First and Second Triumvirates of Rome

First and Second Triumvirates of Rome A triumvirate is a system of government wherein three people share the highest political power. The term originated in Rome during the final collapse of the republic; it literally means the rule of three men (tres  viri). The members of a triumvirate may or may not be elected and may or may not rule in accordance with existing legal norms. The First Triumvirate An alliance of  Julius Caesar,  Pompey  (Pompeius Magnus) and  Marcus Licinius Crassus  ruled Rome from 60 BCE to 54 BCE. These three men consolidated power in the waning days of Republican Rome. Although Rome had expanded far beyond central Italy, its political institutions established when Rome was just one more small city-state among others failed to keep pace. Technically, Rome was still just a city on the Tiber River, governed by a Senate; provincial governors largely ruled outside of Italy and with few exceptions, the people of the provinces lacked the same dignity and rights that Romans (i.e., people who lived in Rome) enjoyed. For a century before the First Triumvirate, the republic was rocked by slave revolts, pressure from Gallic tribes to the north, corruption in the provinces and civil wars. Powerful men more powerful than the Senate, at times occasionally exercised informal authority with the walls of Rome. Against that backdrop, Caesar, Pompey, and Crassus aligned to bring order out of chaos but the order lasted a scant six years. The three men ruled until 54 BCE. In 53, Crassus was killed and by 48, Caesar defeated Pompey at Pharsalus and ruled alone until his assassination in the Senate in 44. The Second Triumvirate The Second Triumvirate consisted of Octavian (Augustus), Marcus Aemilius Lepidus and Mark Antony. The Second Triumvirate was an official body created in 43 B.C., known as Triumviri Rei Publicae Constituendae Consulari Potestate. Consular power was assigned to the three men. Usually, there were only two elected consuls. The triumvirate, despite a five-year term limit, was renewed for a second term. The Second Triumvirate differed from the first insofar as it was a legal entity explicitly endorsed by the Senate, not a private agreement among strongmen. However, the Second suffered the same fate as the First: Internal bickering and jealousy led to its weakening and collapse. First to fall was Lepidus. After a power play against Octavian, he was stripped of all of his offices except for  Pontifex Maximus  in 36 and later banished to a remote island. Antony having lived since 40 with Cleopatra of Egypt and growing increasingly isolated from the power politics of Rome was decisively defeated in 31 at the Battle of Actium and thereafter committed suicide with Cleopatra in 30. By 27, Octavian had retitled himself  Augustus, effectively becoming the first emperor of Rome. Although Augustus paid particular care to use the language of the republic, thus maintaining a fiction of republicanism well into the first and second centuries CE, the power of the Senate and its consuls had been broken and the Roman Empire began its nearly half-millennium of influence across the Meditteranean world.

The eNotes Blog Hey, You ForgotOh, Nevermind Top Ten Books Most Often Left in HotelRooms

Hey, You ForgotOh, Nevermind Top Ten Books Most Often Left in HotelRooms The most common things left behind in hotel rooms are chargers, intimate items, and books.   Every year, Travelodge releases a list of those unfortunate tomes, and here is this years top ten, and for your snarky pleasure, comments from Amazon readers. Topping the list, to the surprise of literally no one who has ever seen the internet, we have the third in the inexplicably best-selling Fifty Shades series.   (So many unanswered questions from the first two, I know. ). 1.   Fifty Shades of Freed  by E.L. James   Review:   Be under no illusions Dear Readers, this book is terribly written. It makes Twilight look like Anna Karenina and that is saying a lot since it started as Twilight fan-fiction (if that isnt enough to put you off then you cannot be saved, good luck to you). Ive read stories by 5th Graders with more character development and narrative drive than this. 2.   Bared to You  by Sylvia Day   Review:   Bare to You is as close to Fifty Shades of Grey as a book can get and not be called Fifty Shades of Grey. 3.   The Marriage Bargain  by Jennifer Probst Review:   Poorly written dialogue sex scenery* make this book very boring. (*Sex scenery? What is that, exactly?) 4.   Gone Girl  by Gillian Flynn Review:   In the authors acknowledgements she writes that she got stuck when the book was 82% completed, and her editor had to help her finish it. She should have just stopped at 82%. I wish there was a way to demand my money back after feeling totally manipulated and ripped off. 5.   The Casual Vacancy  by J.K. Rowling Review:   Ã‚  I thought that a writer of her prodigious talent would probably be able to pull off a non-Potter adult novel with ease.   I was so wrong. Dear God, was I wrong.   6,   Fifty Shades of Grey  by E.L. James (Stay in enough hotel rooms, you could get the whole set gratis! Why you would want them, however.) Review:   The repetitionand the repetitionand the repetition. Im convinced the author has a computer macro that she hits to insert one of her limited repertoire of facial expressions whenever she needs one. According to my Kindle search function, characters roll their eyes 41 times, Ana bites her lip 35 times, Christians lips quirk up 16 times, Christian cocks his head to one side 17 times, characters purse their lips 15 times, and characters raise their eyebrows a whopping 50 times. Add to that 80 references to Anas anthropomorphic subconscious (which also rolls its eyes and purses its lips, by the way), 58 references to Anas inner goddess, and 92 repetitions of Ana saying some form of oh crap (which, depending on the severity of the circumstances, can be intensified to holy crap, double crap, or the ultimate triple crap). And this is only part one of a trilogy If I wrote like that, Id use a pseudonym too. 7.   Reflected in You  by Sylvia Day (Where have we seen this name before? Oh, yes at the #2 Spot.   Apparently A Crossfire Novel is where words go to die.) Review:   Whats better than a multimillionaire whose obsessive stalking borders on the insane One who sidelines as a murderer! Thats right ladies!! Nothing says romance like a man who not only tries to kill you in his sleep, but will selflessly kill others in your defense 8.   My Time  by Bradley Wiggins (If you dont picture this when I say Mr. Wiggins. Get off my lawn) Anyway, apparently Mr. Wiggins fans arent much for assembling words either.   Although this book was abandoned nearly as frequently as the others, it has a total of five review on Amazon. ANNND rounding out the top ten? Well, what a total surprise, Ms. James and Ms. Day.. AGAIN! 9.   Entwined with You  by Sylvia Day   10.   Fifty Shades of Darker  by E.L. James

Out of African film and the book changes by Ama Ata Aidoo Essay

Out of African film and the book changes by Ama Ata Aidoo - Essay Example Despite huge difference in their classes, Farah is treated like a close friend by Karen. She always fearlessly interacted with him to discuss work affairs. Karen and Denys overcome many stereotypes associated with a British colonial lifestyle. For example, Karen disregards the life of a delicate British lady and deals with many work affairs which traditionally used to be looked after by men. Denys also disregarded the aloofness of a typical British aristocrat and treated the local Africans with great respect. This trait helped him to transcend cultural boundaries and effortlessly interact with different African tribes. The scene where Karen begs to have land set aside for â€Å"my Kikuyu† to live on once she is forced to leave Kenya is very significant because it shows that she wants what is the best for the Kikuyu people. It shows her loyalty to them and how attached she has become to them during the times she spent in Kenya. The representation of colonialism in Tarzan: The Ape Man is different from that in Out of Africa. In the latter, the British colonists more or less try to act as peacemakers with the locals. In the Tarzan film, there is a very clear line between the whites and blacks. No importance is given to the blacks who only look like mere shadows in the background. There is obvious othering of the African nation. In The African Queen also, the attitudes and observations about Africa and its people are different than those in Out of Africa. The colonialists are shown as civilized people, while the Africans are characterized by negative values. There is no harmony between the colo nialists and the Africans who are shown as primitive and simple people (Stafford). Esi is a strong and independent woman in the book Changes who leaves her husband to get able to live a fulfilled life. This is not the kind of thing which is usual for even a modern African woman living in contemporary times. The story starts with these words, â€Å"Esi

Business Strategy in Transport Essay Example | Topics and Well Written Essays - 1750 words

Business Strategy in Transport - Essay Example Airline industry is increasing in the present booming economy encouraging new entrants new establish their service. Modern day airline industry follows low cost strategy so as to provide an alternative to the price sensitive clients which evolved during the period of crisis during 2000 followed by 9/11 strike by terrorist and Iraq war (Cento, 2008). Therefore entering into the market, the business entrepreneur must analyze the market situation, identifying the routes to operate and airports, main business centre, reaching time, etc. In a bid to enter the airline industry, a air route from London to Brussels has identified through Heathrow airport in London and Brussels National Airport. Heathrow airport is one of world’s busiest international airports with five terminals. It is situated 32 kilometers from the London city while used by more than 68 million passengers each year. Over 100 companies operate at this airport providing service the customers flying them to over 200 destinations. The airport is connected by road and rail making it easier for the passengers make it convenient for them to choose the mode of transport they would like to reach the airport. Nearby the airport, there are three international hotels and other 20 plus hotels in the city. There are plenty of buses of National Express from London to Heathrow airport which departs every 15 to 30 minutes from 4.30 am to midnight which takes about 45 minutes to reach the place.

Ferdinand de Saussure Essay Example for Free

Ferdinand de Saussure Essay Stylistics is the study and interpretation of texts from a linguistic perspective. As a discipline it links literary criticism and linguistics, but has no autonomous domain of its own. [1][2] The preferred object of stylistic studies is literature, but not exclusively high literature but also other forms of written texts such as text from the domains of advertising, pop culture, politics or religion. [3] Stylistics also attempts to establish principles capable of explaining the particular choices made by individuals and social groups in their use of language, such as socialisation, the production and reception of meaning, critical discourse analysis and literary criticism. Other features of stylistics include the use of dialogue, including regional accents and people’s dialects, descriptive language, the use of grammar, such as the active voice or passive voice, the distribution of sentence lengths, the use of particular language registers, etc. In addition, stylistics is a distinctive term that may be used to determine the connections between the form and effects within a particular variety of language. Therefore, stylistics looks at what is ‘going on’ within the language; what the linguistic associations are that the style of language reveals. * | Early twentieth century The analysis of literary style goes back to Classical rhetoric, but modern stylistics has its roots in Russian Formalism,[4] and the related Prague School, in the early twentieth century. In 1909, Charles Ballys Traite de stylistique francaise had proposed stylistics as a distinct academic discipline to complement Saussurean linguistics. For Bally, Saussures linguistics by itself couldnt fully describe the language of personal expression. [5] Ballys programme fitted well with the aims of the Prague School. [6] Building on the ideas of the Russian Formalists, the Prague School developed the concept of foregrounding, whereby poetic language stands out from the background of non-literary language by means of deviation (from the norms of everyday language) or parallelism. [7] According to the Prague School, the background language isnt fixed, and the relationship between poetic and everyday language is always shifting. [8] Late twentieth century Roman Jakobson had been an active member of the Russian Formalists and the Prague School, before emigrating to America in the 1940s. He brought together Russian Formalism and American New Criticism in his Closing Statement at a conference on stylistics at Indiana University in 1958. [9] Published as Linguistics and Poetics in 1960, Jakobsons lecture is often credited with being the first coherent formulation of stylistics, and his argument was that the study of poetic language should be a sub-branch of linguistics. [10] The poetic function was one of six general functions of language he described in the lecture. Michael Halliday is an important figure in the development of British stylistics. [11] His 1971 study Linguistic Function and Literary Style: An Inquiry into the Language of William Goldings The Inheritors is a key essay. [12] One of Hallidays contributions has been the use of the term register to explain the connections between language and its context. [13] For Halliday register is distinct from dialect. Dialect refers to the habitual language of a particular user in a specific geographical or social context. Register describes the choices made by the user,[14] choices which depend on three variables: field (what the participants are actually engaged in doing, for instance, discussing a specific subject or topic),[15] tenor (who is taking part in the exchange) and mode (the use to which the language is being put). Fowler comments that different fields produce different language, most obviously at the level of vocabulary (Fowler. 1996, 192) The linguist David Crystal points out that Halliday’s ‘tenor’ stands as a roughly equivalent term for ‘style’, which is a more specific alternative used by linguists to avoid ambiguity. (Crystal. 1985, 292) Halliday’s third category, mode, is what he refers to as the symbolic organisation of the situation. Downes recognises two distinct aspects within the category of mode and suggests that not only does it describe the relation to the medium: written, spoken, and so on, but also describes the genre of the text. (Downes. 1998, 316) Halliday refers to genre as pre-coded language, language that has not simply been used before, but that predetermines the selection of textual meanings. The linguist William Downes makes the point that the principal characteristic of register, no matter how peculiar or diverse, is that it is obvious and immediately recognisable. (Downes. 1998, 309) Literary stylistics In The Cambridge Encyclopedia of Language, Crystal observes that, in practice, most stylistic analysis has attempted to deal with the complex and ‘valued’ language within literature, i. e.  Ã¢â‚¬Ëœliterary stylistics’. He goes on to say that in such examination the scope is sometimes narrowed to concentrate on the more striking features of literary language, for instance, its ‘deviant’ and abnormal features, rather than the broader structures that are found in whole texts or discourses. For example, the compact language of poetry is more likely to reveal the secrets of its construction to the stylistician than is the language of plays and novels. (Crystal. 1987, 71). Poetry As well as conventional styles of language there are the unconventional – the most obvious of which is poetry. In Practical Stylistics, HG Widdowson examines the traditional form of the epitaph, as found on headstones in a cemetery. For example: His memory is dear today As in the hour he passed away. (Ernest C. Draper ‘Ern’. Died 4. 1. 38) (Widdowson. 1992, 6) Widdowson makes the point that such sentiments are usually not very interesting and suggests that they may even be dismissed as ‘crude verbal carvings’ and crude verbal disturbance (Widdowson, 3). Nevertheless, Widdowson recognises that they are a very real attempt to convey feelings of human loss and preserve affectionate recollections of a beloved friend or family member. However, what may be seen as poetic in this language is not so much in the formulaic phraseology but in where it appears. The verse may be given undue reverence precisely because of the sombre situation in which it is placed. Widdowson suggests that, unlike words set in stone in a graveyard, poetry is unorthodox language that vibrates with inter-textual implications. (Widdowson. 1992, 4) Two problems with a stylistic analysis of poetry are noted by PM Wetherill in Literary Text: An Examination of Critical Methods. The first is that there may be an over-preoccupation with one particular feature that may well minimise the significance of others that are equally important. (Wetherill. 1974, 133) The second is that any attempt to see a text as simply a collection of stylistic elements will tend to ignore other ways whereby meaning is produced. (Wetherill. 1974, 133) Implicature In ‘Poetic Effects’ from Literary Pragmatics, the linguist Adrian Pilkington analyses the idea of ‘implicature’, as instigated in the previous work of Dan Sperber and Deirdre Wilson. Implicature may be divided into two categories: ‘strong’ and ‘weak’ implicature, yet between the two extremes there are a variety of other alternatives. The strongest implicature is what is emphatically implied by the speaker or writer, while weaker implicatures are the wider possibilities of meaning that the hearer or reader may conclude. Pilkington’s ‘poetic effects’, as he terms the concept, are those that achieve most relevance through a wide array of weak implicatures and not those meanings that are simply ‘read in’ by the hearer or reader. Yet the distinguishing instant at which weak implicatures and the hearer or reader’s conjecture of meaning diverge remains highly subjective. As Pilkington says: ‘there is no clear cut-off point between assumptions which the speaker certainly endorses and assumptions derived purely on the hearer’s responsibility. ’ (Pilkington. 1991, 53) In addition, the stylistic qualities of poetry can be seen as an accompaniment to Pilkington’s poetic effects in understanding a poems meaning. Stylistics is a valuable if long-winded approach to criticism, and compels attention to the poems details. Two of the three simple exercises performed here show that the poem is deficient in structure, and needs to be radically recast. The third sheds light on its content. Introduction Stylistics applies linguistics to literature in the hope of arriving at analyses which are more broadly based, rigorous and objective. {1} The pioneers were the Prague and Russian schools, but their approaches have been appropriated and extended in recent years by radical theory. Stylistics can be evaluative (i. e.  judge the literary worth on stylistic criteria), but more commonly attempts to simply analyze and describe the workings of texts which have already been selected as noteworthy on other grounds. Analyses can appear objective, detailed and technical, even requiring computer assistance, but some caution is needed. Linguistics is currently a battlefield of contending theories, with no settlement in sight. Many critics have no formal training in linguistics, or even proper reading, and are apt to build on theories (commonly those of Saussure or Jacobson) that are inappropriate and/or no longer accepted. Some of the commonest terms, e. g. deep structure, foregrounding, have little or no experimental support. {2} Linguistics has rather different objectives, moreover: to study languages in their entirety and generality, not their use in art forms. Stylistic excellence — intelligence, originality, density and variety of verbal devices — play their part in literature, but aesthetics has long recognized that other aspects are equally important: fidelity to experience, emotional shaping, significant content. Stylistics may well be popular because it regards literature as simply part of language and therefore (neglecting the aesthetic dimension) without a privileged status, which allows the literary canon to be replaced by one more politically or sociologically acceptable. {3} Why then employ stylistics at all? Because form is important in poetry, and stylistics has the largest armoury of analytical weapons. Moreover, stylistics need not be reductive and simplistic. There is no need to embrace Jacobsons theory that poetry is characterized by the projection of the paradigmatic axis onto the syntagmatic one. {4} Nor accept Bradfords theory of a double spiral: {5} literature has too richly varied a history to be fitted into such a straitjacket. Stylistics suggests why certain devices are effective, but does not offer recipes, any more than theories of musical harmony explains away the gifts of individual composers. Some stylistic analysis is to be found in most types of literary criticism, and differences between the traditional, New Criticism and Stylistics approaches are often matters of emphasis. Style is a term of approbation in everyday use (that woman has style, etc.), and may be so for traditional and New Criticism. But where the first would judge a poem by reference to typical work of the period (Jacobean, Romantic, Modernist, etc. ), or according to genre, the New Criticism would probably simply note the conventions, explain what was unclear to a modern audience, and then pass on to a detailed analysis in terms of verbal density, complexity, ambiguity, etc. To the Stylistic critic, however, style means simply how something is expressed, which can be studied in all language, aesthetic and non-aesthetic. {6} Stylistics is a  very technical subject, which hardly makes for engrossing, or indeed uncontentious, {7} reading. The treatment here is very simple: just the bare bones, with some references cited. Under various categories the poem is analyzed in a dry manner, the more salient indications noted, and some recommendations made in Conclusions. Published Examples of Stylistic Literary Criticism G. N. Leechs A Linguistic Guide to English Poetry (1969) Laura Browns Alexander Pope (1985) Roy Lewiss On Reading French Verse: A Study in Poetic Form (1982) George Wrights Shakespeares Metrical Art. (1988) Richard Bradfords A Linguistic History of English Poetry (1993) Poem The Architects But, as youd expect, they are very Impatient, the buildings, having much in them Of the heavy surf of the North Sea, flurrying The grit, lifting the pebbles, flinging them With a hoarse roar against the aggregate They are composed of — the cliffs higher of course, More burdensome, underwritten as It were with past days overcast And glinting, obdurate, part of the Silicate of tough lives, distant and intricate As the whirring bureaucrats let in And settled with coffee in the concrete pallets, Awaiting the post and the department meeting —  Except that these do not know it, at least do not Seem to, being busy, generally. So perhaps it is only on those cloudless, almost Vacuumed afternoons with tier upon tier Of concrete like rib-bones packed above them, And they light-headed with the blue airiness Spinning around, and muzzy, a neuralgia Calling at random like frail relations, a phone Ringing in a distant office they cannot get to, That they become attentive, or we do — these Divisions persisting, indeed what we talk about, We, constructing these webs of buildings which, Caulked like great whales about us, are always. Aware that some trick of the light or weather Will dress them as friends, pleading and flailing — And fill with placid but unbearable melodies Us in deep hinterlands of incurved glass.  © C. John Holcombe 1997 Metre Though apparently iambic, with five stresses to the line, the metre shows many reversals and substitutions. Put at its simplest, with: / representing a strong stress \ representing a weak stress x representing no stress, and trying to fit lines into a pentameters, we have -| /| x| x| x| /| -| \| x| /| x| | But| as| youd| ex| pect| | they| are| ve| ry| x| /| x| x| /| x| /| x| \| x| x|. Im| pat| ient| the| build| ings,| hav| ing| much| in| them| x| x| \| x| /| x| x| \| /| /| x x| Of| the| heav| y| surf| of| the| North| Sea,| flurr| ying| x| /| -| /| x| x| /| x| /| x| \| The| grit,| | lift| ing| the| pebbl| es,| fling| ing| them| \| x| /| -| /| x| \| x| /| x| \| With| a| hoarse| | roar| a| gainst| the| agg| re| gate| x| \| x| /| \| x| /| /| x| x| /| They| are| com| posed| of,| the| cliffs| high| er| of| course| \| /| x| \| -| /| x| / | x| \| | More| burd| en| some,| | un| der| writ| ten| as| | x| /| x| /| -| /| -| /| x| /| | It| were| with| past| | days| | o| ver| cast| | x| /| x|. \| /| x| \| -| /| x| x| And | glit| ter| ing,| ob| du| rate,| | part| of| the| -| /| x x x| /| -| /| -| /| x x| /| x x| | Sil| icate of| tough| | lives| | dist| ant and| in| tricate| -| \| x| /| x| /| x| \| -| /| x| | As| the| whir| ring| bu| reau| crats| | let| in| x| /| x x| /| x| \| x| /| x| /| x| And | set| tled with| cof| fee| in| the| con| crete| pal| lets| x| /| x x| /| x| \| x| /| x| /| x| A| wait| ing the| post| and| the| de| part| ment| meet| ing| x| \| x| /| \ x | /| x| x| \| /| x| Ex| cept| that| these| do not| know| it, | at| least| do| not| -| /| x| /| x| /| x| /| x| \| x|. | Seem| to| be| ing| bus| y| gen| ER| all| y| \| x| /| x x| /| x| \| x| /| x| /| x| So| per| haps| it is| on| ly| on| those| cloud| less| al| most| -| /| x| /| x| \| x| /| x x| \| /| x| | Vac| uumed| af| ter| noons| with| ti| ER u| pon| ti| ER| x| /| x| \| /| /| -| /| x| /| x| | Of| con| Crete| like| rib| bones| | packed| a| bove| them| | x| /| \| /| x| \| x| /| /| x| \| | And | they| light| head| ed,| with| the| blue| air| i| ness| | -| /| x x| /| x| /| x| \| x| /| x x| | | Spin| ning a| round| and| muz| zy,| a| neu| ral| gia| | -| /| x x| /| x x| /| x| /| x x| /| |. | Cal| ling at| ran| dom like| frail| re| lat| ions a| phone| | -| /| x x x| /| x| /| x x| /| x| /| x| | Ring| ing in a| dist| ant| of| fice they| can| not| get| to| x| /| x| /| x| /| x x| /| /-| \| | That| they| be| come| at| ten| tive, or| we| do| these| | x| /| x x| /| x x| /| \| x| /| x| /| Di| vis| ions per| sist| ing, in| deed| what| we| talk| a| bout| -| /| x| /| x x| /| x| /| x| \| | | We,| con| struct| ing these| webs| of| build| ings| which| | -| /| x| /| \| /| x| /| x x| /| x| | Caulk| Ed | like| great| whales| a| bout| us are| al| ways| x| /| x x| /| x x| /| x| /| x| | |. A| ware| that some| trick| of the| light| or| weath| ER| | | \| /| x x| /| -| /| x x| /| x| | | Will| dress| them as| friends| | plead| ing and| flail| ing| | | x| /| x| /| x| \| x| /| x x| /| x x| And| fill| with| plac| id| but | UN| bear| able | mel| odies| -| /| x| \| -| /| x x x| /| \| /| | | Us | in| deep| | hint| erlands of| in| curved| glass| | Poets learn to trust their senses, but even to the experienced writer these (tedious) exercises can pinpoint what the ear suspects is faulty, suggest where improvements lie, and show how the metre is making for variety, broad consistency, shaping of the argument and emotive appeal. Though other scansions are certainly possible in the lines above, the most striking feature will remain their irregularity. Many lines can only roughly be called pentameters; Lines 16 and 17 are strictly hexameters; and lines 27 and 28 are tetrameters. In fact, the lines do not read like blank verse. The rhythm is not iambic in many areas, but trochaic, and indeed insistently dactylic in lines 9 and 10, 21 and 22 and 28. Line 27 is predominantly anapaestic, and line 3 could (just) be scanned: x x| / x| /| x x \| /| | /| x x | Of the| heavy| surf| of the North| Sea| | flurr| ying|. Reflective or meditative verse is generally written in the iambic pentameter, and for good reason — the benefit of past examples, readers expectations, and because the iambic is the closest to everyday speech: flexible, unemphatic, expressing a wide range of social registers. Blank verse for the stage may be very irregular but this, predominantly, is a quiet poem, with the falling rhythms inducing a mood of reflection if not melancholy. What is being attempted? Suppose we set out the argument (refer to rhetorical and other analyses), tabbing and reverse tabbing as the reflections as they seem more or less private: {8} 1. But, as youd expect, 2. they are very impatient, the buildings, 3. having much in them of the heavy surf of the North Sea, 4. flurrying the grit, 5. lifting the pebbles, 6. flinging them with a hoarse roar against the aggregate they are composed of — the 7. cliffs higher of course, more 8. burdensome, 9. underwritten as it were with past days 10. overcast and glinting, 11. obdurate, 12. part of the silicate of tough lives, 13. distant and intricate as 14. the whirring bureaucrats 15. Let in and settled with coffee in the concrete pallets, awaiting the post and the department meeting — 16. except that these do not know it,  17. at least do not seem to, being busy, 18. generally. 19. So perhaps it is only on those cloudless, almost vacuumed afternoons with tier upon tier of concrete like rib — bones packed above them, and 20. they light-headed 21. with the blue airiness spinning around, and 22. muzzy, a 23. neuralgia calling at random like 24. frail relations, a 25. phone ringing in a distant office they cannot get to, that 26. They become attentive, 27. or we do — 28. these divisions persisting, 29. indeed what we talk about, 30. we, constructing these webs of buildings which 31. Caulked like great whales about us, are 32.  always aware that some trick of the light or weather will dress them as friends, 33. pleading and flailing — and 34. fill with placid but unbearable melodies 35. us in deep hinterlands of incurved glass. The structure should now be clear. Where Eliot created new forms by stringing together unremarkable pentameters, {8} this poem attempts the reverse: to recast an irregular ode-like structure as pentameters. And not over-successfully: many of the rhythms seemed unduly confined. But once returned to the form of an eighteenth century Pindaric ode, however unfashionable today, the lines regain a structure and integrity. Each starts with a marked stress and then tails away, a feature emphasized by the sound patterns. {9} Sound Patterning To these sound patterns we now turn, adapting the International Phonetic Alphabet to HTML restrictions: 1. But | as | youd | expect | u | a | U | e e | b t | z | y d | ksp kt | 2. They | are | very | impatient | the | buildings | A | a(r) | e E | i A e | e | i i | th | | v r | mp sh nt | th | b ld ngz | 3. Having | much | in | them | of | the | heavy | surf | of | the | North | Sea | a i | u | i | e | o | e | e | e(r) | o | e | aw | E | h v ng | m ch | n | th m | v | th | h v | s f | v | th | n th | s |. 4. flurrying | the | grit | u E i | e | i | fl r ng | th | gr t | 5. lifting | the | pebbles | i i | e | e | l ft ng | th | p b lz | 6. flinging | them | with | a | hoarse | roar | against | the | aggregate | they | are | composed | of | i i | e | i | e | aw | aw | e A | e | a E A | A | a(r) | o O | o | fl ng ng | th m | w th | | h s | r | g nst | th | gr g t | th | | k MP zd | v | 7. the | cliffs | higher | of | course | more | e | i | I e | o | aw | aw | th | kl fs | h | v | s | m | 8. burdensome | u(r) e e | b d ns m | 9.underwritten | as | it | were | with | past | days | u e i e | a | i | (e)r | i | a(r) | A | nd r t n | z | t | w | w | p st | d z | 10. overcast | and | glinting | O e(r) a(r) | a | i i | v k St | nd | gl NT ng | 11. obdurate | o U A | bd r t | 12. part | of | the | silicate | of | tough | lives | (a)r | o | e | i i A | o | u | I | p t | f | th | s l k t | v | t f | l vz | 13. distant | and | intricate | i a | a | i i e | d St NT | nd | NT r k t | 14. as | the | whirring | bureaucrats | a | e | e(r) i | U O a | z | th | w r ng | b r kr ts | 15. let | in | and | settled | with | coffee | in | the | concrete | pallets | e | i | a | e ie | i | o E | i | e | o E | a e | l t | n | nd | s tl d | w th | k f | n | th | k Kr t | p l Ts | awaiting | the | post | and | the | department | meeting | e A i | e | O | a | e | E e | E i | w t ng | th | p St | nd | th | d p tm NT | m t ng | 16. except | that | these | do | not | know | it | e e | a | E | U | o | O | i | ks pt | th | th z | d | n t | n | t | 17. at | least | do | not | seem | to | being | busy | a | E | U | o | E | U | E i | i E | t | l St | d | n t | s m | t | b ng | b z /td | 18. generally | e e a E | j nr l | 19. so | perhaps | it | is | only | on | those | cloudless | almost | vacuumed | afternoons | O | e(r) a | i | i | O | o | O | ou e | aw O | a U | a(r) e oo | s | p h ps | t | z | nl | n | th z | kl dl s | lm St | v k md | ft n nz | with | tier | upon | tier | of | concrete | like | rib | bones | packed | above | them | and | i | E e(r) | e o | E e(r) | o | o E | I | i | O | a | e u | e | a | w th | t | p n | t | v | k nkr t | l k | r b | b nz | p Kt | b v | th m | nd | 20. they | light | headed | A | I | e e | th | l t | h d d | 21.with | the | blue | airiness | spinning | around | and | i | e | U | (A)r i e | i i | e ou | a | w th | th | bl | r n s | sp n ng | r nd | nd | 22. muzzy | a | u E | e | m z | | 23. neuralgia | calling | at | random | like | U a E a | aw i | a | a o | I | n r lj | k l ng | t | r nd m | l k | 24. frail | relations | a | A | e A e | e | fr l | r l zh nz | | 25. phone | ringing | in | a | distant | office | they | cannot | get | to | that | O | i i | i | e | i a | o i | A | a o | e | oo | a | | f n | r ng ng | n | | d St NT | f s | th | k n t | g t | t | th | | 26.they | become | attentive | A | E u | a e i | th | b k m | t NT v | 27. or | we | do | aw | E | oo | | w | d | 28. these | divisions | persisting | E | i i e | e(r) i i | th z | d v zh nz | p s St ng | 29. indeed | what | we | talk | about | i E | o | E | aw | e ou | in d | wh t | w | t k | b t | 30. we | constructing | these | webs | of | buildings | which | E | o u i | E | e | o | i i | i | w | k nz str Kt ng | th z | w bs | v | b ld ngz | wh Ch | 31. caulked | like | great | whales | about | us | are | aw | I | A | A | e ou | u | a(r) | k kd | l k | gr t | w lz | b t | s | | 32. always | aware | that | some | trick | of | the | light | or | weather | will | dress | them | as | friends | aw A | e (A)r | a | u | i | o | e | I | aw | e e(r) | i | e | e | a | e | lw z | w | th t | s m | tr k | v | th | l t | | w th | w l | dr s | th m | z | Fr ndz | 33. pleading | and | flailing | E i | a | A i | pl d ng | nd | fl l ng | 34. will | fill | with | placid | but | unbearable | melodies | i | i | i | a i | u | u A(r) a e | e O E | f l | w th | PL s d | b t | n b r b l | m l d z | | 35. us | in | deep | hinterlands | of | incurved | glass | u | i | E | i e a | o | i e(r) | a(r) | s | n | d p | h NT l ndz | v | nk v d | GL s | Sound in poetry is an immensely complicated and contentious subject. Of the seventeen different employments listed by Masson {10} we consider seven: 1. Structural emphasis All sections are structurally emphasized to some extent, but note the use (in decreasing hardness) of * plosive consonants in sections 1, 5, 6, 7, 10-13, 19, 28-50; 31 and 35. * fricative and aspirate consonants in sections 2, 3, 6, 7, 12, 19, 25, 28, 32, 35. * liquid and nasal consonants in sections 3, 4, 12, 15, 17, 18, 19, 21, 23, 31-35. Also: * predominance of front vowels — in all sections but 6, 7, 11, 16, 17, 19 and 31. * predominance of vowels in intermediate positions — only sections 16 and 17 having several high vowels and section 3 low vowels. 2. Tagging of sections Note sections 1, 7, 13 and 15. 3. Indirect support of argument by related echoes * Widely used, most obviously in sections 3-7, 12-13, and 15. 4. Illustrative mime: mouth movements apes expression * Sections 2, 6, 11-13, 19, 31 and 35. 5. Illustrative painting * Sections 3-6, 10-13, 15, 19 and 33. Most sections are closely patterned in consonants. Those which arent (and therefore need attention if consistency is to be maintained) are perhaps 8, 9, 14, 18, 20, 22, 24, 26 and 27. Originally the poem was cast in the form of irregular pentameters. But if this is set aside in favour of the 35 sections listed above, how are these sections to be linked in a self-evident and pleasing form? A little is accomplished by alliteration: * f in sections 3 to 7. * s and t in sections 12 to 15 * w in sections 29 to 32 And also by the predominance of front and intermediate level vowels, but these do not amount to much. Certainly we do not find that the overall shaping of the poem emphasizes the argument or content. Sociolinguistics Language is not a neutral medium but comes with the contexts, ideologies and social intentions of its speakers written in. Words are living entities, things which are constantly being employed and only half taken over: carrying opinions, assertions, beliefs, information, emotions and intentions of others, which we partially accept and modify. In this sense speech is dialogic, has an internal polemic, and Bakhtins insights into the multi-layered nature of language (heteroglossia) can be extended to poetry. {11} Much of Postmodernist writing tries to be very unliterary, incorporating the raw material of everyday speech and writing into its creations. This poem seems rather different, a somewhat remote tone and elevated diction applying throughout. Let us see whats achieved by grouping under the various inflections of the speaking voice. * urgently confidential But, as youd expect, cliffs higher, of course, that they become attentive or we do * obsessively repetitious flurrying the grit, lifting the pebbles, flinging them Burdensome, underwritten overcast and glinting, obdurate * over-clever silicate of tough lives  distant and intricate constructing these webs of buildings distracted and/or light-headed except that these do not know it at least do not seem to with the blue airiness spinning around calling at random like frail relations * melancholic and/or reflective some trick of the light or weather will dress them as friends pleading and flailing and fill with placid but unbearable melodies. The exercise hardly provides revelation. Heteroglossia is an interweaving of voices, moreover, not shifts of tone or reference. And yet there is something very odd about the opening line. Why should we expect the buildings to be very impatient? This is more than the orators trick of attracting attention, since the animate nature of buildings and their constituents is referred to throughout the poem. To be more exact, the attitude of the inhabitants — observers, bureaucrats, architects — to the buildings is developed by the poem, and is paralleled by the tone. But why the confidential and repetitious attitude at the beginning. Why should we be buttonholed in this manner? Why the But, which seems to point to an earlier conversation, and the urgency with which that earlier conversation is being refuted or covered up? Because the blame for something is being shifted to the buildings. What error has been committed we do not know, but in mitigation we are shown the effect of the buildings on other inhabitants. Or perhaps we are. In fact the whirring bureaucrats seem to grow out of the fabric of buildings, and we do not really know if the we, constructing these webs of buildings is meant literally or metaphorically. The poems title suggests literally, but perhaps these constructions are only of the mind: sections 17, 20-29, 32 and 34 refer to attitudes rather than actions, and there is an ethereal or otherworldly atmosphere to the later section of the poem. So we return to heteroglossia, which is not simply borrowed voices, but involves an internal polemic, {12} that private dialogue we conduct between our private thoughts and their acceptable public expression. The dialogue is surely here between the brute physicality of a nature made overpoweringly real and the fail brevity of human lives. That physicality is threatening and unnerving. If the we of the later section of the poem is indeed architects then that physicality is harnessed to practical ends. If the constructing is purely mental then the treatment is through attitudes, mindsets, philosophies. But in neither case does it emasculate the energy of the physical world. Architects may leave monuments behind them, but they are also imprisoned in those monuments (us in deep hinterlands) and hearing all the time the homesick voice of their constituents. Conclusions: Suggested Improvements The greatest difficulty lies in the poems structure. An pentameter form has been used to give a superficial unity, but this wrenches the rhythm, obscures the sound patterns and does nothing for the argument. If recast in sections defined by rhythm and sound pattern the form is too irregular to have artistic autonomy. A return could be made to the eighteenth century Pindaric ode in strict metre and rhyme, but would require extensive and skilful rewriting, and probably appear artificial. A prose poem might be the answer, but the rhythms would need to be more fluid and subtly syncopated. Otherwise, blank verse should be attempted, and the metre adjusted accordingly. The internal polemic is a valuable dimension of the poem, but more could be done to make the voices distinct. http://www. textetc. com/criticism/stylistics. html1. On StylisticsIs cognitive stylistics the future of stylistics? To answer this question in the essay that follows, I will briefly discuss Elena Semino and Jonathan Culpeper’s Cognitive Stylistics (2003), Paul Simpson’s Stylistics (2004), and a recent essay by Michael Burke (2005). However, because questions are like trains – one may hide another – any discussion of the future of stylistics raises intractable questions about stylistics itself. French students of stylistics, for example, will come across definitions of the discipline like the following. According to Brigitte Buffard-Moret, â€Å"si les definitions de [la stylistique] – que certains refusent de considerer comme une scien

Blindness and Sight - Lack of Vision in Oedipus the King :: King Lear essays

Parental Blindness in King Lear As Shakespeare presents to us a tragic pattern of parental and filial love, in which a prosperous man is devested of power and finally recognises his "folly", empathy is induced in the audience. In "King Lear", it is noted from the beginning of the play that both Lear and Gloucester suffer from self-approbation and will consequently find revelation by enduring "the rack of this tough world". While Lear mistakenly entrusts the shallow professions of love from his "thankless" daughters - Goneril and Regan - instead of the selfless words of Cordelia, Gloucester shadows a similar ignorance by initially entrusting love in the evil Edmund, rather than Edgar, whom we consider to be a "truly" loyal "noble gentlemen". Undeniably, both parents misjudge appearance for reality, as it is only in this way that they can "let the great gods that keep this dreadful pudder O'er [their] heads / Find out their enemies" where "all vengeance comes too short". When Lear is rejected by Goneril and Regan and stripped of his "hundred Knights and squires", he is left with "nothing" in the wilderness, besides the loyal company of Kent and the Fool, and later on, Edgar and Gloucester. It appears that at this stage he senses his "folly", that he "did [Cordelia] wrong". But Lear has yet to gain full insight. Although, before entering the hovel, he realises that he has been a "man more sinned against sinning", the process of self-discovery is not complete until all truth is unveiled. As Lear realises his foolishness in bannishing Cordelia - his "joy" and the only daughter who truly loves him - we sense Lear's increasing sorrow and despair. By revealling his "sin", he is subjecting himself to punishment. Perhaps it is a deserving motion, since he had passed judgement and punished Kent and Cordelia for coming between "the dragon and his wrath", that is, him and his power. Now the gods above rightfully control Lear's destiny, abiding by the process that man has to suffer to gain peace. At this particular moment, Lear is still unaware of Kent's identity, disguised as Caius, ever since he bannished Kent for defending Cordeila's thoughtful choice to "love and be silent". We understand that the disguise is a way in which Kent can protect and continually serve the "poor, weak and infirm" Lear. Lear begins to accomplish understanding through the change in his contemptuous behaviour to a sympathetic learning man.

Creative Writing – Life in the City

The day in the city is starting: Claustrophobia. Frustration. Overcrowded. Crushing. Swarming. Cacophonous. Obstreperous. Clamorous. Vociferous. The gloomy grey sky, with its heavy nimbostratus clouds, blocking all of the sun's rays from reaching the Earth. The smoke from the industrial factories polluting the atmosphere and smelling like a failed chemical experiment. The fridge-like coldness of the winter air freezing your face. Claustrophobia on the streets; commuters, shooting menacing glares at each other, attempt to rush to work. They fight their way past each other, determined to do anything they can to get to their destination. One businessman, dressed in a shirt and tie and clutching a black leather briefcase, is shoved back as the current of the swarm of people against him is too strong. The towering skyscrapers looking down at the strugglers in battle. Across the road, the unpleasant cacophony of cars blaring their horns is heard above everything else. Frustrated drivers, already late for work, bellowing at the ever-changing traffic lights and wide lorries blocking half of the road. The overpowering skyscrapers watch over the events; their roofs almost brushing the heavens. Hectic life in the city goes on and on, and feels as though it will never end, that the commuters will never stop fighting their way into work, that the car drivers will never stop cursing at the traffic, that the city will never be empty†¦ †¦Night time in the city. Empty. Deserted. Silent. In the charcoal black sky, the effulgent crescent moon, the glistening stars forming illuminating constellations, the flickering lights of a plane that glides through a sky like a hawk. Descending to the Earth, we observe the city in its now desolate state. Looking through a dimly lit, litter strewn alley, a homeless man crouches defensively, ready to go to sleep for the night. His scruffy, short, light brown hair covered with a worn out, chequered hat. His torn, tatty shirt and his trousers covered with holes both sizes too small for him. A few meters away, a rat scuttles over to the litter, scavenging around for food. Turning into the car park, we see that the once overflowing place full of resting vehicles of every size and shape, now contains nothing but the dormant parking meter that patrols the area. Standing on one leg and lining up in a straight row like soldiers, the street lights provide the only source of illumination, their one eye emitting a golden beam of shining light down on the dusty, cracked pavement below. Through the city park, the sea of trees is seen swaying gently in the whispering wind. Rippling reflections of the stars are shown in the peaceful pond. The vastest tree of the park comes into view with its narrow finger-like branches reaching skywards and brushing the heavens; its gnarled bark and broad trunk radiating infinite wisdom. The silent, harmonious noises of the city now amplified. The ticking of the clock tower, the rustle of the autumn leaves being softly blown down the road by the wind, the high pitched creaking of the iron gates to the car park. Soon the silent, tranquil city will be once again transformed into the blaring, claustrophobic city, and life in the city will start again.

The Safavid and Moghul Empire

The Safavid Empire really put Iran on the map for their economic strength. The Safavid Empire was founded by the Safavids and covered all of Iran, parts of Turkey, and Georgia. The Shiite based empire lasted from 1501-1722. The reason for their success was their locations on the trade routes. Shah Ismail, age 14 ruled from 1501 to 1524 and by 1510 he had conquered all of Iran. Shi’ism was introduced to Iran and many Sunni Muslims were murdered. But there was a positive side to their religion; the early Safavid Empire was a theocracy. Religious and political powers were all together. The Empire became rich because it was in the center of the trade route in the Ancient World. Shah Abbas was leader during the golden years of the Safavid Empire. Although he had a small army, they were well trained and had had the best weapons. With the help of the Europeans Shah Abbas had some success against the Ottoman Turks. After Shah Abbas died the Safavid Dynasty suffers and leaders lacked leadership skills. Afghan people invaded and seized the capital of the Safavid Empire and what is left of the Safavid dynasty falls apart. The Mogul Empire (also spelled Moghul or Mughal) was founded by Babur in 1526 and stretched from almost all of India and westward into Europe. Babur’s army was small, but had better weapons. Babur captured Delhi and conquered North India until he died in 1530. Akbar was Babur’s grandson son and was 14 when he took the throne. By 1605 Mogul ruled most of India. Akbar was a great negotiator, was lenient with different religions, and was very humane. He even married a Hindu woman. People had to pay 1/3 of their harvest every year to the state, but sometimes that tax might be lowered or excused. Trade and manufacturing flourished during this time. After Akbar died, Jahangir took over and continued to strengthen the central government. He convinced his wife to arrange a marriage with him son and her niece and he becomes the ruler after Jahangir. Shah Jahan could not deal with domestic problems and cost the Empire a lot of many. He had many expensive projects such as the Taj Mahal which was built for his favorite wife who dies while giving birth to her 14th child. The government had to raise taxes to pay for it. When Shah Jahan dies, his sons fight for power and one ends up killing another so the son Aurangzeb becomes king. He was a devout Muslim and forbade drinking, gambling, and prohibited the building of Hindu temples. As a result of this, people are unhappy and the Persians attack in 1739. The British arrived in the Mogul Empire and wanted to take over. Of course the British won and they had the right to collect taxes in areas surrounding the Calcutta. Muslim woman began to fight in battles and female relatives become advisors to leaders. Moguls brought together Indian and Persian cultures and influences. The Mogul and Safavids, although very different had many things in common. Both had important rulers who started their reign at 14. Both were of Islamic religion, and they both had small armies but advanced weapons. The rulers played a role in the Empire’s decline. Both started out as strong, wealthy empires and started to decline. And The Mogul and Safavid Empire had strong religious beliefs.

John Adams Essays - Adams Family, Conservatism In The United States

John Adams Essays - Adams Family, Conservatism In The United States John Adams John Quincy Adams was the only son of a president to become president. He had an impressive political background that began at the age of fourteen. He was an intelligent and industrious individual. He was a man of strong character and high principles. By all account, his presidency should have been a huge success, yet it wasn't. John Quincy Adams' presidency was frustrating and judged a failure because of the scandal, attached to his election, the pettiness of his political rivals, and his strong character. John Quincy Adams was born on July 1767, in Braintree Massachusetts. His parents were John and Abigail Adams. Quincy, had every advantage as a youngster. At the time of his birth, his father was an increasingly admired and prospering lawyer, and his mother Abigail Smith Adams, was the daughter of an esteemed minister, whose wife's family combined two prestigious and influential lines, the Nortons and the Quincys. Accompanying his father on diplomatic missions in Europe, young John Quincy Adams received a splendid education at private schools in Paris, Leiden, and Amsterdam, early developing his penchant for omnivorous reading. He was able to speak several languages. At the age of fourteen, he was asked to serve as secretary and translator to Francis Dana, the first US ambassador to Russia. Despite his age, young Adams was a valuable aid to the consul; he enjoyed Russia and the exposure to diplomatic circles. He later returned to the United States and attended Harvard. He graduated in two years and entered the law offices of Theophilus Parsons in Newburyport, Massachusetts. Passing the bar in 1790, he set up practice in Boston. In 1794 John began his long political career. George Washington appointed John Quincy Adams an Ambassador to the Netherlands. After his father was elected as the second president of the United States, he was reassigned to the post of minister to Prussia. He kept this post throughout his fathers term of office. After his fathers defeat to Thomas Jefferson he returned home. In 1802 he was elected to the Massachusetts senate, which sent him to the U. S senate the following year. He was also appointed to the Supreme Court, a membership he declined. President James Madison then appointed him to minister to Russia in 1809. He continued to serve his country and gained a well-respected reputation. Adding to his reputation was his brilliant and tough-minded performance as chief American peace commissioner in the negotiations at Gent that ended the War of 1812 and his effectiveness as minister to Great Britain during the last two years of the Madison administration. He continued to distinguish himself by negotiating a treaty with Spain. The Adams-Onis Treaty with Spain, concluded with Spain on February 22, 1819. Provided for the transfer of East and West Florida to the United States and the establishment of a border between Spanish and US territory running from the Gulf of Mexico to the Rocky Mountains and along the forty- second parallel to the Pacific ocean. Historians regard the treaty as a brilliant act of diplomacy, and Adams himself called its conclusion the most important event of my life. Many historians give credit to Adams for his contributions to the Monroe Doctrine. Adams also was the mind behind the Monroe Doctrine, which warned that the United States would oppose any European interference in the internal affairs of an American nation or further European colonization of territory in the Western Hemisphere. There was no doubt that Adams was a deserving candidate for the presidential election of 1824. He had held high diplomatic positions and displayed both aptitude and ability. He wanted to be President, but although Adams was the most distinguished member of the Monroe Cabinet, his successes were somewhat neutralized by his lack of friends and organizational backing He had also earned himself a reputation of being stubborn and unflexable. He had no problems speaking out against issues he felt were unjust. He also spoke out against his own political party. The son of a leading Federalist Party, Adams proved to be anything but a slavish devotee to that political cause. When he thought the party was in the wrong, he stood ready to oppose it. In fact, as

Fragmentary Sentences and Sentence Fragments

Fragmentary Sentences and Sentence Fragments Fragmentary Sentences and Sentence Fragments Fragmentary Sentences and Sentence Fragments By Mark Nichol A sentence can be fragmentary, but it shouldn’t be a fragment. What’s the difference? Writers should distinguish between fragmentary sentences and sentence fragments. The following sentences are fragmentary: â€Å"A virtuoso performance? Some virtuoso.† Despite the absence of a subject and a verb, which are considered standard components of a sentence, the reader fills in the missing parts: (â€Å"[Do you call that] a virtuoso performance? [That musician is] some virtuoso.†) A sentence fragment, by contrast, is usually a dependent clause formatted as if it were a complete sentence, such as the second sentence in the following passage: â€Å"I went to the store. Because I need to buy some toiletries for my trip.† The form shown in the second sentence isn’t necessarily always wrong; it’s appropriate as a response in colloquial dialogue: â€Å"Why did you go to the store?† â€Å"Because I need to buy some toiletries for my trip.† Otherwise, however, it’s erroneous. It’s possible, too, for a complete sentence to be misconstrued as a sentence fragment because of a simple error such as omission of punctuation. For example, â€Å"Before I was inclined to agree† is a sentence fragment, because the words do not constitute a complete thought; no useful information has been conveyed. The implication is that a condition will be described: â€Å"Before I was inclined to agree, I needed more proof.† If, however, before is supplied as an adverbial tag, followed by a comma (â€Å"Before, I was inclined to agree†), the wording becomes a coherent statement indicating that in the past, the writer would likely have agreed with something. Presumably, a sentence will follow with a similarly constructed reversal written in the present tense (â€Å"Now, I’m not so sure†). However, fragmentary sentences are valid. Besides the commentary form, shown above in the examples about the alleged virtuoso, they may take the form of interjections (â€Å"Whew!† â€Å"How sad!† â€Å"What a nightmare!†), expressions (â€Å"Good job!† â€Å"So long!†), and partial imperatives (â€Å"To the castle!†) Though, of course, exclamation points are not required in fragmentary sentences, they are common, and note that such sentences are considered colloquial and should be used with caution in formal writing. You with me? Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Style category, check our popular posts, or choose a related post below:Coordinating vs. Subordinating ConjunctionsThe Letter "Z" Will Be Removed from the English AlphabetHow to Style Titles of Print and Online Publications

Marketing Strategy Analysis 2 Assignment Example | Topics and Well Written Essays - 750 words

Marketing Strategy Analysis 2 - Assignment Example The firm’s online marketing strategy incorporates all features of online marketing, but through all the obvious techniques, it is their aggressiveness, which has stressed and widened their need to succeed and stay at the peak of the retail industry (Hayden et al., 2010). However, a hostile campaign inevitably harvests controversy, and through the years, the firm has been involved with a fair share of negative publicity mainly concerning their particular marketing technique (Bachfischer, 2012). Their bullying attitude has made many perceive them as unfair and unreasonable, but Wal-Mart still hinges at the top of the retail industry despite their negative attention. The firm’s marketing techniques comprises of overflowing the market with their presence (Hayden et al., 2010). This is startling for people who perceive Wal-Mart’s business endeavors startling. However, with such a huge quantity of retail stores, extremely competitive pricing, along with such a huge mar ket share, their marketing method has demanded an overall invasion of all the suitable markets (Bachfischer, 2012). Wal-Mart provides numerous types of products, with a fairly easy list of options (Hayden et al., 2010). The Sam’s Club of the chain store provides an alternative for those who prefer bulk, as well. And, with such a loyal customer base, the firm is capable of setting prices for what their clients pay for (Roth, 2012). If the product is below cost, then many clients can go for it. The truth is that Wal-Mart can give a firm a prime chance to get their goods to a majority of consumers even if they lose funds doing so. Their internet marketing has made them transparent in an effort to deter the controversy of their name (Bachfischer, 2012). A consumer can buy their whole collection of goods through the internet. A consumer can also go through reviews, get alternative deals for exceptional deals available only online and sign-up for a newsletter in order to be-on-the- know with the firm’s products (Hayden et al., 2010). In spite of this, such an organization depends strongly on their physical location, precisely why a store finder is situated at the peak in bright yellow (Roth, 2012). This competitive nature has made controversy thrive under their name. However, their marketing strategy has centered on quantity, as well as delivering a variety in one location (Gereffi & Christian, 2012). Their extending hands to McDonalds and the Subway for transport convenience further confirms this claim (Hayden et al., 2010). A normal shopper can get glasses prescription, their car oil changed and get a haircut under their building. A client can buy draperies on one side of the store and jewelry on the other. Shoppers can grab a new lawnmower and buy groceries, all while taking a haircut (Bachfischer, 2012). Wal-Mart’s recent union with SunTrust Bank has enhanced their presence in the Southeast. Their marketing strategy has always depended on var iety, which is how many things can a client buy in one location (Roth, 2012). Wal-Mart also uses Facebook along with other social media sites to drive their sales (Gereffi & Christian, 2012). The firm allows 22 million Facebook followers to vote on toys would like to see on temporary discounts, or on "rollbacks" (Bachfischer, 2012). The online marketing strategy of Wal-Mart provides convenience for the firm. Their internet

Ideological conflicts in medical research Essay

Ideological conflicts in medical research - Essay Example This paper begins with the purpose of medical researches that is to invent new medicines for addressing ailments. If such medicines are tested in animals, we may fail to accurately predict the exact repercussions of such medicines on human beings. It is not sure that all medicines that work on animals should work on human beings. Moreover, a positive dimension of this is that it reduces the unethical treatment of animals in the name of medical research. For, human beings and other animals have equal importance in this world. Therefore, an experiment for the betterment of his race must be done on himself. One may say that all experimentations carried on in medical field intend the common good of the mankind and hence there is no problem in taking a few as the means to reach the end. However, humanitarians are always against treating man as means. The exponents who argue that man must only be treated as an end may put forward the following arguments. If a person participates in a new d rug application trial, his primary reason can be that he gets an opportunity to get extra money. He believes that the doctor will do his/her part well and no harm will be caused to him. In fact, if that person meets with any serious disaster during the trial, no one will be responsible since the individual has taken the decision at his own discretion. Therefore, it is not ethical to deploy human beings for such dangerous experiments. The reason lies with the fact that a physician always tries to save one’s life by all means whereas, a researcher tries to generate knowledge experimenting with the patients. (Boomgaarden & Louhiala, 2003, p. 101). Evidently, the subject’s life is put in danger. At this juncture, the ethical perception of a researcher is set in dispute. For, the researcher will not act as a physician but only a researcher; and nobody will be found responsible for a damage caused to the human life underwent experimentation (ibid). In addition, since man is superior to all, his security and wellbeing must be given prime consideration. If samples of trial medicines are first tested on animals there is a privilege of identifying the likely bad effects on man. Hence, potential risks against the subjects can be eliminated that way. In the same way, it is highly unethical to use captivated person, mentally retarded persons and persons who are regarded as less worthy as subjects without their consent. For example, the Nazi experiments conducted in Concentration Camps during Second World War (Standler, 2000). It must be noted that, as an individual, the doctor cannot take any measure or try any course of action without the assent of the person captivated or compelled to undergo experimentation. Moreover, due to the application of the untested medicines the survivor is likely to give in for other kinds of ailments though he is not directly affected by the experiment shortly (ibid). On the other hand, it is not always possible to use man as end due to a number of constraints. Therefore, according to this opinion, man must be used as means as well. Such trials are usually conducted on relatively small number of healthy volunteers.