1928 Election Essays - Politics Of The United States,

1928 Election AP American History October 21, 1997 The year of 1828 was a tumultuous year in American politics. It so happened that it was a presidential election year. The election of 1828 was different from any other presidential election up to that point. The election not only set a precedent, but was also one of the bitterest in American history. Out of all the elections up to that point, it had all the makings of a present-day campaign. The two modern aspects evident in the campaign were horrific mudslinging and the choice of presidential electors by a popular vote. The two men running for the office of president that year were the incumbent, John Adams, and the once-defeated Andrew Jackson. John Adams ran as a National Republican, later to be known as the Whigs. Adams had the support of the respectable Secretary of State, Henry Clay, but he did not have the support of his own Vice-President, John C. Calhoun. Calhoun was very powerful in the politics of that time period. He threw his support in favor Jackson because he could tell that Adams and the Republicans wanted Henry Clay to succeed Adams in the election of 1832. William H. Crawford, presidential hopeful in 1824, also gave his support to Jackson. However, the most important man to lend his backing to Jackson was Martin Van Buren, because he could tell that Jackson was going places. Jackson was running as a Democratic Republican. Because the Democrats are widely known to be the party of the common man, Jackson could use the theory of us against them. The Democrats also gained the support of the newly formed Workingman's Party. When Adams had beaten Jackson for president four years before, the Jacksonians protested that there was a corrupt bargain between Clay and Adams. This came about because once the vote went to the House of Representatives, Clay, a candidate, threw his support in favor of Adams. Once in office, Adams made Clay Secretary of State. Throughout Adams' administration and the campaign, the Jacksonians made the phrase corrupt bargain a rallying cry for their supporters. Adams though made enemies of his allies by refusing to remove competent civil servants from their jobs in favor of his political friends. Adams' views were already known so he had to run on those. Jackson however was for anything against Adams that made Adams look bad. Everything else he was safely shrewd in defining his position on the current issues of the time. He would just put himself in the middle if he didn't have an opinion or he didn't want to upset his supporters. So, in fact, he ran without a program. While he campa igned in the South, his friends in Washington, led by Van Buren, were winning the election for him. They concocted a tariff bill aimed at attracting electoral votes in both the Northeast and Northwest by hiking the protective rates on items favored in those areas. It was called the Tariff of Abominations, especially in the South. This raised dislike for the Adams Administration. That year was also the first year in which presidential electors were chosen by popular vote instead of congressional caucuses. This made the election even more democratic, which is what the Democrats, as they had come to be known, wanted. The Democrats, after all, were on raising the idea of democracy versus aristocracy. This campaign was not only one of the most savage elections up to that time, it is one of the nastiest in our country's history. Both candidates used the newspapers to do a significant part of their mudslinging. One newspaper editor that Jackson used was Amos Kendall of Kentucky. Kendall was the editor of the Argus of Western America. All of his editors though did an expert job of making his political head-hunting look like a crusade to clean Washington of corruption and privilege. One of Adams' editors was Charles Hammond of Cincinnati. He was the editor of the Cincinnati Gazette. Hammond turned Jackson's marriage into a contemptible type of propaganda. But the even more effective propaganda was the Coffin Handbill, which made Jackson out to be a murderer and a ruffian because he had executed six Tennessee militiamen for mutinying during

How to Deal With Stress at Work

How to Deal With Stress at Work Work stress is the great equalizer. High salary, low salary, doesn’t matter. The reasons might vary (deadlines, awful boss, workload), but everyone faces stress at some point in his or her career. There’s even a commonality in the source of these stresses: something is off balance. Too much to do, not enough time. Too many demands, not enough space to fulfill them to others’ expectations. Managing the stresses before they turn into performance issues or a huffy resignation letter is key- but how do you do that? Here are some common work stresses:Looming deadlinesToo much to do at onceOffice politicsWork/life balanceJob uncertaintyInsecurity/lack of confidenceFor all of these, it would be great to say that doing more yoga, or incentivizing yourself with personal rewards would solve the problem. However, while those are really excellent coping mechanisms for stress in general, they may not do much to address the underlying problems at work.Instead, take the time to confront the stresses head-on with a series of questions:What is causing this?Identify what’s behind the stress, and be realistic. It may be that you’re mad at your coworker for dropping the ball and leaving you with work, but is he or she really the source of your stress? Or is it that you have too many priorities to begin with, and the dropped ball was just one ball too many?What would my ideal situation be?While envisioning yourself on a beach with beverage of choice in your hand is nice, it’s not really the type of vision that would help here. This means taking a realistic assessment of what would make you less stressed and more fulfilled in your job. Would it be fewer meetings? More time built into your schedule for specific projects? A juggling of priorities with your manager so that you have the space to achieve your best results?Can I take steps to make this closer my ideal situation?Even seemingly un-budgeable stress factors, like hard deadlines or bos ses/colleagues who are just impossible to work with, can have some flexibility. It may be too late to change things for this round of deadline stress, but it’s not too late to come up with a plan for the next round. Maybe you’d like to have more advance notice on something, or maybe your boss would be open to restructuring your workload in the future so that there’s not such a crunch. If the stress is personality-based conflict with colleagues, maybe you can sit down with them to figure out the best way for you to mesh your styles on projects in the future. (Of course, this hinges on your ability to say, â€Å"I’d like to talk about how we can effectively work together on projects like this† instead of â€Å"dude, you’re driving me crazy.†)If not, what do I want to do to prevent this from being my normal?This is the â€Å"deep in your bones† check. If the disconnect between the ideal and the reality is just too big, or if makin g small changes won’t make your job any more fulfilling, it could be time to start looking around for a different job. The stress could be compounded by trying to push through inconvenient gut feelings. Having an exit strategy doesn’t mean you aren’t tough, or can’t hack it at your current job†¦think of it as an insurance policy for your sanity.

Security Issues Related to the Expansion of the City Airport Research Paper

Security Issues Related to the Expansion of the City Airport - Research Paper Example Security issues related to the expansion of the city airport In post 9/11 world the security and protection are increasingly challenging tasks. Managers and business leaders have an important role, especially the security managers. The city airport is a busy airport operating close to its capacity. The expansion project includes the construction of a new runway and terminal. This is not an unusual situation, many other airports around the world. In this paper is presented the lessons learned with Chicago and Minneapolis airport expansion The implications related to an airport expansion are several. They are related to political issues, construction and environmental and demanding during the operation ( Neufville, 2008). From a Security Manager perspective produce a report about this project. This report will respond to the following questions: What are the full range of risks faced? What should the security strategy be? What additional security products and services might be needed? What special organisational structures might need to be created? What can be learnt from comparable projects that have occurred? What links might be developed with the public policing agencies, media and interest groups? Is there scope for security to be organised and arranged to bring financial benefits to the company? Would you advise the Board to reconsider their decision? In order to improve the efficiency in the process of decision making is important to define and measure all the benefits and risks of the airport expansion. It’s recommended a SWOT analysis. Risks Faced The airport expansion has associated major sources of uncertain and risks. â€Å"In the current climate, long-term forecasts cannot be developed with any degree of confidence. On the contrary, as has been extensively documented, forecasts of airport traffic today are ‘always wrong’.† ( Neufville, 2008). As said the expansion of the airport will the constructed on the adjacent land whic h is currently a small forest. Next to it there is a country park popular with local residents, which includes: children’s play area, lake with ducks/swans etc, football pitches. There is also a housing estate next to the park and forest with over 1500 residents. The proximity with the existing infrastructure implies some risks to the success of the project. The risks and uncertainties over the lifespan of the expansion could be divided into three major groups: - Political issues and Government policy; - Construction and environmental; - Demand during operation. Political issues and Government policy The project of the airport expansion requires government and local authority permits. These processes are intrinsically related to the decision-making process those entities. Therefore the delays in the decision-making process are a risk. When depending on the decision of those authorities the project could be affected by too many advances and drawbacks.  Ã‚  

Fashion Function & Aesthetic Essay Example | Topics and Well Written Essays - 2500 words

Fashion Function & Aesthetic - Essay Example The essay "Fashion Function & Aesthetic" talks about Innovative Materials and Digital Technologies for Fashion Applications. The idea of fashion originated from people seeking to define personality by their choice of clothes. This however changes as the advancement in technology since our way of life is directly impacted. The influence of technology in our lives, though manifest in various aspects, seems to be more distinct on fashion trends. With the arrival of digital technology came new ways of making clothes, new style of clothing and basically new inspiration for the fashion industry. An obvious observation is that fashion and technology have had a relationship dating back since times in history. Each technological evolution brings with it influence in the fashion industry and it has not been any different with the digital technology. A lot of digital influences are being experienced in the fashion industry right from inspiration, production, trend setting, down to the consumer experience. The fashion industry continues to experience transformation in fabrication, designing and promotion in ways beyond remarkable. Thanks to digital technology, sewable electronic designers are making a garment with incredible abilities and fashion promotion and branding have been all redefined through social media networks. Digital technology has been adopted by leading fashion houses in the world to promote brands and enhance the consumers' shopping experience. Certain websites have launched applications.

Engineering Materials Characterization of PM Stainless Steels Essay

Engineering Materials Characterization of PM Stainless Steels - Essay Example Also the effect of temperature and the hardness effect on the steel produced from the mixture will be described with essential research material read over the course of the experiment ad its description (German, 1990) EFFECTS OF BORON IN STEEL Boron is a very useful element when used for alloying purposes in many materials but in the experiment it will be illustrated along with researched facts as an alloying element in steel because of its effect on harden-ability enhancement. Boron is added to unalloyed or low level alloyed steels to enhance the level of hardness of the alloy. Boron steels are used as high-quality, heat-treatable construction steels, steels for carburization and forming cold steels such as steels for screws. The property change with the amount of boron added and the temperature affect will be discussed in detail in the paper (Adam, 2000) Boron also is known to activate liquid phase sintering and to reduce the sintering temperature that is needed a achieve a highly dense alloy metals (Raymond, 1994). The liquid phase arises from the existence of a low melting-point eutectic reaction that is produced by the reaction between the boron and the alloying element in the steel with the alloy is being constructed. ... These small amounts may be sufficient enough to hardened the alloy with the correct heat treatment. For understanding purpose the terms sintering or hardenability should be explained. Sintering or hardenabilty is a measure of how much martensite is formed at a given cooling rate in steel. The hardenabilty of steel is defined as the maximum diameter of a cylinder that has a microstructure that is 50% at its centre after quenching from the austinizing temperature (Reed, pp. 35). Effect of Temperature on the Mixture For the particular purpose of finding out the effect of the addition on boron in them mixture to form PM we need to go through some previous research work which has been done in this particular field. The effects will be described as well proven graphically, which will be extracted from previous researches. Generally it is thought that the PM alloy of boron will have a finer finish and a better sintering value. For pressing on the previous fact we will see the effect of boro n addition into the mixture ranging from Low levels of boron (0.1-0.15%) along with the increase in temperature. ANALYSIS As described above, pictorial reference will be used to explain the description to go along with it. The figure will be color coded and self explanatory but for the purpose of understanding, extended elaboration has been provided. The figure shows the sintered density when the amount of boron is added from being non-existent to a level of 0.15. it is clearly visible that when the concentration of boron increases the sintered density increases. The sintered density is the factor that increases the hardenablity of the steel alloy. At 0% induction of boron in the alloy the sintered density

Evolution Of The Concerto Grosso Music Essay

Evolution Of The Concerto Grosso Music Essay Describe the evolution of the concerto grosso from its origins up to the time of JS Bach and Handel. Include references to specific composers and works. The concerto grosso is an early form of concerto which is distinguishable from other types of concerto by its two groups of instrumentation, the continuo and the repieno. Concerto grosso translates roughly as great concerted performance. Late in the renaissance period composers such as Giovanni Gabrieli were using methods of contrast and opposition in their works, evident in Gabrielis polychoral canzonas, which were so effectively developed in St marks Cathedral, Venice. The use of St Marks many choir lofts brought new timbres and techniques to such composers, which would develop further in the Baroque era. As in the polychoral music of Gabreili, the concerto grosso would set a concertino small group of solo instruments against the ripieno a full string orchestra. Typically there would be a basso continuo which would be a harpsichord or an organ which would add texture to the ripieno and would support the continuo with harmonies. Ritornello form will typically be found in the faster movements of concerto grossi, the ritornello will start, played by the ripieno, the concertino will then join in stating the main theme. The ritornello and concertinos episode will then alternate with the main theme being reintroduced shortened, altered or in full. TUTTI SOLO TUTTI SOLO TUTTI RITORNELLO CONCERTINO RITORNELLO CONCERTINO RITORNELLO This pattern would happen many times and in different keys, but the main theme wouldve been likely to be repeated in full, and in the tonic key, only at the end. Although this form looks to be quite clear cut, there were many variants, composers such as Corelli, Handel and Vivaldi experimented with the form. The origins of the concerto grosso can be found around 1675, one of the first concerti grossi is by Alessandro Stradella (1642-82), but some of the more celebrated early works are the twelve concerti grossi of Corellis opus six. These works of Corelli seem to have been key in the emergence the concerto grosso. Written in 4, 5 or even six movements and alternating between fast and slow, Corelli based his musical ideas on dances of the baroque period like the allemande, the courante and the gigue. In these compositions Corelli had started to define a strong contrast between soli and tutti, which may have developed from his church sonatas. The development of the orchestra during this period had an effect on the evolving concerto grosso. The relatively new violin family had replaced that of the viols and players were becoming specialists, giving composers more flexibility when writing. Whilst there was no standardisation of the baroque orchestra, it would consist predominately of stringed instruments of the violin family which would double on parts as the colour of timbre was quite limited. The three keyboard instruments of the time, the clavichord, the organ and the harpsichord all benefited from the now commonplace tempered tuning technique. This era started to see virtuosic performers arise in musical schools, mainly in Italy. For example, in the church of San Petronio, Bologna, there was a regular group of performers who became accomplished in there fields, but when the occasion suited ensembles were increased in size by the use of more modestly talented instrumentalists. This created a different standard of difficu lty between the concertino solo passages and the fuller repieno episodes. One of the most notable figures in the Bologna School was Giuseppe Torelli (1658 1709), Torelli contributed a lot to the development of the concerto grosso. It was he who settled on a three movement, fast slow fast structure. In his opus eight concerti, he has developed a distinctive style with a very clear use of the ritornello form in his allegro movements. It is here in the time of Torelli that the markings of a typical concerto grosso start to emerge with its allegro adagio allegro structure, the strong and strict use of ritornello form and then the use of more virtuoso writing for the continuo instruments. With this three movement structure becoming almost standard it is by the works of Antonio Vivaldi that it becomes established. Vivaldi shows a development of melody and rhythm, writing in distinct form which had grown to be expected of a baroque concerto, but at the same time he enhanced the writing of solo lines in a way seen previously by Torelli and Albinoni. Vivaldi started to introduce wind instruments such as flutes, bassoons and horns to the orchestra and sometimes to the continuo, which, in turn led to a more colourful demonstration of timbre. The adagio movement became just as important to Vivaldi as the allegro movements, gaining equal importance; this is something which other composers such as Johannes Sebastian Bach took into their works. Around 1720, Johannes Sebastian Bach wrote a set of six concerti of which three were concerto grosso, numbers 2, 4 and 5. Bach was influenced by the works of Corelli, Albinoni and Vivaldi but started to create more complex texture with counterpoint and sonority. Although developing the style of writing, he largely conformed to the structure set before him. George Fredric Handel (1685 1759) differed here, whilst still writing with the newer, more complex techniques his concerti grossi were more in keeping on a structure basis with those of Corelli. In his concerti he uses more movements and relates them to the baroque dances, for example, opus six, concerto grosso no six. Within this work there is an opening larghetto e affettuoso, a fugal allegro, a pastoral in the form of a musette en rondeau and a minuet like allegro. The concerti of Handel show diversity and variety, which may be due to the fact he was more travelled than other composers of his time. It was during the period of Vivaldi, Bach and Handel that the concerto grosso was to become less popular amongst composers, the writing of virtuoso lines leant itself better to the solo concerto, although the term concerto grosso has still been used in the 20th century by composers such as Bloch and Vaughn Williams. Word Count 992 SUBMISSION 1 ASSIGNMENT TWO Assignment 2A Question 2 Discuss the variety of instrumentation in Bachs Brandenburg Concertos. Johannes Sebastian Bach used an extremely varied combination of instruments in his set of Brandenburg Concertos. For the period, late baroque, it was almost experimental, leaving no stone unturned as he searched for the sonority to compliment his distinctive counterpoint. Because the instrumentation is so varied I will describe each of the concertos separate scoring before discussing the many combinations and instruments. Brandenburg Concerto No. 1 in F major Instrumentation Concertino Two Corni da Caccia (Natural Horn), Three Oboes, Bassoon and a Violino Piccolo (Small Violin). Ripieno Two Violins, Viola, Cello and Basso Continuo (Harpsichord). Brandenburg Concerto No. 2 in F major (Concerto Grosso) Instrumentation Concertino Tromba (Trumpet), Recorder, Oboe, Violin Ripieno Two Violins, Viola, Cello and Basso Continuo (Harpsichord). Brandenburg Concerto No. 3 in G major Instrumentation Concertino Three Violins, Three Violas and Three cellos (split into three groups of equal instrumentation). Ripieno Basso Continuo (Harpsichord). Brandenburg Concerto No. 4 in G major (Concerto Grosso) Instrumentation Concertino -Violin and Two Flauti decho (Recorder). Ripieno Two Violins, Viola, Cello and Basso Continuo (Harpsichord). Brandenburg Concerto No. 5 in D major (Concerto grosso) Instrumentation Concertino Harpsichord, Violin and Flute. Ripieno Violin, Viola, Cello and Violone. Brandenburg Concerto No. 6 in B flat major Instrumentation Concertino Two Violas and a Cello. Ripieno Two Viola da Gamba (In unison), a Cello, a Violone and Basso Continuo. There are many things which strike you about Bachs instrumentation when you see it classified in this way. Firstly, for the period, it seems to be quite experimental and certainly in Concerto No. 6, the use of the Viola da Gamba, a somewhat dated instrument of the time, could suggest Bach was searching hard for exactly the texture he wanted, or that in fact Concerto No. 6 predates the other five and is not as the date on the presentation score. This concerto also displays a lack of treble instrumentation, creating a much darker timbre. Also on show is Bachs exposition of wind ensemble, Concertos No. 1 and No. 2 display wind groups as the concertino, adding a real sense of colour and texture to the works. The Harpsichord makes an appearance as the soloist in Concerto No. 5, showing a reluctance to conform to the standard practise of keeping the keyboard instrument in the continuo. Amongst the scoring of the Brandenburg concertos are some Instruments which may be unfamiliar to todays audience. In Concerto No. 1, the only brass instruments are the two Corno da Caccia. Now this is not the Horn that we know today, but would have been a small, natural, valve less horn, not to dissimilar to a hunting horn. This instrument allowed Bach to write the same virtuosity as for a trumpet, but would have given slightly less edge to the sound. The Flauti Decho of the fourth concerto stirs up a lot of debate as to exactly what instrument Bach actually meant. Malcom Boyd, in his book Bach, The Brandenburg Concertos discuss the possibility of the Flauti of the second concerto, the recorder, being the same instrument as the Flauti Decho and in fact not a different version at all. This is a matter that many academics are yet to agree on. The Violin Piccolo is scored in the first concerto amongst the concertino, this instrument, as the name would suggest, is a smaller version of the violin we know today. The violin piccolo is recorded as being pitched either a minor third, or a fourth above the concert violin, but as Malcom Boyd writes in his book It is doubtful whether one can really speak about the violin piccolo as one might about the violin or the viola. Concerto No. 6 gives us the Viola de Gamba, An older instrument, the viola de gamba is a member of the viol family, a six string instrument played with a bow and held between the legs, equivalent to todays double bass. Also required in each one of the six concertos is a violone, this would have been similar to the viola de gamba, a bass like instrument used in the basso continuo. Bachs treatment of concertino and ripieno differs somewhat to that of other concerto composers such as Vivaldi, as he treats the concertino as not just a solo group but likes to bring different instruments to the fore, and create unusual pairings of different instruments. As referred to in The Cambridge Music Guide, in concerto No. 2 the solo instruments are paired in every combination, this makes me wonder if there was also some mathematical logic behind this sort of scoring. Every soloists performs on there own and with the group, and lines are passed seamlessly around the ensemble. Throughout the Brandenburg Concertos, Bach uses the instrumentation to such effect, that there are so many colours and textures on display. However, with the ambiguity of what some of the instruments were it is impossible to recreate the colour and texture that Bach himself was looking for. Word count = 826 SUBMISSION 1 ASSIGNMENT TWO Assignment 2A Question 3 Give a detailed analysis of the first movement of Brandenburg Concerto no. 2 in F major. Include a brief background to this work. It is widely believed that much of the music that Bach wrote during his years as the Kapellmeister in Cothen has been lost, fortunately amongst the surviving works are the celebrated scores of the Brandenburg Concertos. Due to the complex contrapuntal nature of the six instrumental works, they could possibly be classed as chamber works rather than orchestral works. All six concertos are written for differing musical combinations, combinations which show a desire to create new sounds but also celebrate sounds of the period. These six concertos were dedicated in a presentation score to Christian Ludwig, The Margrave of Brandenburg, with the year 1721 as the year on the manuscript. It was whilst on a trip to Berlin during the year of 1719 that Bach met the Margrave, Bachs musicianship as a performer had interested the Margrave so much that he invited Bach to write him some compositions for his extensive library. It was two years later that Bach obliged the offer of the Margrave, sending him the scores to what are now known as The Brandenburg Concertos. This gesture by Bach is widely suggested amongst scholars of the musical world to be Bachs way of submitting his CV, in the hope of earning a job in the court of Christian Ludwig, a job which never materialised. The now labelled Brandenburg Concertos are amongst Bachs most celebrated works, performers, composers and academics regard them as some of the finest musical output of the baroque era. This idea of writing for various combinations of instruments was a new concept in Germany; Bach however had studied the published works of composers such as Antonio Vivaldi, and wrote closely to the Italian style with the use of a clear ritornello form. With the six concertos having mainly a three movement structure of quick slow quick, as per the concertos of Bachs Italian counterparts, it is the varied instrumentation that sets these works apart. Brandenburg concerto No.2 could be said to be one of the more colourful concertos of the set. Written in F major and scored for a concertino of trumpet, recorder, oboe and violin, supported in tutti sections by the typical ripieno section of strings and continuo (commonly a Harpsichord). It is the wind ensemble that delivers the richness of sound yet has the sensitivity to explore the fine counterpoint which so effortlessly flows through the parts. The set of six concertos are some of Bachs most famous works and I now aim to deliver a detailed analysis of the first movement of his Brandenburg Concerto No 2. in F major. Bachs Brandenburg concerto no 2 was written in three movements as follows: Allegro Andante Allegro assai The concerto is written in the key of F major and conforms to the style considered a Concerto Grosso. The composition uses the following instrumentation: Strings, Trumpet, Flute (originally a recorder), Oboe with strings and basso continuo (commonly a Harpsichord). The continuo is never omitted from the movement as it provides the harmonic foundation of the whole movement. This first movement of Bachs Brandenburg Concerto No 2 is written in ritornello form as is his Brandenburg concerto No 5. Example 1 below shows the opening eight bars which I consider to be the ritornello theme, in the tonic key of F major it is written for all instruments throughout the movement. Example 1 Bars 1-8. This ritornello theme is never repeated in full and can be broken down into 6 smaller motifs, shown below in Example 2, as the movement evolves these motifs are introduced at different points. Example 2 The solo subjects can also be split down into their own theme being called S1 and a countersubject called S2. These two lines are shown below in Example 3. This Solo line could be considered as a second ritornello as it is a recurring theme which can be heard to a total of eight times throughout the movement. Interestingly, this theme is only scored to be played by the concertino, unlike the main ritornello theme which passes through the solo and ripieno instruments. As we will see throughout this analysis a large percentage of the melodic material written is manufactured from the two themes that I am calling S1 and S2. Example 3 On completion of the ritornello theme the concertino violin plays a solo (S1) for 2 bars and then it returns back to the ritornello (R1) theme for the following 2 bars. This solo is accompanied by just the cello and is then joined by all the ensemble instruments to play the ritornello theme as in the opening. Bar 13 has the oboe playing a solo (S1) for 2 bars with the violin playing the solo counter subject (S2) once again accompanied by the cello. There is then a modulation for the first time into the dominant key of C Major for 2 bars of the ritornello (R1) theme. This sequence then continues until bar 23, with the flute and then the trumpet each playing solos (S1) for 2 bars with oboe, whilst the flute then plays the solo counter subject (S2). In Bar 23 it is back to the ritornello theme for 6 bars but this time it is with the introduction of the R4, R5 and R6 motifs in the dominant key. The movement then modulates to B flat major (the sub-dominant) and the trumpet plays a small s olo (S1) for 2 bars. This solo is not accompanied by the normal counter subject (S2) as heard previously, but the violin continues to play a semi-quaver rhythm which is leading us on to different ideas. This solo is also harmonised with the other concertino instruments and the cello of the ripieno, Bach is gradually building the instrumentation of the solo lines in comparison to what was heard at the beginning of the movement. At bar 31 the ritornello theme (R1) begins to move the music in the direction of the key of D minor, this is done using a cycle of fifths, the chords are as follows; D Minor G Minor Cdom7 Fmaj7 Bbmaj7 E Minor Adom7 D Minor. The texture within this cycle of fifths becomes very thick and extremely complex, with the flute and cello playing together in thirds at bars 33-35. The solo violin can be heard playing a pulsating and energetic chordal harmony figure in a virtuosic style whilst the trumpet and the oboe are pigeon stepping from the end of bar 32 until bar 35 (See example 4). This pigeon stepping technique is also written in the viola and violone from bar 33 until bar 35(See example 5). These ideas are used to give a sense of direction and it also helps to disguise the circle of fifths, stopping the idea from becoming a simple clichà ©. Example 4 Bars 32 35. Example 5 Bars 33 35. This cycle of fifths leads the music back to the ritornello theme (R1) at bar 40 for two bars in D Minor and then it begins to travel back to the tonic key, through another cycle of fifths; D Minor G Minor C Major F Major. Throughout this cycle of fifths the ritornello theme (R1) can be heard to pass through the trumpet, flute and lastly the oboe lasting for two bars in each line. Whilst this ritornello theme is passing around the concertino instruments the other solo lines are accompanying it with a fluid semi-quaver rhythm, with the trumpet and then the flute moving in contrary motion against the oboe and violin. There continues to be heard the ritornello theme from bar 46 in the tonic key but it is abruptly interrupted at bar 50 owing to the fact that if the theme was to be heard again here in full, in the tonic key, then you could expect that movement would have had to finish at this point. Bar 46 sees the continuo and cello take over the fluid semiquaver rhythm which seems to be in support of the solo violin this however only lasts for 2 bars until the reintroduction of this figure in the flute and oboe, along with Violin 1 of the ripieno. It is at this point (Bar 50) we can see that Bach begins to introduce a V-I rising sequence with a very strong 7th feel to each of the chords. Beginning with the chord of F7 at bar 50 moving to D7 (V) at bar 51 G7 (I) at bar 52 E7 (V) at bar 53 Amin7 (I) at bar 54 F7 (V) at bar 55 Bb7 (I) at bar 56. This rising sequence starts to move the music away from the tonic key so as not to give the feeling that the movement is coming to the end. This time, however, the ritornello theme R5 is heard to be played in this sequence by the Violin, Oboe, Flute, Violin again Oboe again and then lastly the Trumpet, each for 1 bar at a time. Whilst this theme is being passed seamlessly through the concertino the underlying moving semi-quaver idea is also being passed through the concertino instruments, cleverly intertwining with the ritornello theme R5. Bar 56 sees the continuo and Cello now playing the theme R5 with the Trumpet decorating it in the treble. The end of this section is announced wi th the introduction of the ritornello theme R6 which is an ending theme. At the introduction of this ending theme, R6, we are in the key of B flat (sub-dominant) for 4 bars and a reversion back to the now seemingly solitary solo (S1) and counter subject solo (S2), from the flute and Violin respectively, with just the continuo adding a simple harmonic accompaniment the music can then be heard to modulate to G minor at bar 62 for two bars, with the solo lines reversing and the Violin playing the Solo (S1) and the Flute playing the counter subject (S2). The Oboe then takes over this Solo line (S1) with the violin playing the counter subject (S2) but there is a modulation once again, this time to E flat major, at this point Bach begins building the harmony and texture again, introducing the flute playing an interrupted quaver rhythm. For the final time in this sequence the music modulates once again to C minor, with the Trumpet playing the Solo Line (S1) and the Oboe playing the counter subject (S2).There is a definite feeling of rebuilding of the texture her e again as the flute and solo violin, playing the interrupted quaver rhythm, are heard together at bar 66. All throughout this, from bar 60, it has remained a simple accompaniment from just the continuo with the tutti strings tacet. This idea is the same as in bars 9 23 but without the fragments of the Ritornello theme. Again can be heard the ritornello theme from bar 68, still in the key of C Minor (dominant minor), however, this is soon interrupted by a rising sequence of V I at bar 72. This time it begins with C Minor (V) at bar 72, moving to F major 7 (I) at bar 73. Bar 74 is in D major 7 (V) leading us back to the ritornello theme at bar 75 in G Minor (I). This rising V-I section once again uses the idea of passing the ritornello theme R6 around the concertino instruments, with the fluid semi-quaver movement flowing effortlessly through the solo lines. This ritornello theme modulates to G minor using another cycle of fifths, the chords it uses are as follows; G minor C minor 7 F 7 B flat major 7 E major A minor 7 D major G Minor. In bar 72 there ios a very subtle use of syncopation in the tutti violin part which seems to bind the ripieno ensemble. Bach again uses the pigeon stepping device, but this time it is heard in the trumpet and the oboe from the end of bar 76 up until bar 79. There is also another example of the pigeon stepping in the viola and continuo from bar 77 until bar 79 along with the Cello and Violin playing in 3rds. This again has disguised the circle of fifths and made the texture very rich and extremely complex. In bar 86 I get a very definite feeling that the movement is heading to its climax, the long sustained chords, lasting up until bar 93, within the violins and the viola of the ripieno are something new, seeming to create a different texture and binding to the intricate figures of the concertino and the harmony of the continuo. Bar 94 sees another return of the ritornello theme in A minor, however this time it is introduced by the flute and the violin for two beats, and then the trumpet and oboe join in with an echo effect, maybe a hint of Bachs fugal ideas. This ritornello theme is extremely short lived as once again there is more use the cycle of fifths from bar 96, D minor G7 C Major F Major B minor7 E Major 7 A minor. Heard again is the same idea as previously heard with the Flute and Violin pigeon stepping from bars 95 99, this pigeon stepping is also displayed in the Viola and Violone whilst the Oboe and Cello play the fluid semi-quavers in 3rds. The music stays in the key of A minor for 3 bars and the final ritornello theme is stated, in unison and in octaves, back in the tonic key of F major. This is a sudden change back to the tonic key with the whole ensemble having a quaver rest before. This idea is a stylistic/form aspect from another type of composition the da capo aria. It is with this sudden change back to the tonic and with the ensemble playing in unison that you are tricked into thinking its the end of the movement, but Bach leads off again with another rising V-I Sequence. Beginning this V-I sequence in F Major (V) moving to B flat major 7 (I) at bar 107. Bar 108 moves to G dominant 7 th (V) and leads onto C dominant 7th (I) at bar 109. A dominant 7th (V) begins bar 110 resolving to D dominant 7th (I) at bar 111, and then to finish the sequence it is a diminished 7th on B leading in to C major. This diminished 7th on B natural strengthens the return back to the tonic F major. The rising V I section uses the idea which is previously heard of weaving the ritornello theme R5 through the concertino instruments. Heard then is the ritornello theme R5 played by the Violone and Cello at bar 113. Bar 115 sees the music return to the tonic key of F major and the ritornello theme is stated for the very last time, however, Bach does not write the ritornello theme in full as you would expect with ritornello form, it is left to ritornello theme R5 for 2 bars and then the ending theme R6 to finish the movement. Although this movement can be recognised as being in ritornello form It has become clear during my analysis, that it is very hard to distinguish between the solos and ritornello theme. This is because Bach has used material from the original ritornello theme throughout the whole of this movement and integrated them so seamlessly and subtly into the solo passages. Word count = 2,576

Philosophy is Important :: College Admissions Essays

Philosophy is Important Everybody has something to learn about Philosophy. With the numerous different courses available to students at State University, one will always be able to find new and pertinent information not covered before in previous classes. This assures students that they will not be forced to take a class that is primarily review. By requiring students to take philosophy courses, the school is guaranteeing they get the full education they deserve. Philosophy is important because it helps to mature the whole person, instead of restricting them in a specialization of a particular field of study. College is where people go to discover themselves, and at times people just need a little nudge to get them going in the right direction. Philosophy introduces students to different styles of thinking, teaching them to think smarter and better. The class Critical Thinking, for example, explains how to create and use clear, logical arguments, presenting a skill useful in other many college classes, as well as a practical tool outside of school. High school does not offer enough philosophy classes to equip the average students for the rest of their lives. Therefore, to obtain higher-level philosophical training, one must attend college. Not many high school seniors are well versed in philosophical systems that are taught in a philosophy 201 class offered at State. Despite their importance, ethics are barely covered in high school classes. Training in ethics helps one identify the correct principles of conduct as accepted by specific professions, and humanity as a whole. When coming to college, students need to supplement their knowledge base with philosophy. Gonzaga University offers many philosophy courses for the incoming student.

PTLLS Assignment 1: Roles and Responsibilities in the Teaching Cycle

1. Describe what your role, responsibilities and boundaries would be as a teacher in terms of the teaching/training cycle. My role as a teacher In her book Preparing to teach in the Lifelong Learning sector 2011 (P9), Ann Gravells explains that â€Å"Your main role as a teacher should be to teach your subject in a way that actively involves and engages your students during every session. † Beyond this, my role as a teacher of business management extends to firstly being an exemplar of good management practice, behaviour and conduct. I would need to be a positive role model to my students in interpersonal relationships, organisation, time management, leadership and other aspects of the role of a manager. My role as a teacher also extends to creating a positive, safe and encouraging inclusive learning environment that provides opportunity for learner collaboration and co-operation. My role is not just didactic but facilitative in enabling learning. My role would be ongoing in identifying barriers to learning whether academic, personal or otherwise. I would then apply appropriate interventions to support the learner in overcoming such barriers, with due regard for the professional boundaries of the role. Ultimately, my role is to successfully motivate and support my learners to attain their management qualification. Responsibilities throughout the stages of the teaching / training cycle The teaching / training cyle is in five stages: 1. Identify needs 2. Plan and design 3. Facilitate / deliver 4. Assess 5. Evaluate At each of the five stages of the teaching / training cycle there are many responsibilities countered by relevant boundaries. Responsibilities and boundaries in identifying learning needs At Stage 1, identifying learning needs, the process starts with the candidate’s eligibility for the training. This may be in terms of their academic ability in being able to achieve the Management qualification or in their background and experience in being able to apply the learning. My responsibility would be to explain the entry equirements and assesment criteria to any prospective students. Eligibility in terms of funding and other issues unconnected with the course itself might be addressed by the Course Administrator and would therefore be a demarcation boundary. Course dates and issues around availability would be part of my responsibilities, as I would need to ensure that I maximise attendance and provide timings and dates that were feasible and appropriate. Other responsibilities wou ld be in assessing the needs of the students prior to the learning. I would include, in any pre-course literature, questions around special requirements / reasonable adjustments so that I could make the environment inclusive, safe and learner-friendly. I would also include a learning styles questionnaire, either VAK (Visual, Auditory, Kinaesthetic) or Honey and Mumford which is based on Kolb’s experiential learning cycle. I might also include questions around levels of understanding / experience in the management arena. This information would then inform the development of course materials that catered for the range of learning styles and differentiation in learners’ abilities. I would also be responsible for arranging suitable accommodation for the training including a classroom layout conducive to learning and the resources necessary to support the course materials. In management training it may be appropriate to have PowerPoint presentations, case studies and management DVDs. In terms of working within boundaries at this stage I would need to ensure that timings, dates and literature were in accordance with diversity and equality policies and did not exclude potential candidates. I would also need to ensure the safe-keeping and confidentiality of anything dislosed in the completed pre-course questionnaires. Responsibilities and boundaries in planning and designing At Stage 2, Planning and designing, my responsibilities would include reviewing the ‘needs’ questionnaires to prepare and design the course. If the course was new, I would need to research the internet, consult management books and theory and source materials from colleagues. I might also purchase appropriate support materials such as management styles questionnaires, DVDs etc. If the course was an existing one, I would review the course content to ensure that it was inclusive, contextualised to the learners’ experience, compatible with the learning styles of the learners and at an appropriate academic level to both meet assessment criteria and meet the varying learning needs of the learners. If necessary, I would need to tailor the course providing additional support for the differing academic levels of the learners I might consult internal verifiers or other colleagues to ensure that my course content was appropriate and engaging for the learners. I have often piloted courses to test their effectiveness. My responsibilities at this stage also include preparing aims, objectives, lesson plans, schemes of work and assessments. I would also need to design flipcharts, posters and handouts. The boundaries at this stage include budgetary and time constraints which may affect the quality of the course materials. I must also again make any reasonable adjustments with materials e. g. font size on handouts / PowerPoint presentations adjusted to meet the needs of learners with a visual impairment. I once had to recruit a signer for a deaf learner. I must also ensure that my materials do not breach copyright and licencing requirements. Responsibilities and boundaries in facilitating and delivering learning At Stage 3, facilitating and delivering the learning my responsibilities are extensive. Using my personal presence, presonal example, charisma and tools such as ground rules, I need to create the right first impression to ensure that my learners are aware of their responsibilities within the learning environment. I try to create an environment of support, collaboration and mutual respect. I am responsible for ensuring inclusivity of the learners and celebrating their diversity. I have a duty of care in respect of my learners and should get advice and guidance from my fellow professionals in areas I am unsure of. The environment should be in accordance with Health and Safety requirements allowing free movement and access, no trip hazards, safe, tested electrical equipment. I need to create a psychologically safe environment without intimidation or disrespect. I would do this by challenging inappropriate behaviour and encouraging positive behaviour. I could also refer learners back to the ground rules. Depending on the learning needs / progress of individuals I might need to adapt and target some parts of the course content. I need to minimise jargon and adapt my language and style to the needs of the participants. I need to create opportunities for networking, self-development and experimentation. I must also be aware of any perceived or real barriers to learning and make appropriate interventions. To do this I would confer with teaching assistants or ‘privately’ discuss any issues directly with learners. My presentation style should be engaging, motivational inspirational and thought-provoking. I should keep the necessary records to evidence learner attendance and attainment. My exercises should cater for the varying learning styles of the group. I can employ the assistance of other professionals such as teaching assistants to provide learners with any learning / motivational support or personal care. This is another area of demarcation for the teacher. If there are personal issues creating barriers to learning, then I should know the boundaries of my responsibilities and when to refer to other professional bodies. Other boundaries would include maintaining a professional distance and not becoming too familiar with learners. The use of personal email addresses, personal mobiles numbers and social networking sites would overstep the boundaries of professional conduct. I should also be careful not to favour individual learners or discriminate or exclude learners adhering at all times to diversity and equality requirements / policies. I should maintain confidentiality, agreed as part of the ground rules. Records should be kept safe and confidential. Responsibilities and boundaries in assessing At Stage 4, Assessing, my responsibilities are to set appropriate assessments that comply with the criteria set by the examining board. I also need to comply with any requirements / adjustments advised by the external and internal verifiers. I have a responsibility to ensure that assessments are accessible, with any reasonable adjustments made. I need to ensure that any examinations are conducted appropriately in accordance with guidelines set by the examining board. I need to ensure objectivity, equality and fairness in my grading and marking of assignments. I also need to complete my marking in a timely manner to ensure that learners receive feedback as soon as possible. Feedback on assigments would be written or vebral if additional support was required. Feedback should be constructive, balanced, supportive and helpful. I need to follow the correct procedures for referring or failing students that do not meet the assessment criteria. I should ensure that assessment records are captured correctly and stored safely, ensuring confidentiality. The responsibility areas outlined above illustrate the boundaries that must be adhered to data protection, confidentiality, bjectivity, equality and fairness. Responsibilities and boundaries in evaluating Stage 5 is evaluation. As a teacher I need to review the course once it has concluded. Evaluation methodology employed might include post-course questionnaires, budgetary analysis, return on investment exercise, outputs from exercises and assessments, teacher observation, reflective diaries, peer ob servation, feedback from external and internal verifiers and ultimately the assessment results. I should analyse what went well and what needs to be improved. Boundaries at this stage would be my ability to be objective and barriers to receiving / accepting feedback. 2. Identify the key aspects of current legislative requirements and codes of practice relevant to your subject and the type of organisation within which you would like to work. In my former role as a trainer in the Civil Service, I was subject to the Official Secrets Act, the Civil Service code of conduct and to various HR policies. These governed my personal behaviour towards others, my integrity and my professionalism. Failure to comply might lead to grievances, disciplinary procedures and employment tribunals. In her book Preparing to teach in the Lifelong Learning sector 2011 (P9), Ann Gravells lists codes of practice and legislation relevant to the training arena. I have considered their relevance to my role and subject area. Code of Professional Practice 2008 by the Institute for Learning is a useful guide as to how teachers should behave and the professional boundaries that they should work within. This code covers such areas as integrity, respect, care, practice, disclosure and responsibility. Copyright Designs and Patents Act 1988 – I would need to ensure that the support materials used did not breach this legislation. I would need to acquire permission or purchase licences for relevant work that I wished to use. Data Protection Act 2003 – this governs the type of data kept about my students, information held should be restricted to what is relevant for my purposes and role. Data should be up-to-date and accurate. This also governs the security of information. Confidentiality and safe keeping being of the utmost importance. Equality Act 2010 – this legislation was designed to protect individuals from unfair treatment and discrimination and advance equality of opportunity. It protects individuals on the grounds of gender, race, ethnicity, religion, age, disability and sexual orientation. As a teacher I should be aware of my own prejudices and ensure that I do not exclude, discriminate or treat unfairly any of the learners in any way that contravenes this act. Further to the Equality Act, there are often organisational policies relating to Diversity which means that as a teacher I should accept and celebrate the diversity of the learners, enabling and valuing the contributions of individuals. Freedom of Information Act 2000 – this legislation is around the rights of the public to information held by authorities. This information could be anything that might be in the public interest to know. The ‘public’ therefore includes the learners. As a teacher I need to ensure that any records kept are accurate and relevant and contain nothing that I would not wish the learners to see.. Health and Safety at Work Act 1974 – relates to the responsibility of everyone in the workplace to take responsibility for ensuring the workplace is healthy and safe. As a teacher I would need to be aware of my responsibilities and ensure that learners are aware of their responsibilities. Responsibilities include interventions to rectify issues e. g. removing a trip hazard. Reporting accidents and near misses is another responsibility. Aslo reporting any issues that you are unable to address yourself. I would also add the requirement for a Public Performance Licence. This would be held by the organisation you work for. If you play recorded music or music videos in public – including radio or TV – you are legally required to have a PPL licence.

United States economy

United States economy Introduction The considerably biggest news in the past one week is the discussion over the economy of the United States. Though the economy has been a continuous issue in the media, the recent controversy that is associated with one of America’s most popular leader who has maintained his popularity amidst economic challenges makes this the greatest news for me in the past seven days.Advertising We will write a custom essay sample on United States’ economy specifically for you for only $16.05 $11/page Learn More Analysis Exposing the plight The extent to which media presents news shows a great deal of expertise as realized with the quality of journalism that is offered to the audience. Some of the features of the media include the capacity to supply a large population as realized with some of the media companies such as New York Times and the Washington post that are globally accessible even through the internet. The credibility of the media is also realized from the fact that the media groups occasionally present news of similar content creating the impression that the information from reliable original sources. The media is also driven by the need to present the audience with current subjects that affects the immediate needs of the audience (Environment 1). The news follows a wide dissatisfaction that is being registered among Americans over the deteriorating economic conditions in a majority of states. Though economic issues have always been attached to citizens’ attitude towards political leaders, president Obama remain to be the favorite candidate in a majority of currently conducted polls. This comes amidst reports of massive unemployment in the United States (Zengerle 1). Headlines New York Times The New York Times magazine was in the fore front of the media groups to continue with the analysis of the economic and political temperature. Under the headline ‘Analysis: Weak economy shadows Obama in bright areas’, a review of the economic issues such as unemployment are highlighted to reveal the people and the actual situation that they live in (Reuters 1). Citizens in states such as Virginia and Pennsylvania are for example reported to have given up on hopes of improvement in the economy. Unemployment is sighted as one of the main indicators of the weak economy. The New York Times also enlisted the consumer spending as a factor to the deteriorating economy. This indicator is for instance reported to have had a non positive trend for almost half a year.Advertising Looking for essay on communications media? Let's see if we can help you! Get your first paper with 15% OFF Learn More This weakness in the economy which analysts claim is normally associated with support for presidential candidates is however not reflected in political views as Obama retains favoritism in opinion polls. This indicates the public’s perception that the economic situation is currently independent of political factors (New York 1). Washington post The Washington post had a similar concern over unemployment as revealed in their publication on 29th June, 2011. Thought the post expressed the fact that the economy has not adopted a positive trend, it reveals the fact that the president has been keen in seeking avenues to help in job creation amid admission that the economy was facing a crisis (Washington Post 1). Aljazeera The economic turmoil in America is equally expressed by other media such as Aljazeera that expresses America as well as other major world economies such as Britain to be facing strains that include budget deficits together with massive unemployment (Aljazeera 1). Conclusion The economy remains an important piece of news to every person because it directly affects people’s lives. Such presentations of the news will help is facilitating solution for the weak economy whether through political or economic approaches. Aljazeera. Tha t stalling feeling. Al Jazeera, 2011. Web. http://english.aljazeera.net/indepth/opinion/2011/06/2011621135734145477.html Environment. Characteristics, strengths weaknesses – mass media. Environment, 2011. Web. environment.nsw.gov.au/community/edproject/section414.htmAdvertising We will write a custom essay sample on United States’ economy specifically for you for only $16.05 $11/page Learn More New York. Analysis- weak economy shadows Obama even in bright areas. New York Times, 2011. Web. nytimes.com/reuters/2011/06/30/us/news-us-usa-campaign-unemployment.html?scp=10sq=st=nyt Washington Post. Obama: Congress should extend payroll tax cut, take other measures to boost job growth. Washington Post, 2011. Web. washingtonpost.com/politics/congress/obama-congress-should-extend-payroll-tax-cut-take-other-measures-to-boost-job-growth/2011/06/29/AG7vGmqH_story.html Zengerle, Patricia. (2011). Analysis- weak economy shadows Obama even in bright areas. UK Reuters, 2011. http://uk.reuters.com/article/2011/06/30/uk-usa-campaign-unemployment-idUKTRE75T0QR20110630

Theseus and Hippolyta

Theseus and Hippolyta Theseus and Hippolyta appear in Shakespeares A Midsummer Nights Dream, but who are they? Find out in our character analysis. Theseus, Duke of Athens Theseus is presented as a fair and well-liked leader. He is in love with Hippolyta and is excited to marry her. However, he does agree to enforce the law where Hermia is concerned and agrees with Egeus her father that she should obey his wishes or face death. â€Å"To you your father should be a god† (Act 1 Scene 1, Line 47). This reinforces the idea that the men are in control and make the decisions, however, he does give her a chance to consider her options: THESEUSEither to die the death or to abjureFor ever the society of men.Therefore, fair Hermia, question your desires;Know of your youth, examine well your blood,Whether, if you yield not to your fathers choice,You can endure the livery of a nun,For aye to be in shady cloister mewd,To live a barren sister all your life,Chanting faint hymns to the cold fruitless moon.Thrice-blessed they that master so their blood,To undergo such maiden pilgrimage;But earthlier happy is the rose distilld,Than that which withering on the virgin thornGrows, lives and dies in single blessedness.(Act 1 Scene 1) In giving Hermia time, Theseus allows fate and unknowingly the fairies to intervene in order that Hermia gets her way and can marry Lysander. At the end of the play, he urges Egeus to listen to the lovers story before acting and demonstrates his even hand in this. Theseus shows he is fair and patient again at his nuptials when Egeus warns him of the mechanical’s play No, my noble lord;It is not for you: I have heard it over,And it is nothing, nothing in the world;Unless you can find sport in their intents,Extremely stretchd and connd with cruel pain,To do you service.(Act 5 Scene 1, Line 77) Theseus demonstrates his sense of humor and graciousness when he welcomes Bottom and his friends to show their play. He urges the nobles to take the play for what it is and see the humor in its awfulness: The kinder we, to give them thanks for nothing.Our sport shall be to take what they mistake:And what poor duty cannot do, noble respectTakes it in might, not merit.Where I have come, great clerks have purposedTo greet me with premeditated welcomes;Where I have seen them shiver and look pale,Make periods in the midst of sentences,Throttle their practised accent in their fearsAnd in conclusion dumbly have broke off,Not paying me a welcome. Trust me, sweet,Out of this silence yet I pickd a welcome;And in the modesty of fearful dutyI read as much as from the rattling tongueOf saucy and audacious eloquence.Love, therefore, and tongue-tied simplicityIn least speak most, to my capacity.(Act 5 Scene 1, Line 89-90). Theseus goes on to make funny comments throughout the play and revels in its ineptitude demonstrating his fairness and sense of humor. Hippolyta, Queen of the Amazons Betrothed to Theseus, Hippolyta is very much in love with her husband to be and is very much looking forward to their imminent wedding. â€Å"Four days will quickly steep themselves in night, Four nights will quickly dream away the time; And then the moon, like to a silver bow New bent in heaven, shall behold the night of our solemnities† (Act 1 Scene 1, Line 7-11). She, like her husband, is fair and allows Bottom’s play to go ahead despite being warned of its inappropriate nature. She warms to the mechanicals and is entertained by them, joking along with Theseus about the play and its characters â€Å"Methinks she should not use a long one for such a Pyramus. I hope she will be brief†. (Act 5 Scene 1, Line 311-312). This demonstrates Hippolyta’s good qualities as a leader and shows her to be a good match for Theseus.

Week 6 post class 6310 Assignment Example | Topics and Well Written Essays - 250 words

Week 6 post class 6310 - Assignment Example Having had previous experience with a foreign nurse who did not fit the requirements needed is enough justification to take caution and act the way you are proposing to take and I would also make the same judgments and decisions (Billings and Halstead, 2012). I agree with your suggestions about the importance of the nurse being culturally sensitive and especially so because the Asian may take offense when the nurse suggests a change of diet. Since the Asian has also high academic achievements more than the nurse, it may be better if the nurse takes a smoother approach with a soft tone and not an assertive one that can be taken as an offense (Bradshaw, 2011). The approach you suggest of following the code of ethical conduct for recruitment of foreign-educated health professionals to the United States is very noble and unique one. This action will ensure that whatever decisions you will make about orienting the foreign nurse will not harm the nurse or enforce biasness and especially on cultural orientation (Alliance for Ethical International Recruitment Practices, 2012). Alliance for Ethical International Recruitment Practices (2012). The Code. Alliance for the ethical international recruitment practices. Retrieved from http://www.fairinternationalrecruitment.org/index.php/the_code Gulam, F.L.H. (2003). â€Å"Care of the Muslim patient.† Journal of Australian Defense Health Service, 4, 81-83. Retrieved from

Envisioning America & What Caused the Pueblo Revolt Essay - 8

Envisioning America & What Caused the Pueblo Revolt - Essay Example I myself have been witness to some of those distressing racial atrocities and have seen murderous intent of few white who had applied Jim Crow Rules against the blacks. I still feel ashamed of the stunted mentality of those people who reveled in the killings of another human being! America was discovered by Spanish explorer, Columbus in the 16th century, who had developed good relations with the native Indian population. But the early 17th century saw the process of colonization by the British settlers who had brought shipload of African slaves as bonded labors to work on plantation and elsewhere. Jamestown in Virginia became the first place for British settlement followed by colonies in Massachusetts and eastern seaboard in the later part of the century. They also tried to exploit the Native Americans with respect to labor and sea faring activities. The indentured labor consisting of European workers, worked as bonded laborers who were freed after several years so as to pay-off their passage to a new country. The slaves worked in labor intensive tobacco plantations along with Native Americans who later refused to work because they were afflicted with diseased like tuberculosis etc. which were brought by the settlers. Turn of the century saw the raced based slavery becoming a full fledged tradition with Africans and non whites becoming slaves for life. Control over the blacks became the main concern of the white because of the rebellion from the natives. The British Crown delegated the power to the companies who administered in their behalf with rules and regulations. The natives, on the other hand, did not believe in subjugation and rebelled against any revenue imposed by the settlers. I had a fat black lady as my governess who was not only very loving and funny but she was also ferociously protective of me. I remember that once when my parents had to leave in emergency, my Joan, my governess took me to her place for