't get instruction. As her mom says, she will wind up as an idiotic little house-spouse. (p. 5, l. 147) They need her to have a fetus removal, so she doesn't wind up in hopelessness. That isn't just best for her and Michael, yet in addition for the unborn youngster. Miranda is humiliated at the idea of murdering her youngster. She couldn't care less about the hardships †she is happy to acknowledge the duty of the kid and raise it. At the point when her folks understand that they are not coming to Miranda, they go to Michael with an end goal to impact him. Michael is youthful and at school, only equivalent to Miranda, and in spite of the fact that he cherishes her and acknowledges the duty of the youngster, he is thinking about his future just as. At the point when he initially heard the news, he before long discussed marriage, since he felt that it was the proper activity. Then again Michael is alleviated that her folks are attempting to work her out of it, since he understood that he isn't prepared to be a dad. Michael realizes he can't spurn the child, else he would scar Miranda. He can't look at Miranda without flinching; most likely on the grounds that he feels embarrassed and remorseful about the entire circumstance. Michael is harming Miranda when he acts the manner in which he does. She can see that his eyes are loaded with help and appreciation when her folks act the hero for him. As it were they purchase Michael since they realize that on the off chance that he wont help bring up the youngster, neither will Miranda. Lamentably, Michael before long understands his error †by abandoning the infant, he is likewise abandoning Miranda. You could state that the decision was among Miranda and the kid, or Michael and his future. â€Å"†¦ She took a gander at Michael. He took a gander at her, blameworthy, embarrassed (p. 6, l. 195)†¦ He had both won and lost, and his miserable face attempted to persevere through both. p. 6, l. 197) The focal subject in this short story is adolescent pregnancy and the concerns and troubles it carries alongside it. The choice to have a fetus removal or not is a confused, in light of the fact that it raises serious sentiments and good inquiries, and this frequently place individuals in troublesome circumstances. Miranda is a case of a young lady who has a ton of considerations subsequent to getting pregnant. She genuinely needs to have the infant, yet winds up yielding to the battle with her folks. Miranda falls under the customary estimations of what is â€Å"the right thing to do,† and yet she deserts her opportunity for bliss. That drives us to another subject in the story: Society’s see on progress and satisfaction. Today, a definitive thought of achievement is to satisfy ourselves first, get that significant degree and employment †at that point plan a family and a future. Miranda sees everything all the more basically; she has an infant, she is eager to assume liability, and plans her future along an unexpected way in comparison to society needs for her. Sometimes you need to tune in to your heart, so as to fulfill yourself. Possibly that implies conflicting with everybody you know and all you’ve been educated, however some of the time, that is the best way to be glad. Instructions to refer to Miranda is an American short story, which was distributed in 1988, Papers

Write an Effective Application Essay

Write an Effective Application EssayApplying for a position that requires an application essay, what can you expect? What should you include in the essay and how should it be worded? These are important questions to ask yourself when you are writing your essay.Writing an essay is one of the primary components of any resume, especially if you plan on applying for college-level positions. It can help you get noticed by your potential employer, and it gives you the opportunity to tell something about yourself and highlight your accomplishments. Here are some examples of what an application essay should consist of:Let's begin with the main call. The first thing you should consider in your application essay is the title of your essay. The title of your essay can directly affect the success of your application essay. You must be able to make the title interesting and powerful, so that it will catch the attention of the reader. Your title needs to be specific enough to catch the attention o f the hiring manager, but also not so specific that it will not allow your writer to breathe.You should always keep in mind that the most important piece of the essay is the first paragraph. This is the section where you will begin to explain who you are and why you want the job. Before you begin to lay out what you can do for the company, make sure you first establish why they should hire you.Another important thing to consider is that your application is not complete without a short biography. No matter how wonderful your experience as a student, it is still important to include a little background on yourself. Your biography should include what you have done in the past and why your previous jobs were such a success. This will definitely help the hiring manager to find you interesting.Something else you should include in your application is a list of your successes and impressive achievements. Including this section will definitely take your application from average to exceptiona l. Keep in mind that it is okay to put accomplishments from past employers on your resume. However, putting accomplishments from volunteer work and group work is highly encouraged.Finally, your application essay should also contain personal details. This could be anything from where you are from, to the name of your high school class, to your hobbies. It is important to talk about your life in as much detail as possible, because it shows your experience as a real person. This will prove to the hiring manager that you are sincere about applying for the position and are taking the job seriously.Hopefully, these tips will help you write an effective application essay. If you follow them, your essay will be a winner!

English Literature Dissertations

Sample details Pages: 12 Words: 3682 Downloads: 8 Date added: 2017/06/26 Category Statistics Essay Did you like this example? The chorus in Aeschylus Agamemnon clearly elucidates the Aristotelian principle of tragedy: Zeus, whose will has marked for man the sole way where wisdom lies, ordered one eternal plan: Man must suffer to be wise. Elizabethan tragedy is derived from this moralised model of tragedy as depicted by Aristotle in his Poetics. As a genre, Elizabethan tragedy is distinguished from that of Shakespeare, although Shakespeares tragedies are often held as the epitome of the tragic form. Indeed, the Oxford English Dictionary cites only two quotations from the Renaissance under the entry for tragedy, both of which are from Shakespeare. Don’t waste time! Our writers will create an original "English Literature Dissertations | Aristotelian notions tragedy" essay for you Create order There appears to be a deliberate judgment in including Shakespeare in the dramatic cannon to the exclusion of such influential playwrights as Christopher Marlowe, Thomas Heywood and John Webster. Although it is clear that Shakespeare made an important contribution to the development of modern tragedy, derived from classical models, contemporary dramatists were much more formative in negotiating Aristotelian models of tragedy with the new philosophical, social and political climate of the Renaissance. Philips Sidneys defence of the tragic form in An Apologie for Poetrie (1595) articulates the moral and didactic purpose of poetry. So that the right vse of Comedy will (I thinke) by no body be blamed, and much lesse of the high and excellent Tragedy; that openeth the greatest wounds, and sheweth forth the Vlcers, that are couered with Tissues: that maketh Kinges feare to be Tyrants, and Tyrants manifest their tirannicall humors: that with stirring the affects of admiration and commiseration, teacheth, the vncertainety of this world, and vpon howe weake foundations guilden roofes are built (Sidney F3v-F4) The emphasis on moral instruction is clear, and informed the tragic form in the both Shakespearean and non-Shakespearean dramas. Tragedy, according to Aristotle, is noble and concerned with lofty matters, as opposed to the flippant and crude nature of comedy. Sidney defines the function of tragedy as uncovering the greatest wounds of the inherently weake foundations of the world. Tragedy, therefore, produces an emotional response in the audience by exposing human flaws, which allows them to participate in a form of moral regeneration. Thomas Heywoods An Apology for Actors (1612) also cites the classical model of tragedy in order to elevate English drama in general by accentuating the morally instructive nature of tragedy, as well as to tie his own works to the legitimate tradition of tragedy. If we present a Tragedy, we include the fatall and abortiue ends of such as commit notorious murders, which is aggrauated and acted with all the Art that may be, to terrifie men from the like ab horred practises (Heywood F3v). Heywood thus believes that the tragic downfall of the moral, but flawed, hero is a terrifying lesson to the audience through the pity and fear evoked by watching the play itself, a notion described by Aristotle and termed by modern scholars as catharsis. Despite Heywoods belief in the moral power of tragedy, Renaissance tragedy, for the most part, does not live up to the Aristotelean model. For Stephen Greenblatt (1980), Renaissance theatre, named after a queen whose power is constituted in theatrical celebrations of royal glory and theatrical violence visited upon the enemies of that glory, replays the process of provoking subversion central to the states authorization of its own power: the form itself, as a primary expression of Renaissance power, contains the radical doubts it continually produces (297). Thus, any echo of Aristotelian notions of tragedy in the works of playwrights such as Heywood, Marlowe, Webster, and even Shakespeare, can be seen not as a insistence upon the dramatic perfection of classical forms, but as a means of lending legitimacy to the challenge to political and cultural structures. As Moretti (1982) observed in respect of English Renaissance tragedy one of the decisive influences in the creation of a public that for the first time in history assumed the right to bring a king to justice Tragedy disentitled the absolute monarch to all ethical and rational legitimation. Having deconsecrated the king, it thus made it possible to decapitate him (7-8). Rather than reinforcing the social order and legitimizing divine ordination, tragedy opened up the political elite to the possibility of human frailty. Renaissance tragedy can be defined as a violent series of events that is built upon the murder and revenge, concerning characters primarily motivated by jealousy, greed, and anger. According to Aristotle, the tragic hero must be of noble stature, and while his greatness is readily apparent, he is not perfect. Tragedies often concern the aristocratic elite and thus personal tragedies extend to tragedies of state. The tone of the play is sombre, clearly relating the grief and sorrow of the characters themselves. This language of lamentation serves as a warning against the destructive potential of vice and depravity, and can be linked to the Medieval morality plays. Although the presence of other non-dramatic sources conceives a national tradition of tragedy which was established on the English stage as early as 1587, with the performance of Thomas Kyds The Spanish Tragedy. Both The Spanish Tragedy and Marlowes Tamburlaine, performed in the late 1580s, exhibit the beginnings of true Renaissance tragedy. Derived from the revenge plays of Seneca, The Spanish Tragedy is a play which satisfied the Aristotelian need for a binary model of moral order, which is complicated by the relations of individual justice to the social and divine order. Tamburlaine, however, moves away from the reductive moralising of earlier poetry and reflects the influence of the Reformation on the dramatic arts, as the theatre established a new place where human possibilities could be envisioned with new freedom. Marlowe is fully aware that he is making the stage the vehicle of a new consciousness: Onely this (Gentlemen) we must performe, The form of Faustus fortunes good or bad. To patient Iudgements we appeale our plaude. (Marlowe, Faustus, 7-9) This appeal to the moral purpose of the play is misleading, for neither Faustus nor Tamberlaine are characters directed by their moral choices. Tamberlaine, it is arguable, is an agent of God while at the same time exercising his free will with no apparent consequence. Marlowe appears to be addressing familiar issues of blasphemous defiance, tyranny, cruelty and arrogance in Tamburlaine, but ironically he presents these issues as the glory of the tragic hero. Unlike traditional tragedies, there is no stable moral framework, with the result that the audience is left feeling uneasy with the divine implications of the heros downfall. Tamburlaine, rather than submit to his pre-ordained fate, boasts of his own dynamic power: I hold the Fates bound fast in yron chaines, And with my hand turne Fortunes wheel about (369-70) Fate and Fortune, two of the most conventional symbols of human limitation, are here manipulated by the hero not as a sign of his hubris, but rather as a heroic achievement. Marlowe uses this gross inversion as a reflection of the changing values in Renaissance society. As Stephen Greenblatt (1980) says, Marlowe writes in the period in which European man embarked on his extraordinary career of consumption, his eager pursuit of knowledge, with one intellectual model after another seized, squeezed dry, and discarded, and his frenzied exhaustion of the worlds resources (199). The Enlightenment saw the questioning of fundamental assumptions about mans place in the world, a uncertainty reflected in the ambiguous relation between the tragic hero and his divinely ordained fate. C. L. Barber (1988) has commented on the way in which the audience engages with such egotistic individualism of the tragic hero, noting the role of the triumphal individual in the Renaissance and the significance of individualistic prophesying as a disruptive form of expression that challenged the authority and legitimacy of the Church and state. Marlowe writes at a time of religious transition and new philosophical notions of self-consciousness, and appropriates religious language and symbolism to launch an attack on the Church. Tamburlaine rebels against divine, political and social order, and in doing so sets himself beyond limitation and definition, alwaiies moouing as the restles Spheares (876). Tamburlaines rebellion is an uneasy one, for there is no possibility of reconciliation and restoration of order. Theridama, the Chiefest Captain of Mycetes hoste, reveals this as he says: Tamburlaine? A Scythian Shepheard, so imbelished With Natures pride, and richest furniture, His looks do menace heauen an dare the Gods What stronge enchantments tice my yielding soule? Won with they words, conquered with thy looks, I yield my selfe, my men horse to thee (350-52, 419, 423-4) Liberation is here figured as one of two choices: to reject the divine or to take it over. In Tamburlaines case, he alternatively threatens heaven and dares the gods, or claims identity with the divine to sanction his violence: til by vision, or by speech I heare / Immortall Ioue say, Cease my Tamburlaine, / I will persist a terrour to the world (3873-75). Tamburlaine self-aggrandizement is given divine legitimacy: Tamburlaine believes that his tyranny and martial lust are condoned through the gods through their silence. The two-part Tamburlaine is based on the historical figure of Timur, a bloody conqueror of Asia, whose greed for power and extravagance culminates with his inevitable downfall. Tamburlaine deviates from the tragic norm in his depiction of the tragic hero; Tamburlaine is not humbled by his dramatic fall, and no moral lesson is learned and repentance achieved. Tamburlaine does not conform to the model of the tragic hero set out in Poetics. The tragic hero is fated to make a serious error which will cause his fall and tragic death, usually caused by hubris, or prideful arrogance, but he remains likeable to the audience for his inherent goodness. Tamburlaine, in contrast, is a character whose goodness is notably absent. In contrast the Aristotlean model, in which the tragic hero is noble from birth, Tamburlaine is an obscure Scythian shepherd in the opening of part 1. He quickly ascends through his bravery and his eloquent speech, and his ferocity on the battlefield. Tamburlaine sees him self as the scourge of God and even dreams of leading his armies in war against the divine army in heaven. In a scene in which Tamburlaine has defeated Cosroe, he responds to Cosroes demands for the reasons behind his treachery. Nature, that framd us of four elements Warring within our breasts for regiment, Doth teach us all to have aspiring minds: Our souls, whose faculties can comprehend The wondrous architecture of the world, And measure every wandering planets course, Still climbing after knowledge infinite, And always moving as the restless spheres, Wills us to wear ourselves and never rest, Until we reach the ripest fruit of all, That perfect bliss and sole felicity, The sweet fruition of an earthly crown. (I.iv. 13-29) With this final line Tamburlaine snatches the crown from dying Cosroes head and places it on his own head, assuming the power of divine legitimacy for himself. Reordering the humours as in constant opposition, rather than harmonious order, is to legitimize his own militaristic behaviour as part of the natural world. He is, in essence, creating himself out of nothing, as he became an emperor from a shepherd, and as such is taking over the divine role of creation. In doing so, he upsets the authority of the moral order, and even his death does not resolve the moral hierarchy. Thomas Heywoods A Woman Killed with Kindness (1603) is described as a domestic tragedy as it deals not with the tragic downfall of the elite, but on the relationship between a husband and wife. Domesticity is the theme of the play, and the language is correspondingly straightforward and unadorned. In contrast with tragedies such as Hamlet or Tamburlaine, Heywoods play does not concern the intrigues and actions of the aristocratic elite or ruling order. A Woman Killed with Kindness is a morality play, concerned with the infidelity of Anne and her likely punishment. She herself expects only death upon her husbands discovery of her affair: Though I deserve a thousand thousand fold More than you can inflict, yet, once my husband, For womanhood to which I am a shame, Though once an ornament even for His sake That hath redeemd our couls, mark not my face Nor hack me with your sword, but let me go Perfect and undeformed to my tomb. (xiii.94-100) Her opinion is born out by the tradition of revenge in tragedies as well as in contemporary practice; indeed, by law husbands reserved the right to kill unfaithful wives (Powell 204). However, despite the clear Christian moralizing, Heywoods play departs drastically from the traditional structure of moral tragedy in that the tragic end of the main character results not from divine judgment and retribution, but from the effects of her wrongdoing on her own consciousness. Before the discovery of her betrayal by her husband, her guilt and remorse are apparent. You have tempted me to mischief, Master Wendoll; I have done I know not what. Well, you plead custom; That which for want of wit I granted erst I now must yield through fear. Come, come, lets in. Once oer shoes, we are straight oer head in sin (xi. 110-14) Her repentance is genuine, and carries forward her tragic end. Anne chooses to starve herself to death, thereby taking control both of her sin and her punishment. Heywood puts into dramatic form the punishment which arises from the erring characters consciousness of their guilt in the place of the punishment of an exterior physical revenge (Bowers 225). Annes emotional torment is meant as a lesson to the audience, and she makes of herself an exemplary figure, breaking away from the domestic thrust of the play towards the universal. Derived from the classical models of comedy and tragedy set out by Aristotle and envisaged by Seneca, Webseters The White Devil (1612) expands the classical tragic structure by adding elements associated with comedy: ironic repetition, theatrical self-consciousness, and inverted tragic situations. There is a repeated pattern in The White Devil of serious action followed by parody, working to undermine the dramatic tradition of tragedy to create what would become the genre of tragicomedy. Tragicomedy is a distinctly non-Aristotelian genre in which the action and subject of the play demand a tragic ending, but this ending is denied in an ironic reversal which produces the happy ending of a traditional comedy. Aristotle did, in fact, depict a kind of tragedy with a happy ending, which would later become tragicomedy, but it was not until the Renaissance that the genre was seen as a legitimate dramatic form. In The White Devil, the Duke of Florence comments on the popular dislike of the classically inspired plays which strictly conform to the structure of tragedy and comedy: My tragedy must have some idle mirth int, Else it will never pass (IV.i.119-20) The Dukes comment suggests that an increasingly demanding audience will no longer accept the single-minded classical plays of strict comedy or tragedy, but demand a sophistication of genre. The White Devil is not unique in its admission of tragicomedy, but it is treated as an expression of doubt about the tragic absolutes and as part of a critical double-vision. Incidents are repeated an parodied throughout Websters play, and this system of parallels is used to undermine the tragic status of the patrician characters. In the final scene the tragic hero Flamineo acts out a grotesque fiction of his own death, which is ironically followed by real murder. The farcical ending is paralleled with the authentic tragic image. With its elaborate system of repetition and parody, its ironic contrasts between interpretations of events, and the insistence that every incident is intimately connected with other incidents, The White Devil emphasises the shifting values and ironic double-visions of tragicomedy into the tragic framework of aspiration, failure, and ultimately death, depicting the double standard of the new society. The action of the play is confined to the relatively narrow setting of Rome and the court at Padua, hinting to the world beyond that of stage. Critics have often found the number of characters in The White Devil problematic, citing di fficulties in staging a production with so many bodies on stage. However, John Russell Brown (1940) has called attention to Websters power of using violent and crowded scenes for sudden and, therefore, striking manifestations of an individuals lies or hypocrisy, the variety of a busy trade of life (Brown 453). In the final act, the presence of so many members of the courtly society emphasises Flamineos fall from power, defining the extent of the competition for the Dukes favour and the uncertainty of Flamineos future now that his relationship with his master is ruined. As a young lord reports to Flamineo concerning Bracciano, A new vp-start: one that swears like a Falckner, and will lye in the Dukes eare day by day like a maker of Almanacks (V.i. 138-9). The White Devil deals with private behaviour made public, and public behaviour motivated by questionable private interests. Vittorias trial reveals her illicit liaison with Bracciano and the murderous consequences, but it is this public censure which results in private revenge. In comparison with Shakespearean tragedies such as Hamlet, or classical tragedies such as Oedipus Rex, the play is extremely social and emphasises Websters preoccupation with the intertwined spheres of public probity and private corruption. The White Devil focuses on the individuals freedom of choice between good and evil, human dignity and the fall from grace, binaries which appear to conform to the traditional Christian morality. Lodovico is accused by Antonelli and Gasparo: Worse then these, / You have acted certaine Murders here in Rome, / Bloody and full of horror (I.i.31-32), and Gasparo continues O my Lord / The law doth sometimes mediate, thinkes it good / Not ever to steepe violent sinnes in blood, / This gentle penance may both end your crimes, / And in the example better these bad times (I.i.33-37). Ludovico is presented a choice, but instead turns to criminality and revenge. His crimes have been presented, the possibility of reform and exoneration provided, and yet he wilfully chooses his course of conduct in spite of this. He exercises his free will, but unlike the Aristotelian tragic hero his destructive path is not redemptive in bringing out moral responsibility. The conclusion of The White Devil is ambig uous, fulfilling the catastrophic ending required of tragedy but without the suggestion of the nobility and greatness of man. Flamineo dies in despair of his worldly goods, wealth and advancement rather than in despair of his worthiness before God. There is the possibility of Flamineo accepting moral responsibility directly before his death as he reflects, While we looke up to heaven wee confound / Knowledge with knowledge (V.vi.259-60), and yet immediately before this he said , I doe not looke / Who went before, nor who shall follow mee; / Noe, at my self I will begin and end (V.vi.256-58). Although the play ends with the death of the tragic hero, as tradition dictates, this is not the satisfactory ending of classical tragedies. There is no remorse, no retraction of arrogance and greed in the face of the divine. As A.L. Kistner (1993) wondered, Where does it lie in the triumph of will, in grabbing for every expression of self that this world has to offer or in the calm discipline of self-denial for a higher picture of man? (267). Webster leaves the audience with an unsatisfactory portrait of free choice and the capacity for moral responsibility. The emergence in the 1580s of an Elizabethan tragic tradition which manipulated the limitations of classical generic boundaries points toward the developing self-consciousness of a modern culture. As evidenced in such works as Tamburlaine and The White Devil, the theatre was the site of an evolving culture in conflict with the older, traditional forms of expression. Marlowe, Webster and Heywood used the stage for the assertion and defense of an ego which was constantly threatened by powerful forces of desire and conscience, forces which [they] coped with as best as [they] could by making them conscious, by finding a form for them which would command social understanding and the control of shared social attitudes (Barber 37). The new tragic genre was a way of registering an experience of change and dislocation, a sh ift from the Classical tradition of moral order and stability. Works Cited Aristotle, (1953) Aristotle on the Art of Fiction: an English translation of Aristotles Poetics. Trans. by L. J. Potts. Cambridge: University of Cambridge Press. Barber, C. L. (1988) Creating Elizabethan Tragedy: the theatre of Marlowe and Kyd. Chicago: The University of Chicago Press. Bowers, F. T. (1940) Elizabethan Revenge Tragedy 1587-1642. Princeton: Princeton University Press. Brown, J. R. (1962) Theater research and the Criticism of Shakespeare and his Contemporaries Shakespeare Quarterly, 13 Falco, R. (2000) Charismatic Authority in Early Modern English Tragedy. Baltimore and London: Johns Hopkins University Press. Goldberg, D. (1987) Between Worlds: A study of the plays of John Webster, Wilfrid Laurier University Press. Greenblatt, S. (1985) Invisible Bullets: Renaissance Authority and Its Subversion, Henry IV and Henry V in J. Dollimore and A. Sinfield, (eds.), Political Shakespeare: New Essays in Cultural Materialism , pp. 18-47. Manchester: Manchester University Press. - (1980) Renaissance Self-Fashioning: from More to Shakespeare. Chicago: Chicago University Press. Heywood, T. (1973) An Apology for Actors (1612). New York: Garland. (1961) A Woman Killed with Kindness. R. W. Van Fossen (ed). London: Mentheun Co. Kistner, A.L. and Kistner, M.K (1993) Free Choice in The White Devil English Studies, 74, no. 3: 258-267 Marlowe, C. (1993) Doctor Faustus. D. Bevington and E. Rasmussen (eds). Manchester: Manchester University Press. -(1995) Tamburlaine. D. Bevington and E. Rasmussen (eds). Oxford, New York: Oxford University Press. Moretti, F. (1982) A Huge Eclipse: Tragic Form and the Deconsecration of Sovereignty, in The Power of Forms in the English Renaissance, S. Greenblatt (ed). Norman, Oklahoma: Pilgrim Books. Powell, C.L. (1917) English Domestic Relations 1487-1653. New York: Columbia University Press. Sidney, P. (1971) An Apologie for Poetrie. New York: De Capo Press. Webster, J. (1983) The Selected Play of John Webster. J. Dollimore and A. Sinfield (eds). Cambridge: Cambridge University Press.

Raise or Lower Tuition - 3034 Words

Final Paper Christopher A. Malloy PHI 445: Personal amp; Organizational Ethics Instructor: Sandra Watts June 3, 2013 Final Paper The two organizations I will be focusing on throughout the course are two organizations I have actually donated to. The not-for-profit organization is the American Red Cross and the for-profit organization is Cancer Treatment Center of America. Being in the military and having a family member to have passed from cancer, these two organizations are dear to me and my family. The American Red Cross of America is the type of organization that produces products to support disaster relief, supporting the military families, health and safety training and education, blood drives for lifesaving blood and†¦show more content†¦The best solution I will suggest will be a bailout. This will give the government the opportunity to monitor the finances of the ARC, allow the people that are employed there to continue working, give them the opportunity to hire the workers they need to properly work there and the FDA will have better control of the blood supply and how it is handled. The way the American Red Cross is responding to these problems are not in an ethical way. They are merely attempting to cover their own selves, which is leaving a lot of people out of a job and overworking other individuals. This is only leading to more poor storage of blood and when a disaster does strike, they do not have the full capabilities to respond in a timely manner. The ARC did create this unethical problem by not being totally prepared for the disasters that occurred simultaneously and with using the money they had saved for the disasters as severance packages for the incompetent CEO’s they had to get rid of over the past ten years. The American Red Cross could have done so much more by foreseeing the trend of the disasters that were occurring during the time and keeping a shorter leash on the next CEO that they hired after the last one ended upShow MoreRelatedEco204 Raise or Lower Tuition? Essay710 Words   |  3 PagesTo raise more revenue, Nobody State Unive rsity increases its tuition so, this would not increase the revenue but it would decrease the revenue. If one increase then the other would definitely decrease. No it would definitely not result into more revenue to have more revenue Nobody State University would have to decline some enrollments in order to increase the revenue. Most likely Nobody States University will not decline enrollment so the cost of tuition would definitely be increased. UnderRead More The High Price of Education Essay988 Words   |  4 PagesUniversity will pay more in tuition during the 2005-2006 academic year, by a 4.5 percent increase. 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A proposal in which he believes kindergarten through fourteen or (the first two years of community college) should be a part of our education system. This would have an impact nationwide but particularly in my hometown where according to the U.S. Census Bureau in 2014 22% of Yakima county lives in a below poverty level rate. With poverty levels rising not only locally but nationwide free college tuition would benefit us for the betterRead MoreThe 2016 Democratic Party Presidential Primaries And Caucuses1487 Words   |  6 Pagesstudent debt. According to the Federal Reserve Bank of New York, student loans have quadrupled since 2004, to $1.2 trillion (Brown). This insurmountable debt is an astronomical problem for Americans today and more so, for future Americans. College tuition have been rising for the past 40 years and will continue to do so exponentially. In an asset management report done by J.P.Morgan in 2014, the firm projects the cost of private universities to be at roughly $90,000, and $40,000 for public four-yearRead MoreShould College Tuition Be Based on Major917 Words   |  4 PagesProfessor Johnson EC 111H 26 October 2012 The Problem with College Tuition Every year, students wishing to attend college are faced with the steep price that comes with their prospective education. For many, the belief that it will play dividends in the long run is enough reason to pay the high price. However, college majors have a wide variance of starting median salaries, which leads to the question of whether or not tuition should be based on your field of study. Students knowing they willRead MoreWhy College Tuition in America Should Be Lowered1496 Words   |  4 Pagesï » ¿Why College Tuition Should be Lowered By Sarah Claymiller What could you do with $14,000? Well, you could buy 4,000 Whoppers with that money. You could also buy 35 IPads, and 4 80 inch flat screen TVs. Or, instead of those things, you could buy yourself one year’s worth of college tuition. Does it seem a little unusual that only one year of tuition costs that much? It might be if you live outside of America; the United States is one of the biggest spenders on secondary education compared to other

HappinessTake Two free essay sample

Atop the current of the lake, a young woman zoomed on a gleaming red jet ski. Her long, brown hair flew behind her, strong and full of life. One year later, her now limp hair surrendered to radiation and fell to a cold, ceramic floor. Despite the untrodden path set before her, she persevered fearlessly. She won the battle against her brain tumor and Amy Smith(last name has been change) has thrived ever since. I was there the day she was diagnosed. I was there the day the doctor spoke those weighted words that fell to the floor and shattered Amy’s normal life. This scene incessantly plays in my head, provoking thoughts of confusion with every view. In every movie, this scene is accompanied by tears, hopeless music, and faded lighting. This is the climatic point of tragedy. However, in reality this scene played out much differently. Amy smiled. We will write a custom essay sample on Happiness:Take Two or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page She smiled with confidence and bravery, assuring the doctor with her reply that she would overcome his diagnosis. She defied the gravity of the situation with her unimaginable confidence. Although she had just received what would seem like the beginning of an epitaph for most, she was happy. Every time I watch this scene and relive the seconds, I wonder what Amy possessed that maintained her happiness. This epiphany would not occur until Amy’s frail body began displaying the effects of cancer. Through her suffering, enduring defiance, and faith, she overcame cancer. Her experience magnified the definition of life and belittled my juvenile connotations of living it. I had invested my resources and emotions into trivial things that would not stand out in my life’s timeline. My resources went towards labels that led to popularity. I wasted time in arguments with my parents over being able to stay out later then midnight because that was the social norm. I exerted so much energy in my attempts to be accepted and happy. Through the tears shed, the words yelled, and the emotions spilled, I had slammed the door to reality. While my cousin fought for her life, I incessantly devoted my time to make things better. Life is about dealing with what you have, not constantly trying to get more. I focused on instantaneous happiness, which involved living and thinking about only what happened in the present. I failed to realize that long-term happiness could only be derived from fu turistic thinking and eliminating my need to always want. I will no longer pave my path one step at a time with bricks of lust; I will not be unsure of the direction it will lead me. Instead, I will have a destination on the horizon, each step leading me closer to happiness. I’m in charge of writing the script and choosing the genre: adventure. Uncertainty will accompany my every move, but my cousin gave me strength to overcome it. Fear will not catalyze my movements, but inspire them. From Amy’s example, I have learned to have stronger faith and will to power me through the rough patches of reality and to maintain focus on what is important.

Descriptive on My Project Work Essay Example

Descriptive on My Project Work Essay The unknown project was a very good realization of me and my partner going out by our selves. The very first day of the Unknown project I was acquainted with Denise who was very friendly and was very nice as far as assisting me in the project. The first day we were introduced too various different forms of the unknown such as broth, Blood agar plate, MSA plate, MAC plate, and the EMB plate. Before that we had done the 3 phase isolate which we had a possible of 10 points of achieving. In the isolation plate we had too take the sample of our unknown, which was the letter G. After we had done the 3-phase isolation plate we inoculated half of the plate, which was the SID media. The Plates that we had provided too us were the BAP, MSA, MAC, and EMB. When we were successfully inoculated the SID media the plates were put in the Incubator at approximated 37 degrees Celsius. The second day we had came nto the laboratory we had too read the Nutrient Agar plate that was the one that we had too the 3 phase isolation plate. My results were somewhat correct but I had a lot of backtracking. After that we had too read the SID Media, which we had, too diagram and describe each ot the plates that we nad put in the incubator. Once they had come out of the Incubator the results that I had achieved was the MSA plate was yellow, stinky, I did have growth, there were a positive match for small colonies, and was shiny. We will write a custom essay sample on Descriptive on My Project Work specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Descriptive on My Project Work specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Descriptive on My Project Work specifically for you FOR ONLY $16.38 $13.9/page Hire Writer The second one that I had achieved was on the MAC plate. The color on this specific plate was red, it had smelled rotten, there was definitely some growth on the plate the texture was shiny and was not raised. Out of these plates I had somewhat of a indication of what the specimen was since after the gram stain we had done in lab we found out that on the MSA plate we had achieved Gram positive bacillus and on the other one we achieve Gram negative bacillus which was the MAC plate. In that same day that we achieved the results we had too start the procedure n the enterotube. The specimen that we used on that was from the MAC plate. Once we had scooped up the media from the MAC plate we had followed the correct procedure too drag the entire media throughout all the test subjects that were in the enterotube. After we were done with that we had too incubate the enterotube at 37 degrees Celsius. The third day of lab we came in and started reading our enterotube that was incubator. We had later noticed that the eneterotubes were left in the ncubator for a little too long which has damaged some of the results in the testing. For the most part we had a indication of what our gram positive was and we had found what our gram negative result by the appendix that we had used in our book. After all the testing with our gram stains and enterotubes we had found out our Gram positive Specimen ended up being Micrococcus luteus. Then we had found out our Gram negative specimen was Klebsiella Pneumoniae. Those were the results that me and my partner Denise ended up achieving.