Scarlet Letter By Hawthorne Essays (630 words) -

Scarlet Letter By Hawthorne In Nathaniel Hawthorne's The Scarlet Letter, the letter "A" changes its meaning many different times. This change is significant. It shows growth in the characters, and the community in which they live. The letter "A" begins as a symbol of sin. It then becomes a symbol of her ability to do and help things, and finally it becomes a symbol of her respect for herself. The letter "A," worn on Hester's bodice, is a symbol of her adultery against Roger Chillingworth. This letter is meant to be worn in shame, and to make Hester feel unwanted. "Here, she said to herself, had been the scene of her guilt, and here should be the scene of her earthly punishment . . ." Hester is ashamed of her sin, but she chooses not to show it. She committed this sin in the heat of passion, and fully admits it because, though she is ashamed, she also received her greatest treasure, Pearl, out of it. She is a very strong woman to be able to hold up so well, against what she must face. Many would have fled Boston, and sought a place where no one knew of her great sin. Hester chose to stay though, which showed a lot of strength and integrity. Any woman with enough nerve to hold up against a town which despised her very existence, and to stay in a place where her daughter is referred to as a "devil child," either has some sort of psychological problem, or is a very tough woman. The second meaning that the letter "A" took was "able." The townspeople who once condemned her now believed her scarlet "A" to stand for her ability to create beautiful needlework and for her unselfish assistance to the poor and sick. "The letter was the symbol of her calling. Such helpfulness was found in her- so much power to do and power to sympathize- that many people refused to interpret the scarlet 'A' by its original signification." At this point, many the townspeople realized what a godly character Hester possessed. "Do you see that woman with the embroidered badge? It is our Hester- the town's own Hester- who is so kind to the poor, so helpful to the sick, so comforting to the afflicted!" The townspeople soon began to believe that the badge served to ward off evil, and Hester grew to be quite loved amongst the people of the town. Hester overcame the shame of her sin through the purity and goodness of her soul. Unselfishly offering her time and love to those who needed her the most proved that she was not worthy of the fate which had been dealt to her. The final face of the letter "A" was a symbol of Hester's respect for herself, and for her life. It just changed to a way of life for Hester. After returning to England for years, and helping Pearl to gain a better life, Hester returned to don the badge which she now felt was a part of her. She could have lived a better life without it, begin a new life in England, but it was easier for her to return to America. The Puritan settlement was her home. It was where the most important events in her life had occurred, and she felt best being there. "But there was a more real life for Hester Prynne here in New England than in the unknown region where Pearl had found a home. Here had been her sin; here, her sorrow; and here was yet to be her penitence." Hester was in no way legally or religiously bound to wear the badge. She did though. She had found her home in New England, and that is where she intended to stay. The three changes in the scarlet letter were significant, and they showed her sin, her ability, and her life. Hester was a strong, admirable woman who went through more emotional torture than most people go through in a lifetime.

A Comparison of Limbo with Nothings Changed Essay Example

A Comparison of Limbo with Nothings Changed Essay Example A Comparison of Limbo with Nothings Changed Paper A Comparison of Limbo with Nothings Changed Paper Essay Topic: Poetry The poems Limbo and Nothings Changed have a lot in common if you look past the actual words into the meaning of the poems, you will see they both originate from the same theme; racism. Limbo tells the story of the Limbo dance and the joy of performing it. The poem is telling the story of a slave travelling from Africa to the West Indies in a slave ship. On the long journey, the slaves invented a dance called the Limbo dance which kept them fit and healthy so they could survive the journey. The dance involved walking underneath a stick only bending your knees; the stick started off low down then gradually went up every time you went underneath it without touching the stick. Nothings Changed is a poem based on the segregation of white people and black people in Cape Town, South Africa. In 1940, apartheid was gripping over South Africa, the rich white people earned 12 times as much as the black people. There was no actual law abut it but everybody knew it, the black people were forbidden to go where white people went. The poet is expressing his views about how bad the situation is and how much he hates it in this poem. In both poems, they involve white people taking advantage of black people and they both come from the view of black people and tell us how they are treated. However this is not so obvious in the poem Limbo, it can be spotted by the opinion the African Slave has of the White people in charge of the ship, the quote the dumb gods are raising me could mean the guards of the slaves picking him up to throw him off the ship. In Nothings Changed, this is more obvious because the poem tells the reader about District 6 where all the black people live, how they are not allowed in the posh restaurants with white linen table cloths and how they have their own scummy cafe with dirty floors and plastic tables. Another similarity of both poems is the way they both use sound words to portray the environment and setting. In Limbo, the sound words such as silence, knock and drum set the rhythm of the poem and give the impression of the actual Limbo dance. In Nothings Changed, sound words are used to give the impression of the places in which the African walks from and to; it also gives the reader a more visual image of the two restaurants. Examples of these words are click, crunch and crush which are hard sound words and grant the reader the impression of a hard life to live. In the same respect of using hard sound words, both poems portray a bleak picture of the locations where these two Africans spent their time. The setting of the ship in Limbo is a big dark boat in which resides evil, it does not portray a place where you would like to be. The setting in Nothings Changed is different from the ship because it does not sound all that bad; it sounds like a nice place however there is the underlying segregation that makes the reader feel hatred for the place. The poet shows us the area then he shows us the people that live in the area and that is what turns the reader around. Also, the way the scene is set in Nothings Changed does not motivate people to pack their stuff and hop on the next plane, the harsh words and attention to detail like amiable weeds, and it squats, in the grass and weeds do not exactly make it sound like a dream come true. Both poems involve one culture taking control and forcing the other to work for them, in Limbo, the Africans are taken from their homes and forced to work for the white people, while in Nothings Changed the white people own all the money and in doing so are lording over the natives. This theme for a poem suggests that the poets share the same opinion in that they do not like the English controlling the Africans and forcing them to live a life of poverty with little or no money. However the poets do differ on some occasions in their poems, Limbo and Nothings Changed have very different views on what should be done about their predicament. In Limbo, the message is one of acceptance and is telling the reader to accept the consequences and try and make the best of it. This is shown by the dance; it is depicted as being a joyous dance which is fun and exhilarating. Poems about slavery are not usually joyous and happy, but sad and full of hatred; this is because they are usually complaining about slavery. Nothings Changed does not encourage people to accept what is happening but to act upon it, it is a revolutionary poem full of hatred and it conveys that hatred to its audience to put an end to the maltreatment and poverty of black people. The last line in the poem: Nothings Changed brings about a dramatic end to the poem and the last stanza is one full of evil thoughts toward the white people. The layouts of the poems differ as well, Limbo has short stanzas and the layout indicates that of the movement of the dance, this helps the poem along with the beat. Meanwhile in Nothings Changed, the poet has made no obvious attempt to lay it out in a particular form other than stanzas arranged like paragraphs. I believe that the poet does not need to amplify his point with the layout but merely express himself with words. The major difference between the two poems though is the punctuation, in Limbo there is none but in Nothings Changed there is quite a lot. The abundance of punctuation in Nothings Changed shows that the poem was written for the fact of being read like a poem; unlike Limbo with no punctuation but a steady rhythm, it indicates it is like a song. The use of punctuation is clever because it forces the reader to read with a slower place and thus creating the effect of a hateful and despairing tone. The two poems are based on the same theme with some minor differences in the language and settings but both poets feel strongly on anti-racism but go their different ways about it. Limbo and Nothings Changed are the same in view but are completely opposite in the way they go about repairing it; one says acceptance while the other has a mind for war!

Case study hillton's transformation Example | Topics and Well Written Essays - 750 words

Hillton's transformation - Case Study Example This spirit of togetherness and unity of the community was manifested in the city and all the parties involved in the area including the labor unions representing the employees accepted that all the employees be given the opportunity to exercise their freedom at their work places. Based on their experience, the workers are accorded the opportunity for growth and development through rise in ranks and promotion. All the employees at Hillton were working in the environment where all their activities in the industry were guided by industrial legislations and regulations. Under these clauses, all the employees are entitled to equal treatment and fair treatment with equality. The employees at Hillton were expected to adequately learn and acquire the skills that match their job skills and technical competence. Besides, the employees of Hillton must keep good work records as they waits for their turn to rise to the ranks. Since 1970s, Hillton has experience economic growth and development. O ver these years, the economy of this small city has posted a significant increase in the economic status covering all the sectors of the economy. The city was characterized by changes in the demographic statistics and the human population features. It is through such changes in the population and demographic features that the entire city undergone transformation. Major change and transformation took place in the municipality’s labor force departments. This was necessitated by the fact that the rise in the human population seeking services of the municipal council had increased, thus increasing the pressure and the demand from the organization to deliver quality services to the needy and service demanding population. The municipal therefore had no choice but to transform its labor and workforce units to attend to the diverse and increasing demands of the public. To meet the increase in the demand of services, Hillton conducted a massive restructuring of its labor force and thi s called for fair and quick promotion of the employees and increasing the responsibilities assigned to these groups of personnel. The City also had to seek for the services of many outsiders and thereby employing more people to help in the delivery of services to the public and to reduce the pressure on its small workforce. At this point in time, Hillton had never imagined of any form of institutional layoffs but instead the organization practiced what the experts describe as â€Å"conform and entitlement† management policy. The department manager has all the freedom at their working environment with little intervention from the city manager or the elected council members. Besides, the tax policies of the council were very weak and ineffective. The council of Hillton which initially had poor and insufficient resources to meet the growing demands raises by a rise in the demographic statistics had to restructure its institutions and systems. The most affected class was the phys ical and social amenities, including roads, security, recreational facilities, building and lands. This process of conducting social reconstruction and development of city called for the expansion of the work force of the council thereby leading to the inclusion of outsider in the early described as the inside tasks. Rather than promoting its internal staff as had been the culture at Hillton, in 1996, the management filled all the vacant position in the city council with hired technical and professional outsourced from other countries

Stages of Grief Essay Example | Topics and Well Written Essays - 500 words

Stages of Grief - Essay Example He pours his emotion and tears out of his heart; it was felt as one read through pages, though we also got to see him take one step forward. The author who is also a father went through all the five stages of grief. Most people who have lost their loved one, it is always the beginning of a grieving process, which begins with the denial phase, anger, bargaining, depression and acceptance (Axelrod, 2015). Wolterstorff found joy after acceptance the loss of his son, after going all the four other stages of grief he finally accepted the death of his son. His acceptance was as a result of his strong faith in God. As much as he regrets the things that were unsaid and undone, he considered the death of his son to have made him grow and change. He was agonized by the death of his son; he could not understand how he lost his son after twenty-five years of guiding and encouraging him. He thought he had not done enough or maybe he loved him more than the others. However, at this point he was in a state of bargain, a point where he was wrighling with God. Through his faith, he considered the glory of God to be revealed to us through our suffering, and we later find hope in the life, death and resurrection of Jesus (Wolterstorff, 1987). He was greatly encouraged, and that was a progression of his healing through acceptance. The book assumes Christian audience. However, as much as everything that is written with God in mind, in some way we see the narrator is wrestling with God asking questions as to why his son had to be the one Dead. It is through God that Wolterstorff was able to regain his strength. In some instance a bitter friend asks him why he does not reject God. The narrator, however, the sees the glory of God around him and have no reason to stop asking God to continue protecting his family. As a Christian death has a positive meaning, for one to live in Christ and to die in

Unfair Dismissal Essay Example | Topics and Well Written Essays - 2500 words

Unfair Dismissal - Essay Example Dismissal DefinedDismissal DefinedDismissal is certainly a fundamental concept in the employment law so to explore the subject first define the term ‘dismissal’.It is defined for the aims of redundancy and unfair dismissal in Employment Rights Act 1996, sections 95 as well as 136 respectively. Although the definitions are identical and conceive of dismissal developing in any of given three situations:†¢ In case the employment contract has been ceased by the employer after notifying or without notifying;†¢ In case a limited –term contract terminates or expires devoid of renewal;†¢ In case if the contract has been terminated by the employee, after notifying or without notification, in conditions providing him the entitlement to terminate without notifying the employer due to employer’s conduct.The last clause of the dismissal definition entails â€Å"constructive dismissal† where an employee is forced to resign due to certain actions of the employer.Unfair dismissal term unfair dismissal in context to the law is used for termination of an employment contract for inadmissible or unfair reasons. In case, such an act is challenged in a court, by the affected employee, then the employer is needed to establish that the termination was based on a significant reason such as deficiency of qualification, gross misconduct, and incapableness to execute assigned responsibilities or redundancy. While deciding such cases, the statutory rights of employees are taken into consideration by the court.The terms ‘unfair dismissal’ and ‘wrongful dismissal’... Unfair dismissal The term unfair dismissal in context to law is used for termination of an employment contract for inadmissible or unfair reasons. In case, such an act is challenged within a court, by the affected employee, then the employer is needed to establish that the termination was based on a significant reason such as deficiency of qualification, gross misconduct, and incapableness to execute assigned responsibilities, or redundancy. While deciding such cases, the statutory rights of employee are taken into consideration by the court4. Unfair and Wrongful Dismissal The terms ‘unfair dismissal’ and ‘wrongful dismissal’ seems similar but within the United Kingdom, the terms are rather unalike as wrongful dismissal is referred to when the employment contract is terminated by the employer in order to dismiss the employee or forcibly causing an employee leave. It is established on the basis of contract law. While unfair dismissal involves without notifica tion termination of employment by the employer. Thus resigning from an employment under constructive dismissal may be regarded as a wrongful dismissal case. Historical Development of Unfair Dismissal Statute in United Kingdom The history of the formulation of law of unfair dismissal dates back to year 1971, since it was made a part of Industrial Relations Act. It is a statutory creation. Therefore the right of avoiding from being unfairly dismissed only subsists if legal conditions are fulfilled. The unfair dismissal statute was re-enacted in the initial Schedule to the Trade Union and Labour Relations Act 1974, modified by the Employment Protection Act 1975. This statute was amalgamated in 1978 with the Contracts of Employment Act 1963 along with the Redundancy Payments Act 1965

Interpretation And Appreciation Of The Floral Motif Arts Essay

Interpretation And Appreciation Of The Floral Motif Arts Essay Since this is a historical based paper focusing on the way in which wallpaper designers communicate through the use of visual language, different interpretations of the subject of botanical forms, historical background information must be provided to make a fuller understanding possible. This chapter is vital to the study of two dimensional surface design as it will explore the history of wallpaper and the reason one desires to decorate ones surroundings. 2.2. Literature review As well as the research carried out exploring the innovations of 20th century wallpaper design and the exploration of different interpretations of the floral motif, some considerable time was also dedicated to investigate the early history of wallpaper. The basic intention of undertaking this research was to examine the way in which wallpaper appeals to society and to provide a more in depth understanding of the sophistication of wallpaper design, which is a vital element of this study. Questions that are deriving the construction of the historical chapter include: Where did the concept of wallpaper originate from? What was the function of wallpaper? When were flowers and botanical forms first used as a form of decoration? The above objectives were explored by the study of literature surrounding the topic of the history of wallpaper, combing knowledge from books, journals, interior design magazines, and the information from internet sources. The final dissertation will answer these questions and draw relevant conclusions concerning the innovations of two dimensional surface design. The literature review in this section is intended to name the sources used and does not attempt to evaluate the categorised research which underlies them. For this historical chapter a number of sources have been thoroughly researched however some of the sources were more informative than others. Wall Papers of France 1800-1850 by Odile Nouvel (1981) gives a comprehensive narration of the history of wallpaper dating back to wallpapers before the nineteenth century and also refers to British wallpaper design. A similar book in terms historical background information which was also studied, Wallpaper in America From The Seventeenth Century to World War 1 by Catherine Lynn(1980) concentrates more on the styles of wallpaper and refers to British and French influences on American Wallpaper design. Chapter three Eighteenth-Century English wallpaper styles devotes 36 pages of typical wallpaper styles, motifs and patterns from this century including an in depth section on floral patterns. Whether printed in distemper or varnish colours, or whether flocked, floral motifs derived from textile prototypes form the largest category of repeating pa tterns in this relatively large group of wallpapers known to have been used. (Catherine Lynn 1980 p52) this chapter will be more relevant to later sections of this paper due to the specific information on the interpretation of the floral motif and also the detailed annotations of the provided images which clearly demonstrate the style as well as the predominant characteristics of wallpaper from the 18th century. The Floral home Introduction by Leslie Geddes-Brown (1992) is a very good informative source referring to the history of the floral motif which was a more difficult subject to track down using internet sources. More up to date sources which were looked at closely include Lesley Jacksons Twentieth Century Pattern Design and Off The Wall by Lena Lencek and Gideon Bosker which both examine pattern as a quintessential part of the 20th Century design history. Both authors provide a brief, informative history of wall coverings since the 15th century and suggest that wallpaper often reflects the cultural climate of the era of which it was produced. Timothy Brittain-Catlins A Papered History states that wallpaper was for, who chooses it, who pays for it, who it applies to and who appreciates it are all questions that have had different answers at different times. (A Papered History p7) The three books mentioned above will be very useful in terms of putting into context how wallpaper designers, historic and contemporary, are influenced by their social surroundings which in result affect the aesthetic qualities of their designs. The most valuable source however has been the wallpaper history website which lists and allows access to online articles which provide a very detailed insight to the history of wallpaper. The most relevant articles relating to this chapter have been by Alan Benjamin (2009) and Babara Krasner Khait (2001) where both texts are designed as an aid in comprehending the many facets of todays products. Benjamin in particular refers to evidence of wall coverings which dates back to thousands of years B.C, with the use of cave drawings and although this does not resemble wallpaper as we know it today it does signify mans earliest desire to decorate ones surroundings. The history of wallpaper chapter in his article provides a very specific and technical overview referring to the development of wallpaper and how it was used functionally as well as aesthetic purposes in the 16th century to keep out the cold and damp. Both articles are very well written, being short yet adequate and objective his torical accounts which are essential for this paper. Where did the concept of wall coverings originate from? According to archaeologists, the tradition of decorating walls dates back to several thousand years B.C in the form of cave drawings and still to this day it is uncertain as why ancient ancestors chose to decorate their surroundings. The two major theories concerning the reasons behind these graphics are explained as wish fulfilment and aesthetics of art. Although this does not resemble wallpaper as known today, it does signify mans earliest desire to decorate his surroundings. (Benjamin 2009) The ancient Egyptian and Roman civilization are also noted in history to have painted their living environment in a highly individual manner expressing two dimensional portrayals of visible and invisible worlds Earth and the domain of the Gods. (Benjamin 2009) Wallpaper actually begun in ancient China, first because the Chinese invented paper, and secondly because they glued rice paper onto their walls as early as 200 B.C What is the function of wallpaper? The use of wallpaper initially began as a cheap substitute for tapestry and panelling. Some historians believe that the use of wallpaper dates back to the 1400s. (Krasner-Khait 2001) The first wallpapers in England were individual sheets, decorated with geometrical woodcut patterns and printed in black ink on pale paper by a hand operated press. These papers could have been used for anything from covering up an unfortunate space, concealing uneven plasterwork or as an innovative alternative to hanging pictures on the wall. (Brittain-Catlin p7) Homes were built of stone during this period so the main function and practicality of these hangings was used to keep out the cold and damp. Wallpaper was soon to become the poor mans tapestry, an imitation of the expensive textiles used in royal households. Elizabethan England saw a higher demand for wallpaper as its popularity increased. The elite of society were accustomed to hanging large tapestries on the walls of their homes, a tradition from the middle ages. (Wikipedia, the free encyclopaedia) These tapestries added colour as well as providing an insulating layer between the stone walls and the room, thus retaining heat in the room. However, tapestries were very expensive and therefore only the very rich could afford them. For the not so rich members of the elite, they turned to wallpaper to brighten up their rooms as they were unable to but tapestries due to price or wars preventing international trade. Throughout Europe, a fascination began with these papers that offered protection against dampness and improved ability to handle fireplace smoke. In the twentieth century, when mass production, innovated materials, and printing techniques cross pollinated with an unprecedented fluidity of traditions and designs, wallpaper leapt from its privileged position as a covering for the elite to become the truly democratized and democratizing purveyor of domestic elegance refinement and in some cases, downright kitsch. (Lencek and Bosker, 2004, p9) When were flowers first used as a form of decoration? It is extraordinary how floral art crops up in every century and civilization. There is evidence of a detailed wall painting from ancient Egypt that depicts geese grazing from grasses and tiny red flowers which dates back from 2550B.C. Indeed if a tribe or nation does not respect and recreate the beauties of nature, it has little claim to be called civilized. (Geddes-Brown 1992 p8) The flower was used as a symbol and sometimes reflected religious beliefs. The Iris and Lily were both symbols of royalty and the Virgin Mary and were popular subjects of renaissance painters. It is a mistake to identify floral art and decoration only with the chintzy, the countrified and the cosy though all these styles have tremendous charm. Flowers can be architectural (the Greeks used palm and acanthus leaves for their capital), political (roses and thistles were secret Jacobite signs) and perhaps even sinister (the blood thirsty cultivated dahlias and zinnias). (Geddes-Brown 1991 p8) SUMMARY!!!! 3 Victorian wallpapers Introduction Being noted as important era in the history of wallpaper design, a considerable amount of time was dedicated thoroughly researching Victorian wallpaper. This is an important chapter in the study of the floral motif as this period not only put British design on the map but also redesigned wallpaper all over the world and is still, to this day, popular within the interior market. As well as the typical characteristics of Victorian wallpaper, much attention will be given to the research of British designer William Morris, who not only was a one- man pattern-making phenomenon, but was also the founding father of the arts and crafts movement. The overall aims and objectives of this chapter will draw conclusions as to why this period of design was so revolutionary and why Morriss designs are still used to influence todays designers. It will put into perspective how wallpaper has developed with the ever changing society and how the subject of the floral motif has morphed from a realistic representation to a more abstract and simplistic form throughout the centuries. Literature review The Victorian era, was a grand time for wallpaper featuring over embellished designs. Floral Prints were very popular in Victorian England. Print upon print lined the interior walls of rooms, mostly in a rich and heavy colour palette. Dark red, bottle green, chocolate brown, maroon and deep glowing blue were predominant in a great profusion of pattern and ornament. The advent of mass production of wallpaper put the cabbage rose and arabesque patterns within the budget range of practicality of every home. Designers such as William Morris and his lyrical interpretations of nature, hand-printed by the wood block method, came to symbolize Art Nouveau. William Morriss first wallpaper designs started to appear in the 1860s. They came as a slightly later edition to the textile designs. Morris himself was not a big fan of wallpaper for interiors. He much preferred the idea of using hung textile work, such as tapestry or heavy fabrics framed as panels, which he saw as more traditional for interiors than the fairly recent wallpaper industry. Another reason was the difficulty in achieving a good and faithful reproduction of initial design work. Morris was a definite perfectionist and was not prepared to take on a medium if the results were to be less than perfect. William Morris maintained that beautiful surroundings improve the quality of life, and that all of the elements which play a part in the overall style of an interior, textiles and wall coverings are among the most important. Whatever you have in your room, think first of your walls, for they are that which makes your house a home William Morris (1834-1896). William Morris Floral wallpaper designs. Naturalistic flowers and fruit were characteristics of early Victorian wallpapers; initially, they were superimposed on classical architectural backgrounds but in the 1840s they were intertwined with elaborate scrolls and cartouches. By the 1850s, however, design innovators such as Owen Jones and AWN Pugin had rejected this naturalism in favour of flat, formalised patterns. John Ruskin whose theories on design had a big effect during the second half of the nineteenth century, rejected the whole repertory of Renaissance-Classical decorative motifs as prefabricated. William Morris, the guiding light of the arts and crafts movement of the 1870s and 1880s generally shared the views of Pugin, Jones and Ruskin. He believed however that flowers used in textiles and wallpaper designs should be seen to be growing naturally. Motifs from nature, though flattened and stylised, were clearly outlined and recognisable in is patterns. They retained their fundamental characteristics, yet their style was so emphasised. Morris and other Arts and Crafts artists were drawn to the natural world for their imagery. Morris himself dismissed the exotic hothouse plants so popular with the Victorians and instead drew his floral motifs from his garden and the English countryside. Marigolds, honeysuckle, jasmine and lilies were among the flowers depicted in his wallpaper designs. Morris believed that the structure of patterns was of crucial importance, as he explained à ¢Ã¢â€š ¬Ã‚ ¦if the lines of them grow strongly and grow gracefully, I think they are decidedly helped by the structure not being elaborately concealed. His designs were rigorously constructed, on either a symmetrical diamond design framework or a branch framework that created a bower effect. Willow boughs or scrolling acanthus leaves were used as a structural background in a number of Morris designs. Many of his designs also included complex, subsidiary patterns of small flower growing from meandering stems. His insistence on the highest standards of design is apparent in this quotations: à ¢Ã¢â€š ¬Ã‚ ¦ no amount of delicacy is too great in the drawing of the curves of a pattern, no amount of care in getting the leading lines right from the first. Remember that a pattern is either right or wrong. It cannot be forgiven for blundering. A failure forever recurring torments the eye. William Morris (1834-1896). (images) Wallpaper analysis Morriss first commercial wallpaper designs, as can be seen in the first two images here, Daisy and Pomegranate, were very much a case of stamped motifs on a fairly simple and plain background. Some of the motifs were actually reproduced from Morriss medieval style tapestry work, usually from incidental backgrounds or lower foregrounds where they were used to fill in spaces around the more important human figures. Both Daisy and Pomegranate were produced in the mid-1860s and reflect very much the simplicity of much of Morriss early textile work. In fact, many of the designs initially produced for textiles did end up as wallpaper patterns, with very few changes in the design, if any. By the 1870s Morris wallpaper design work had become much more accomplished, and therefore much more complex. There is very little, if any plain background to be seen, and whereas the earlier examples were largely independently stamped on to a surface, the later examples are clearly intertwined with each other, making it difficult to see any obvious motifs. The three designs shown, Larkspar, Pimpernel and Chrysanthemum were all produced in the 1870s. They clearly show the confidence in the design work and the medium, and are therefore much more fluid and free form than the earlier, more tentative work of the 1860s. It would be tempting to see some of the fluid and meandering flower stems, rich, full flowers and languid leaves, as an indication of the roots of Art Nouveau, and while there is a certain similarity in some of Morris work, it is also firmly rooted within both the British Arts Craft movement and the styles and fashions of the mid-Victorian design world. What makes Morris wallpaper design work stand out from others of the same era is the intensity of the compositions. There is a real observational passion for the natural world that is missing from so much of Victorian floral derived work. To Morris, these designs could not just be interpreted as pretty, or attractive, they were much more. They were indeed part of his lifes work and passion. They were a record of the British traditional rural landscape, one of nature and human in a harmonic symbiosis. The intertwining of much of his floral work could be interpreted as a framework in which we are all a part, which is one of the reasons that Morris disliked geometry as a design tool, as he interpreted it as a man-made system for trying to quantify the natural world, rather than allowing the natural world to quantify itself. The Acanthus wallpaper The Acanthus has been widely used since early times. A plant with boldly indented and scrolled leaves; it was a common element in Greek and Roman architectural ornament as noted in chapter 1 and a widely used Renaissance Motif. It has appeared in textiles over and over again, from Italian velvets to Arts and Crafts prints. William Morris said of it, No form of ornament has gone so far or lasted so long as this; it has been infinitely varied, used by almost all following styles in one shape or another, and performed many other office besides its original one. Large lead verdure tapestries, employing foliage in soft greens, tans and browns on a dark blue background were manufactures in France and Flanders in the Sixteenth century and greatly influenced William Morris designs for wallpaper. Many designs of the 1890s including a number of William Morris prints incorporated the large swirling patterns of Acanthus scrolls or other classical floral motifs from the sixteenth and seventeenth century. (type up literature review) British Wallpaper in the 1970s The Revival of Art Nouveau in the 1970s Over half a century after the initial movement of Art Nouveau, it re-emerged for a second time in the 1970s. This however was not the only art movement that was rediscovered and re-energised in 1970s wallpaper design. The Art Deco movement was of particular interest which influenced two dimensional surface design, but also aesthetic qualities from a number of Victorian art styles were reincorporated including the works of William Morris and the Arts and Crafts movement. What where the reasons for the re-emergence of the Art Nouveau movement? However, the generation that came after the Modernist outlook the 1950s and 1960s, started to trawl through the ephemera that had been left behind by nearly a century of Victorianism. A new generation of textile and wallpaper designer, who had little if any of the prejudice against nineteenth century design that was shown by previous generations, were keen to examine the design work and if possible produce work that was inspired by the original, but with a contemporary twist. There was a wide range of work produced in this neo-Art Nouveau style. Some was close to the original idea of using florals and incorporating the sinuous line that was present in the original style. Interestingly however, although this seemed like a kick against the ideas of modernist design, many of the ideas and philosophies of twentieth century design were incorporated into these new Art Nouveau inspired patterns. Many of the colour schemes for example, were heightened and changed altogether to fit in with interior schemes that were based on an entirely different set of parameters than the turn of the century originals. There was also less of an emphasis on the portrayal of floral design and much more on a vaguer, even abstract quality to the design work, which placed the emphasis firmly on pattern and shape, rather than any form of representational design. Much of the design work reproduced here (refer to images) is interesting as, although it does represent a re-emergence of interest in past styles, it does not descend into pastiche or plagiarism of the original decorative style. This is not the Laura Ashley style of design, which was more or less a slavishly faithful copy of the period; it is more an interpretation of a design style as seen over the gulf of the twentieth century. Designers saw no point in reproducing faithful copies of the Art Nouveau style, as reproductions were already available. However, they also saw no point in producing new work that copied the style exactly as no one could pretend, as Laura Ashley did, that seventy years of the twentieth century had not happened. These Art Nouveau revival wallpapers give a fascinating opportunity to picture two points in the history of design, the gap between them and how that gap affected the process of design and interpretation. Wallpaper design was still popular in the 1970s, though beginning to lose out to painted walls. However, it was still a mainstay in many homes and would continue to be so for the rest of the decade. This popularity meant that the choice and range of design work available was fairly large compared to todays choices. Geometrically derived patterns, as the ones shown here, were still popular throughout the decade, as were all forms of floral, from the traditional realistically looking flower patterns, to popular graphic interpretations. All of the patterns shown here are of wallpaper designs from around the 1970s. They all take the flower as their source of inspiration and its subsequent decorative effect. All are basically flat pattern designs, some more abstract than others, but all still using the flower as a standard motif. Wallpaper Analysis Taking a flower down to its basic components, you are left with four petals and a circular centre. There are of course endless variations on this theme, with the petals multiplying or decreasing, though four tends to be the lower limit. The centres can also range from a fairly complex pattern with a number of different centres, to a very simple but effective circle. Some of the flower motifs in these examples have become little more than geometric shapes with the flower becoming so abstract that it is barely recognisable as such. However, that does mean that the design is not a floral, no matter how far removed it has become from the original inspiration, it could still justifiably be classed as a floral decoration pattern. Often, by including more than one type of flower motif, the pattern can take on a more complex appearance. In this way patterns can then sit within patterns, so while the petals and centre of the flower can produce a decorative effect within its own right, a self contained pattern, these can then be used as multiples, creating another pattern. If a different flower motif is then introduced, that flower has a decorative effect of its own and if juxtaposed with the original flower motif, they contrast with each other, thus creating yet another pattern effect. This can go on so that a number of more complex layers are added, though care should be taken not to overload the design, which can become confusing the more elements that are added. This can be a particular problem with wallpaper design whereby a pattern effect has to be able to be interpreted easily from a distance, but must also be effective when seen close up. Another interesting effect that can be used is when flower motifs overlap each other, creating an opportunity to produce yet another flower motif, and by changing the colour tone slightly, this new flower design will appear as if still connected to the overlapping decorative flower motifs, while retaining some independence from them at the same time. Colour and tone is an important element, particularly within flat pattern where it is sometimes difficult to give the design elements that make up the pattern enough differentiation for it to have any effect, particularly from a distance. By using similar colours or one colour with different tones, it becomes much easier to see separate elements of the pattern while still maintaining a balanced piece that appears to be both harmonious and effective. The art world has introduced countless ideas and methods that have been reinterpreted by both textile and wallpaper designers. Abstraction and colour and paint techniques in all their modernist facets, have been used repeatedly and constantly by designers who were keen to add to the repertoire of the industry. Large bold patterns, still with the flower as its centre of inspiration, have been part of the wallpaper industry for a long time. By interpreting and often reinterpreting for the medium concerned, effective large repeat patterns have been produced that seem to have little to do with a mass production industry, but are still mass produced nonetheless. These patterns often appear to be less constructed and less precise, often giving the illusion of spontaneity and creativity, the hallmarks or at least the common interpretation of much of the twentieth centurys fine art output. This is by no means a comprehensive interpretation of flat design. It only gives a few ideas as to the complex nature of this style of design and the number of variations that are easily achievable. In Conclusion flat design appears to be much more creative and inspiring than traditional floral realism for example, with endless opportunities to both simplify and complicate the same pattern motif. (Images of 1970s wallpaper) Methodology Introduction When embarking on a topic of research, all of the possible methodological factors must be taken into account as sources of information are of great importance. Decisions ave o be made into which method of data collection to use to achieve the greatest information specific to the question at hand. In order to try and find out as much information about the topic and area being disgussed, a variety of acedemic sources were needed, such as books, journals and the internet. These academic sources wer all accesed in a selection of different places. Despite a wide variety of ways to find all of this information, the information did not come without its problems. Finding the information There are many ways of findng the information that is needed. Most of the information in relation to this study was found in the university library in the textiles department. This was done by searching for and looking through relevant literature in the books that were available in the library. Finding books for relevant information was one of the first things that had to be done in order in order to find background inforation on the topic, such as what work had already been done in the area. Books were also then found in order to find informaton in relation to the question being asked through the use of search engines, which produces a list of books/journals with relevance to keys words, authors etc. The internet was also used as a method of secondary resourcing. This was used to find websites such as the Wallpaper History website which provides links of online aricles referring to the history of wallpaper and the innovations of wallpaper design. The internet also allowed journals to be found online, this allowed access to more up to date literature which was not provided by the available books in the library. Journals are also quick and easy to find, simply using the search engine tool online, a large number of journals become available to read. These journals were used in the same way as books, to find background knowledge and to help find information towards the question. The books and journals especially, helped to find vital information on the topics of the innovations of wallpaper design and how designers have put their own stamp on the very popular floral motif which has developed with te ever changing society. This is all acedemic wock which was needed in order to answer the question as thoroughly as possible. Interviews Interviews give a ricj insight to peoples biographies, experience, opinions, values, aspirations, attitudes and feelings. Interviews were taken place in The Temple Newsome Museum which is celebrated for its wonderful collections of fine and decorative arts, especially paintings, furniture, silver, ceramics, textiles and most importantly wallpapers. James Lomax the exhibition curator who specialises in the 17th 18th and 9th century was interviewd. This was to obtain an insight of a professionals view on the matter. Using interviews as methods of colecting data proved to be a reliable source of researc. This is because of the specific questions are asked with a reliable reply relating to the subject matter. Data can be obtained easily and resourcefully using certain questions. Interviews can be delivered in a structured or unstructures form. Consideration was given to the type of interview that was carried out to gain the best results. There are both advantages to consider when chossing the most appropirate one. Structured interviews are seen as having set questions. These questions are asked and recorded on a standardised schedule. The question cannot be modified during or after the interview. In contrast an unstrctured interview is less formal, where the interviewer has a greater flexibility and freedom. It was thougt that an interview towards the less structured theory would be more effective as the researcher did not want to domain the interview. Planning was essential for the process. Limitations Limitations include trying to find books that were relevant and that were also up to date. As a way of traking this because the university library only had a limited amount of books available on the floral motif, inter library loans were used, this is when books can be loaned form other university libraries. This however can be very time consuming because people may already have the books out and even if they havent it can take a few days before the ooks arrive to be collected. Another disadvantage of using the library which proved to be a problem in the stages of research was the opportunity for others to put a reserve on books which were already loaned out. This not only adds pressure to the researcher but limts the time available to read through the books and to thoroughly digest and understand the information provided.

Individual Assignment Essay

1. Introduction Nowadays, as experts are studying further and further about personality, the importance of it in the society and workplaces is highly aware by everyone. The more we know about personalities, the better we can understand why people do the things they do, and how to communicate with them. Knowing about our own personalities, we can improve our styles, reduce stress and conflicts as well as develop positive attitudes in life (punctuality, flexibility, willingness to learn, friendliness†¦) Therefore, through this paper, I will examine deeply in my personalities as a particular example to further understand this matter. Moreover, with the focus on how it affects me in personal and professional development, I can find and improve myself to achieve the best success in my future. 2. Methodology The basic concept of my assignment is the Big Five Personality Model. â€Å"Five basic dimensions underlie all other and encompass most of the variation in human personality† are: * Extraversion: one’s comfort level with relationships. Extraverts get their energy from interacting with others, while introverts get their energy from within themselves. Extraversion includes the traits of energetic, talkative, and assertive while introversion personalities are usually quiet, reserved and shy. * Agreeableness: the extent to which a person is good-natured, helpful, trusting, and cooperative. Traits include being kind, affectionate, cheerful and warm. * Conscientiousness: responsibilities and reliabilities. Conscientious people have self-discipline, well-organized, careful and responsible. * Openness to experiences: creative minds and willingness to learn. People with high level of openness tend to be imaginative, curious, independent and somehow artistic. * Emotional Stability: ability to deal with stress and other tense situations. A person who is very stable emotionally would remain calm in many situations and would feel secure. Bases on this theory, with the help of an online website, I’ve got the result about my personalities according to Big Five Model. With this result, I will be able to evaluate and improve my career as well as my positive personalities. 3. Analysis results: Results: http://img841.imageshack.us/img841/9448/yourbigfiveresults.png In my opinion, this result is matched 80% with my real personalities. In real life, I can be comfortable with people that I already knew before, especially classmates, parents, siblings†¦ I can do silly things, say lots of random things, and joke freely. However, with strangers, I usually keep a secured distance, be formal and respective as much as possible. Sometimes, in disadvantaged circumstances, I might be shy and stay quiet all the time being with strangers as I don’t want strangers to know too much about myself. That’s why my result in Extroversion is a little above average score (59/100 respectively). Consequently, this will help me find balance in group working, be opened and be quiet when needed. My job performance will be improved along with my social skills. Moreover, in competitive situations, especially facing with rivals, I can keep them from knowing about my strength and weakness; or pretend like I am not a dangerous rival for them. Next, refer to Openness to Experience trait, because I really like original, conventional and unchangeable things so the low score (20/100) is reasonable. I don’t have a variety of interests but only a few one and do it thoroughly with my passion. However, sometimes the closeness in my mind prevents me from create new ideas and stay creative while brainstorming. But it’s true that I am a down-to-earth person as I really hate unclear, misleading, dishonest things/people. I know this attitude sometimes has a bad effect on my career and my personal life since I am not willing to learn new things so my training performance will not be as good as I expect. If I am a leader, I might ignore helpful creative ideas from my teammates. My honest and straight personality also bring me hard times dealing with others although it’s a really worthy trait. However, I believe that the original is always the best basement for my every innovation. It helps me balance a group that contains many open-minded people and keep conventional values of life. This conventional and honest personality might be one of the important reasons leads to my disagreeableness (22/100 of agreeableness). Because I am a little stubborn and hard to be persuaded, sometimes I find the dishonest people, the unclear things or the too-reliable-on-others person really uncomfortable and annoy me. Normally, I am quite kind and lovable; but whenever I am concentrating in doing something, I can easily be irritated by people who try to distract me. My perfection attitude also get me into quarrels as I always find the mistakes in others’ performances and try to fix it for them. Nevertheless, as my friends and teammates stated, the perfectionist inside me really helps them a lot when they complete their tasks. I am easy to be angry and annoyed but it’s always reasonable and related to work issues or problems of the equity. So I think this is not a disadvantage but an advantage for my career and personal life. Besides that, my flexibility in Emotional Stability helps me a lot in dealing with these two weaknesses. Despite easily being irritated by others, I can hold it in and balance my emotions really well. I made decision for tense situations really slowly and calmly. I don’t take it as a pressure or stress but only a problem like other problems everyone needs to face in life. One important reason for the low score is I am truly an optimist, seeing things with believe, happiness and hope. It’s not that I paint my life with pink, but my rational thinking always leads me to better things, not worsen the situations. As a result, my stress level will be reduced a lot, prevent me from being overload with tasks, problems, personal matters†¦ Because I know how to show my expressions and emotions at the right time, to the right person, my social relationships are really good, bring me benefits in both personal and professional life. I can tell that I have only one close best friend; but I have a lot of good friends who are ready to help me anytime I need, thanks to my emotional stability. The last trait is conscientiousness with high score at 83/100. This indicates that I am a well-organized, disciplined and reliable person. I really hate disorganized things and people. I always try to arrange my stuff into a fixed positions and I hate when someone try to change it or make it messy. I usually make plans; review its process regularly and try to finish as perfect as possible. If I am assigned a task, I will try to do it thoroughly and not let anyone complain about my performance, or at least reach the bearable stage. This is applied with not only my personal events but also my working tasks and problems, especially tasks I have a lot of interests in like handicrafts, writing for magazines, reviewing things. In my point of view, this is the most important trait among five traits. My great efforts and responsibilities will bring me more and more knowledge, then contribute to higher level of my job performance, as well as help me organize my life effectively. Not only those but people also trust me and respect me for my enthusiasm, concentration and reliability. Therefore, if I am a leader, I can easily affect and lead my teammates follow my decisions or instructions; also my position, status in the group will be firm and long lasted. 4. Conclusion & Lessons learned To summarize, my personalities according to Big Five are quite correct and bearable. The five traits, no matter how high or low, have certain effects on our personal and professional development. It also indicates that everyone has their own personalities and no one is similar to another one. Although this is only a test and might not say everything about oneself, but based on those personalities, we can find the best solutions for our problems, the best way to live and the best career to take. Knowing about personalities, we can try to improve the good side and reduce or fix the bad side of our attitude to improve our living standard, job performance and satisfaction. Moreover, when dealing with relationships in society, we can have a wider view of one person, especially when being a leader joining in group works or assigning suitable tasks.

Luxury Brands Essay

Luxury Brands: What Are They Doing About Social Responsibility? David S. Waller, Marketing Discipline Group, University of Technology Sydney Anurag G. Hingorani, Marketing Discipline Group, University of Technology Sydney Abstract Although luxury goods may be synonymous with extravagance, lavishness, and even waste, it may appear to be a contradiction that a number of companies that manufacture and sell luxury brands have also discovered the value of being socially responsible. With growing criticism of the high costs and exploitation in the manufacture of luxury goods, some companies are increasing the extent to which corporate social responsibility and sustainability issues feature in their business practices. This paper will look at the issues regarding luxury brands and social responsibility, and will focus on LVMH Moà «t Hennessy Louis Vuitton, the world‟s largest luxury goods conglomerate. Introduction Despite the recent global financial crisis and continuing economic troubles worldwide, sales of luxury brands are growing. According to the Luxury Goods Worldwide Market Study, luxury spending in 2011 rose 8% to â‚ ¬185 billion ($US274 billion) in 2011, with growth in the US, Europe and China, which was after a fall in sales in 2008 and 2009 (Holmes 2011). Brand names like Chanel, Yves St Laurent, Louis Vuitton and Tiffany & Co. have become household names and brands that some people aspire to purchase and wear. However, luxury brands have also been often criticised for being extravagant, overpriced, exploiting third world suppliers, and wasteful when many people are struggling financially. As luxury brands promote themselves to the global audience, some companies are increasing the extent to which corporate social responsibility (CSR) and sustainability issues feature in their business practices. This paper will explore the issues related to luxury brands and social responsibility, with a particular focus on LVMH Moà «t Hennessy Louis Vuitton, the world‟s largest luxury goods conglomerate which includes internationally recognised brands such as Christian Dior, TAG Heuer, Fendi, Marc Jacobs, Guerlain, Kenzo and Givenchy. A content analysis of the 2010 Annual report will reveal the CSR initiatives/activities undertaken by LVMH and some implications for CSR disclosure will be discussed. Background Since some embarrassing corporate ethical and financial disasters, many organisations are taking steps to improve their corporate governance, ethical practice and CSR activities (Agrawal and Chadha, 2005; Margolis and Walsh, 2001). There has been particular interest in CSR, in which there is a â€Å"concern for the impact of all of the corporation’s activities on the total welfare of society† (Bowman and Haire, 1976, p. 13). CSR activities and disclosure have increased with organisations identifying different types of CSR initiatives that they undertake, including those that relate to work output, HR activities, social/community commitment, and environmental initiatives (Gray, Owen and Maunders, 1987; Luo and Bhattacharya, 2006; Waller 2009; Waller and Lanis, 2009). These CSR activities can help promote a specific image that management would like to portray to its various stakeholders, and counter criticism for other issues that may affect the company. The luxury industry thrives on the creation of an image and the communication of brandassociations. This contributes to the interest in luxury brands by many consumers who might want to portray a particular image or feel a certain way by acquiring and consuming luxury goods and services. Not only consumers but also academic and industry researchers are  interested in luxury brands (Bendell and Kleanthous 2007; Fionda and Moore 2009; Kapferer and Bastien 2009; Phau and Prendergast 2000). Most consumers prefer to purchase a wellknown, reputable brand over a cheaper, unknown brand, especially when making highinvolvement purchases, or products that reflect a buyer‟s personality. Luxury provides selfexpression which reflects class, status, and quality. However, at a time when there is increasing unemployment, economic troubles around the world, and a downturn in sales, there is a concern that a luxury brand is elitist and uncaring for the wider community. In 2007, the WWF-UK measured 10 luxury brands on their environmental, social and governance (ESG) performance – and the brands did not fair well (Bendell and Kleanthous 2007). In relation to the marketing of luxury brands in a world of rich and poor, the report states: â€Å"Luxury brands are experiencing rapid expansion in societies that contain both very rich and very poor people. Such societies can view displays of conspicuous consumption as a threat to social cohesion. This is true, for example, in China, where the authorities in Beijing have banned the use of billboards to advertise luxury products and services. In this context, the credibility of luxury products and services will be derived from their ability to generate wellbeing, not only for consumers, but also for those involved in (or affected by) their production, use, reuse and disposal.† The report ranked the top 10 largest luxury goods companies on an environmental, social and governance (ESG) performance ranking. This was based on: (1) what the companies report to the community; and (2) what media and non-governmental organisations have said about the companies. The companies were given a score out of 100, and graded from A (the best) to F (the worst). Out of the 10 companies, none were graded more than a C+ with L’Oreal topping the ranking, followed by Hermà ¨s and Louis Vuitton. By being more proactive in their civic responsibilities and keeping within government regulations in their business operations, an organisation can build a reputation as a good corporate citizen. Some CSR activities that luxury brands can undertake include eco-friendly ingredient sourcing, fair pricing, eco-manufacture, and efficient non-wasteful distribution, as well as corporate sponsorship. This study will examine the CSR activities run by LVMH Moà «t Hennessy Louis Vuitton, the world‟s largest luxury goods conglomerate, via a content analysis of the LVMH 2010 Annual Report. The main company information about LVMH is found in Table 1. Table 1: LVMH Moà «t Hennessy Louis Vuitton Company Information Luxury goods, retail Industry Founded Headquarters Products Brands 1987 Paris, France Clothing, cosmetics, fashion accessories, jewellery, perfumes, spirits, watches and wines Includes: Moà «t et Chandon, Hennessy, Glenmorangie, Fendi, Donna Karan, Givenchy, Kenzo, Louis Vuitton, Marc Jacobs, Parfums Christian Dior, Guerlain, Bulgari, TAG Heuer, Zenith, Hublot, DFS, Le Bon Marchà © â‚ ¬20.32 billion â‚ ¬3.032 billion 83,540 Methodology Organisations can communicate their CSR information through a variety of sources such as advertising, annual reports, public relations and their websites. In this study, the annual report was analysed as this is the only document produced regularly to comply with regulatory requirements and is central to the organisation‟s own image (Gray, Kouhy and Lavers 1995). After finding the LVMH 2010 annual report online from the company website (www.lvmh.com), a search was made for a social responsibility section in the report.

History before the Revolutionary Era essays

History before the Revolutionary Era essays John Locke, the philosopher, stated that all individuals have the right to Life, Liberty, and the pursuit of Property. Thomas Jefferson, former President, suggested that Happiness should replace Property in Lockes statement. Most of Americans depend on property to achieve happiness. For instance, before the American Revolution, slavery was used as a form of property, congregations did not have the freedom to explore other churches or religions, and the government set regulations that were not in the best interest of the public. The conflict between self-interest and public interest is a key reason to why the American Revolution began. Although, those that were more concerned with what was in the best interest of the public, the Republicans, won the American Revolution, conflict still arose from undergoing Republican ideology or the change for the better. The American Revolution attempted to escape political chaos due to the Loyalist Exodus, which ended support for the restoration of monarchy or kingdom. In May 1776, Congress passed a resolution calling for the authority to be totally suppressed and all the powers of government exerted under the authority of the people. Republican institutions did absorb the energy and intellect of an entire generation. However, Congress decision of, Who should rule at home?, or who would control the new representative institutions of government, led a generation of rival camps between the state and the central government. During the 1790s Alexander Hamiltons, secretary of the Treasury under George Washington, system of public finance and the ideas of the French Revolution also divided Americans into warring camps which led to organized political parties. The national government had reduced the rights of organized political parties and had almost gone to war with France until the election of Thomas Jeffe...

The eNotes Blog Sincerely, Will Has a Seventh Shakespeare Signature BeenFound

Sincerely, Will Has a Seventh Shakespeare Signature BeenFound This week, the Folger Shakespeare Library announced that it may have located an authentic signature by William Shakespeare in their collection.   You might wonder how such a thing might have gone overlooked for so long.until you know that the Folger houses some 256,000 volumes of Renaissance works. There are millions of pages in these thousands of books, and in one of them is the faint but legible signature of Wm Shakespeare. If the signature is proven genuine, it will be priceless. Only six verified signatures are known to exist. This, therefore, would be the seventh. The Folgers excitement at the find might best be described as cautiously optimistic. There have been many signatures in the past that have been declared frauds.   Fortunately, technological advances are making determining the authenticity of the signature easier. A group known as the Lazarus Project is using an advanced technique called multispectral imaging. The researchers take very high-resolution photographs of old text, art or objects using twelve different wavelengths of light, ranging from ultraviolet to infrared, beyond the boundaries of the human eye. Next, they use software to combine these images into the clearest possible picture of the text. Multispectral imaging can reconstruct writing that has suffered all kinds of damage, from erasure to water damage. Shakespeare scholars are eagerly awaiting word from the Lazarus Project, particularly due to the type of book in which the signature appears. Archaionomia is a collection of Elizabethan laws. If this volume did indeed belong to the playwright, it may mean that he knew more about law than was previously understood and this knowledge may have informed many of his plays. One of the interesting questions for Shakespeare scholars is what Shakespeare read, says George Heyworth, a professor of English at the University of Mississippi.   If we know what he read, then we know what he was thinking when he wrote his plays.

Critical Thinking Questions Essay Example | Topics and Well Written Essays - 750 words

Critical Thinking Questions - Essay Example The use of this method will provide different ways of making sense of ideas, developing product, attaining content, and processing information so as to promote effective learning. Question a (ii) The six-column framework highlights the basics of an individual. Everyone must employ these questions to be complete. In addition, scopes of the framework classification technique, the abstractions, and perspectives are complete and can categorize any concept or knowledge. An individual can utilize the what, who, how, where, why, and when questions to classify students. This is because the differentiated instruction understands every student is unique. This framework will assist the teacher to instruct according to student’s learning style and needs. The framework will also determine the students’ skills, level of knowledge, and comprehension in a unit of study. Question a (iii) The leader may employ the framework to assess the readiness and growth level of students. This will help improve instruction. The leader may use the framework to retrieve information on different aspects, for example; the leader may ask the instructor â€Å"how can below average students improve?† or â€Å"how are the students coping with the new teaching techniques?† The different responses will guide the leader on areas that need Improvement or change. The leader may also employ the framework to ensure students are responsible and active. This framework will make both the instructors and students fill challenged whenever they are engaged in an activity, in class (Caine & Caine, 1994). This will help improve instruction or change instruction. Question b (i) Concept formation is an inductive educating technique that assist learners establish an apparent understanding of an idea or concept by examining a small number of examples of a concept. Concepts may be presumed to be fittings in the mind. A mind that is well fitted provides lifelong learning, joy, career satisfa ction, citizenship, and academic satisfaction. When the teachers create a concept from its example, they know more exists to a practice or concept. For example, if they see a student is underperforming in class, they know there is more to it than lack of understanding or grasping of ideas (Tomlinson, 1999). Step 1 allows the teachers examine their preferred or presumed comfortable learning environment. Step 2 permits the teacher compare their findings on suitable learning environment and enable them device the most suitable environment. Step 3 enables the teachers categorize the learning environment in terms of the most suitable. Question b (ii) The steps will act as a pre-assessment to the extent to which the teachers have established their concepts. This is because the proof is not in the decisions they have reached, but the reasons they will provide. In addition, each step provides the leader a chance to understand the backgrounds, interests, weaknesses, strengths, and the dissim ilarities between the teachers in several areas. The pre-assessment will also allow the teachers become extra purposeful in conducting class activities. Question c (i) The factors include cooperative learning groups, ability grouping of learners, class size, and the instructor. Cooperative groups have learners with strong class cohesion, positive perception, adequate degree of social support, and high scores of achievement. The ability grouping

FRESHFRUIT INC. CASE Study Example | Topics and Well Written Essays - 750 words

FRESHFRUIT INC. - Case Study Example r to achieve the setout objective include increasing or reducing promotion expenditure, reduction of the selling price, increasing advertising expenditure and increasing the selling price. Each of the various marketing tools has a direct effect on the gross profit earned in 2013 and market share that will be attained in 2013. Consequently, the management has to undertake a combination of two marketing tools among the various marketing tools level to achieve the 2013 objectives optimally. Owing to the gross profit levels the various marketing tools are able to generate for the organization, the management should consider focusing on undertaking a marketing combination that is capable of attaining the 39% gross profit level of sales revenue and market share of at least 14.2% or closer to that range. This is because any combination of the marketing tool will not be able to achieve a gross profit worth $1,200,000 and market share worth 15% through average computation. Owing to the diverse effect of each level of the various marketing tools available for the management of Fresh-Fruit Incorporation in achieving the setout goals, the optimal combination that should be considered is increase promotion expenditure by 10% and increase in selling price by 3%. This is because the combination of the two selected marketing tools has high potential of enabling the organization to attain results that are close to the operation objectives in 2013 financial year (Quiry & Vernimmen, 2011). An increase in promotion expenditure by 10% according to the simulation developed by the management of the corporation indicates that the firm will be able attain a market share of 14.47% and gross profit increment up to 35.22%. Similarly, an increase in selling price will see the gross profit percentage rising to 37.6% and market share of 14.81%. If the two marketing strategies are combined, they will achieve the highest positioning towards attaining the 2013 financial year compared to other