Gun Control Term Paper - 275 Words

Gun Control (Term Paper Sample) Content: A Discussion on Gun ControlNameCourseName of InstitutionInsert Instructorà ¢Ã¢â€š ¬s NameDateIntroductionThe policy of gun control has been advocated in all countries across the world. It is the act of controlling and limiting the possession of fire arms especially short guns among the citizens in any State. This can be done by constituting laws and regulation that limit gun ownership and ensuring that anyone owning one must be licensed by the government. Most of the countries in the world have very strict rules governing the possession of guns unlike the United States with modest restrictions (Lott, 2013, p.103).The gun control policy has fuelled controversies from activists. Proponents of gun control have strongly advocated for this enactment due to the dangers encountered by the widespread ownership of guns. On the other hand, its opponents have not seen any cause for alarm in the possession of guns since there have not been high number of cases reported of gun misuse. Moreover, they are of the opinion that this strategy has not done any good especially by reducing murders or injuries of gun-related issues and that it only infringes on peopleà ¢Ã¢â€š ¬s right of self-defence.The push for gun control has topped among the issues in American politicsà ¢Ã¢â€š ¬ debates as several leaders have tried addressing it to the best of their knowledge. Researches done on whether the gun control policy is effective has its findings averagely rated. The rate of gun-related murders and the num...

The Cherry Orchard Chekhovs Comedy, Stanislavskys Tragedy - Literature Essay Samples

When Anton Chekhov began his play The Cherry Orchard in December 1902, he intended it to be a farce in four acts. Having written it during a particularly awful bout with emphysema, it took almost a year for him to send it out to Stanislavski and the Moscow Art Theatre, where it had been eagerly anticipated. Stanislavski, in Chekhov’s opinion, took the play too far. He had dashed off a telegram to Chekhov saying, â€Å"Just read playshakencannot come to senses in unprecedented ecstasysincerely congratulate author genius.† This disgusted Chekhov – why should a farce evoke such a visceral reaction? (Hingley, New Life, 300) The answer soon became clear. Stanislavski was determined to stage the play as a realistic and tragic ode to the dying upper class, when in fact, this was not even close to what Chekhov had intended. The differences in the viewpoints of Chekhov and Stanislavski became particularly widened when The Cherry Orchard went into rehearsals. As the play b egan to receive publicity, Chekhov became increasingly unhappy with the tragic overtones. In a letter to his wife Olga, he wrote, â€Å"Why do they persist in calling my play a drama on the posters and in press announcements? Nemirovich and Stanislavski absolutely do not see in my play what I actually wrote and I am ready to give my word in any terms you wish that neither of them has ever read my play attentively.† (Benedetti 190) When Chekhov finally arrived, he found his play in a mess of depression and melancholy. He tried to fix it, leading Stanislavski to say that â€Å"the blossoms had just begun to appear when the author arrived and messed up everything for us.† (Simmons 612) Chekhov was appalled to see that the brief fourth act he had written dragged on for a weepy, mind-numbing forty minutes. However, both Chekhov and Stanislavski felt it necessary to concede some ground on their respective viewpoints, just to keep rehearsals going. As a result, both became sk eptical about the possibility of the play becoming a success. To a friend, Chekhov wrote, â€Å"I expect no particular successthe thing is going poorly.† (Priestley 58) Upon opening the play, Chekhov’s attitude had not changed – in a letter to a friend, he writes, â€Å"My play was performed yesterday and therefore I am not in a particularly bright mood today.† (Magarshack, A Life, 382) Some of Chekhov’s irritation could be attributed to the impatience of a dying man, yet he had grounds for his argument. As The Cherry Orchard went into rehearsals, Chekhov quarreled with Stanislavski and Nemirovich-Danchenko over the interpretation of the play. â€Å"Why,† he wrote to Nemirovich, â€Å"do you say there are many weepy people in my play? Where are they? Varya’s the only one, and that’s because she’s a crybaby by nature. Her tears are not meant to make the spectator feel despondent. I often use â€Å"through her tears† in my stage directions, but that indicates only a character’s mood, not actual tears. There’s no cemetery in the second act.† (Karlinsky 460) On the subject of tears in a comedy, Donald Rayfield notes that Ranevsky, Anya, Varya, Gaev, and Pishtchik all cry, but they cry â€Å"for the wrong reasons, at the wrong time. The music of the play does not harmonize with their tears: the ball in Act 3 is a series of quadrilles and waltzes of comic irrelevance.† (Evolution, 220) Given the circumstances of late nineteenth and early twentieth century Russian history, it is tempting to see the play as a dismal story of loss, and Madame Ranevsky and her family as victims of the uprising of the industrial classes. When the play opened in January of 1904, the Socialist movement had already begun to gain momentum in Russia. A year earlier, Lenin had published his revolutionary pamphlet What Is To Be Done?, as well as his text State Revolution, both of which called for an elite party of educated rebels who would act as a vanguard of the working class. He had also called on the Russian Social Democratic Workers Party to help establish a provisional revolutionary democratic dictatorship for the proletariat. In this context, one could interpret the play as either a revolutionary call to arms or a touching ode to a class doomed to brutal extinction. ` Yet Chekhov asserted that the work must be taken as a whole. Lopahin, who buys the estate, is not a typical â€Å"evil landlord† who is ruthlessly evicting the family from their comfortable lifestyle. Trofimov, although a revolutionary, is also a disillusioned and cynical student, blinded by hopeless adoration; and Ranevsky is a self-indulgent elitist who participates fully – although passively – in her own demise. Even this wreck that dominates the play is only another step in the great scheme of history. Chekhov sets his play against Tsar Alexander II’s serf emancipation of 1861, which was also feared as an oncoming disaster that would swallow up the nation. (Hirsch) Yet in this play, as in all of Chekhov’s works, life goes on – a barely perceived, yet deeply experienced, pattern of hopes and disappointments, of comings and goings. Had Chekhov had a sophisticated literary terminology with which to work, he might have used the term â€Å"dark comedy†, or â€Å"problem play† to describe The Cherry Orchard (as Shakespeare’s Measure for Measure has more recently been noted.) (Moorty, par. 1) The Cherry Orchard was not a comedy in the sense that comedies are normally seen. Rather, Chekhov had his own brand of comedy. In ancient Greek theatre, the word â€Å"comedy† meant a concern of the daily lives of ordinary people, as opposed to tragedy, which was built around great beings who had lost everything due to fate. Aristotle himself noted that comedy was â€Å"an imitation of characters of a lower type who are not ba d in themselves but whose faults possess something ludicrous in them.† (Magarshack, Dramatist, 272) The Cherry Orchard certainly fits as a comedy in this mode of thinking – although somewhat aristocratic, the loss of the orchard is due to their own mishandlings, rather than fate. However, The Cherry Orchard sometimes straddles the fence between comedy and pathos – the deciding factor being whether we as the audience sympathize with the characters’ problems. We see the crossover into pathos within the character development of Madame Ranevsky. She is a sympathetic character, and this places her near the category of tragic hero, because she is not a part of the irony that keeps us relatively distant from the other characters. But at the same time, our emotional involvement overall is different than that of a tragedy. This has to do partly with the overall impact we see the characters’ actions having on their society. If you consider Romeo and Juliet, t he deaths of the star-crossed lovers shake Verona to the core and force the Montagues and Capulets to reconsider their grudge. As a result, the society completely changes their development. In a comedy, the protagonists have no such power, since they deal with the trappings of everyday people. This relative sinking into oblivion in The Cherry Orchard is what caused publications such as The Daily Express to bash the play as a â€Å"silly, tiresome, boring comedyThere is no plot. The cherry orchard is for sale, and certain dull people are upset because it must be sold.† (Rayfield, Cherry Orchard, 23) It also must be noted that much of Chekhov’s humor does not effectively translate into English. This may be one reason foreign audiences have a difficult time seeing The Cherry Orchard as a comedy. No translation has been able to successfully capture Epihodov’s line in Act One when he presents a bouquet of flowers to Dunyasha. He means to say, â€Å"Allow me to commu nicate with you,† but the Russian word is prisovokupit, which is a play on words with the word sovokupit, which means â€Å"to copulate.† (Rayfield, Cherry Orchard, 52-3) To Soviet audiences in the 1930s, the triviality of the family’s problems in The Cherry Orchard made it difficult for them to see anything but comedy in the play. Even after the Soviet Union had collapsed, satirist Viacheslav Pietsukh has a character in one of his works say, â€Å"Ditherers, bastards, they had a bad life, did they? I’ll bet they wore excellent overcoats, knocked back the Worontsoff vodka with caviar, mixed with lovely womenphilosophiz[ing] from morning to night for want of anything to do – and then they say they have a bad life, you see? You sons of bitches ought to be in a planned economy they’d show you what a cherry orchard was!† (Rayfield, Cherry Orchard, 21) And in this sense, the Soviets are right. Although the end of the play isn’t very cheerful, Ranevsky is alive and healthy. She is also probably better off than she had been, with the opportunity to start a new future with a new lover in Paris. One can argue that Lopahin, the descendant of a serf, is better off, as well. At the end of the third act, he proclaims, â€Å"I have bought the estate where my father and grandfather were slaves, where they weren’t even admitted into the kitchen.All must be as I wish it. Here comes the new master, the new owner of the cherry orchard!† He is hopeful, with a newly acquired sense of confidence. Even Anya reminds her mother that â€Å"a new life is beginning†; and Gaev responds, â€Å"Everything is all right now. Before the cherry orchard was sold, we were all worried and wretched, but afterwards, when once the question was settled conclusively, irrevocably, we all felt calm and even cheerful.† This is all more that could be said for the worried masses that crowded in to see the play as a means to f orget their sobering existences. This ability to move forward is a perfect example of the Chekhovian comedy, which again, hailed back to the Greeks. The way Chekhov saw it, comedy had more to do with the idea that there was an opening towards the future which tragedies (and especially the Greek tragedies) couldn’t provide. (Gilman 200) Stanislavski, however, disagreed. In an October 1903 letter to Chekhov, Stanislavski informed him that The Cherry Orchard was, in fact, a tragedy, â€Å"regardless of what escape into a better life you might indicate in the last act.† Chekhov knew very well that Stanislavski could not be swayed – Stanislavski was too firmly rooted in tradition. Chekhov could not make it to Moscow for rehearsals until well after they were underway; by the time he arrived, he was too sick to put up much of a fight. (Magarshack. A Life, 380) The characters in The Cherry Orchard are by nature comic characters. The definition of â€Å"comic characterà ¢â‚¬  was one thing that Stanislavski didn’t understand. He saw the comic character as someone who was supposed to keep the audience laughing at all times, but that was not always the case. For example, Falstaff is undeniably a comic character, but his fall in Henry IV is one of the most tragically moving scenes in the play. The same is true in The Cherry Orchard – although we, as the audience, feel sympathy and compassion for Ranevsky (and other characters, to a lesser extent), we must still see that they are essentially comic characters. All of the characters in the play, with the possible exception of Anya, have a ridiculous sense to them that define them as comic characters. Where, then, do we see these comic elements in the characters? One major example is Gaev, Ravensky’s brother. To him, life is just about as serious as the billiards games he plays in his head. (Even more amusing is the fact that Gaev’s billiards games make no sense – Chekh ov himself admitted he knew nothing about the game.) One of the most famous exchanges in the play is Gaev’s ode to the cupboard in Act One. This tearful monologue is so absurd that one can’t help laughing at it. Gaev’s comedy is further accentuated by his candies. In Act Two, he notes that he’s eaten all of his substance in sugar-candies. This is a symbol of his childish views in life, something that we would most definitely not see in a tragedy. It is obvious that Ranevsky herself has not matured, either. When her husband and son had died, she left Russia with her lover, leaving Anya and Charlotta behind. She returns to her lover, who has been unfaithful and spent all of her money. She is inherently controlled by her wistfulness, looking out at the garden from her nursery. Nostalgically, she says, â€Å"I used to sleep here when I was little(cries). And here I am, like a little child.† This, of course, is what Chekhov is getting at. Gaev and Ranev sky have not changed, but the world definitely has. They are children in a world full of, and made for, adults. For the most part, they aren’t even aware of reality; and even in their moments of self-awareness, they lack the means to come to true grips with their reality. Whether or not lack of maturity is a tragic flaw is a debate left to the reader. As noted earlier in this essay, I suggest that it is not. Using the classical model as an example, immaturity doesn’t have the same sympathetic pull that other tragic flaws do (as seen in Othello or Hamlet). Again, the English translation does not help to convey these immature qualities. Ranevsky’s first line upon entering is, â€Å"The nursery!† (â€Å"Detskaya!†) This is linguistically closer to the words for â€Å"childhood† (detstvo) and â€Å"childish† (detsky) in Russian than in English. (Golub, 18) The audience should see Charlotta in a comic light as well. She doesn’t say much, but when she does, it usually doesn’t pertain much to the matter at hand. We see this at the beginning of the play when the travelers enter. As Ranevsky is reminiscing about her childhood in the home, Charlotta turns to Pishtchik and says, â€Å"My dog eats nuts, too.† It may be a continuation of a conversation which started offstage, but to the audience or reader, it seems like a random statement. Charlotta can be sympathized with as well – she notes that her parents are dead and she feels alone in the world. However, Chekhov does not develop her character deeply enough for the audience to get too attached to her. She is well known for her tricks – in one scene, we see her performing a card trick; later, she shows off her ventriloquist talents. Chekhov was adamant about Charlotta’s role as a comic character – in a letter to Nemirovich he says, â€Å"Charlotta is an important roleMuratova might be good, but she’s not funny. Thi s is Ms. Knipper’s role.† (Karlinsky 462) Even the smaller characters are rife with comedy. Semyenov-Pishtchik is a broad comic figure, as his name implies. Magarshack notes that the first half of his name is â€Å"impressively aristocratic and the second farcical its English equivalent would be Squeaker.† (Dramatist 284) He completely misses jokes and laughs in the wrong place; he even forgets that the house has been sold and promises to stop by on Thursday when the family is just about to leave. Epihodov (or â€Å"two and twenty misfortunes†) is another smaller comic character. He is the classic klutz – a man in squeaky boots who drops flowers on the floor, falls over chairs, and crushes a hatbox by putting a suitcase on top of it. He even seems to embrace these calamities, thinking that the nickname has been given to him in affection. He is pedantic and often smug, a man who prides himself on being cultured and is yet unsure whether or not he sh ould shoot himself. His physical awkwardness is a reflection of his master Gaev’s lack of self-discipline, and he is a microcosm of the entire family, the most absurd traits of which are brought together in him. The one discordant character in The Cherry Orchard is Firs, the old servant who represents the old way of life. When he is left behind at the end, the residents of the house have effectively dropped their aristocratic ways for a new life. One common misconception is that Firs’ final action of lying on the floor is representative of his death. David Magarshack is quick to point out that just because Firs lies on the floor doesn’t mean he’s dead – that â€Å"would have introduced a completely alien note in a play which Chekhov never meant to be anything but a comedy.† (Dramatist 285-6) I introduce him just to point out that although he appear somewhat tragic, he exists primarily as a symbol of the old way of life and not as a separate entity to be considered under the same set of characteristics as the other characters. But even some productions play him as a hopeful character – one production by the Utah Shakespeare Festival did just that. (Moorty, par. 3) However, it is important to note that The Cherry Orchard is not a comedy simply because of the large number of comic scenes and characters. John Reid notes that the comedy lies in Chekhov’s attitude towards the subject – and that attitude is â€Å"chiefly determined by the author’s emphasis upon survival and the acceptance of change.† (par. 4) Reid then goes on to point out that â€Å"the comic detachment of Chekhov’s treatment allows the audience to recognize, for example, the Ranevskayas’ infantilism, or, the immature idealism of Trofimov’s revolutionary rhetoric – but, at no point, does the diagnosis allow the audience to simplify that subtle juxtaposing of conflicting attitudes and feelings.â €  (par. 4) The point is, Chekhov is deeper than a quick scan or first viewing would reveal. In my research, I did manage to find one production that was praised overall for its comic characters. This was performed by a touring company of the Moscow Art Theatre in the summer of 1964, which played a repertoire of Gogol’s Dead Souls, Pogodin’s Kremlin Chimes, and The Cherry Orchard. The tour venues included, among others, New York, London, and Tulane University. Harold Hobson of London’s Sunday Times wrote, â€Å"If there is inspiration in the London Theatre, it is to be found in the Moscow Art Theatre’s ‘Cherry Orchard’.† The New Yorker’s Edith Oliver had this praise to offer Angelina Stepanova, who played Charlotta: â€Å"..as Charlotta, the lanky, nutty governess and amateur conjurer, Angelina Stepanova gives the only legitimate performance of this part I’ve ever seen, making this mysterious woman’s loneliness as important as her freakishness, and at the same time retaining all the comedy of the role.† Oliver concludes her review with a general comment about the comedy of the entire play: â€Å"So much of The Cherry Orchard has gone almost unnoticed in other productions of it. In this vigorous, thorough, and subtle one, the details are all brought to light – the nuances of feeling, the bits of high and low comedy, the clues to personality.And the details are the play.† (Edwards 282-85) However, the tragic translation has, for the most part, become tradition. This is the most disconcerting part about Stanislavski’s flawed interpretations of Chekhov’s plays (and particularly, The Cherry Orchard.) This idea was further enhanced by writers such as George Bernard Shaw, who, in his preface to Heartbreak House (in a reference to The Cherry Orchard) wrote, â€Å"Chekhov, more of a fatalist than Tolstoy, had no faith in these charming people extricating themselv es. They would, he thought, be sold up and sent adrift by the bailiffs; therefore, he had no scruple in exploiting and flattering their charm.† (Magarshack, Dramatist, 387) This opinion, although far from the truth, probably shaped England’s attitude towards the play more than any other critical study. Author Dorothy Sayers defended Chekhov, pointing out that the tragedy of futility never succeeds in achieving tragedy. In its blackest moments, it is inevitably doomed to comic gesture. (Sayers 324) At this point in time, The Cherry Orchard is nearly universally accepted as a tragedy, and to attempt to revive it as a comedy would seem almost futile. But unless we can do so, it will never truly be Chekhov’s play. WORKS CITED Benedetti, Jean. The Moscow Art Theatre Letters. 1991, Routledge, New York. Edwards, Christine. The Stanislavsky Heritage – Its Contribution to the Russian and American Theatre. 1965, New York University Press, New York. Gilman, Richard. Chekhov’s Plays: An Opening Into Eternity. 1995, Yale University Press, New Haven. Golub, Spencer. The Recurrence of Fate: Theatre Memory in Twentieth-Century Russia. 1994, University of Iowa Press, Iowa City. Hingley, Ronald. Chekhov: A Biographical and Critical Study. 1966, Barnes Noble, Inc., New York. Hingley, Ronald. A New Life of Anton Chekhov. 1976, Oxford University Press, London. Hirsch, Francine. The Russian Empire. Lecture – History of Soviet Russia (History 419). 1/23/2004, University of Wisconsin-Madison. Karlinsky, Simon, and Michael Henry Heim. Anton Chekhov’s Life and Thought – Selected Letters Commentary. 1973, University of California Press, Berkley. Kernin, Alvin B., ed. Character and Conflict – An Introduction to Drama. 1963, Harcourt, Brace World, Inc., New York. *Also, this is my source for the text of The Cherry Orchard. Spellings of characters’ names are taken from this translation, except when I’m directly quoting a text. Magarshack, David. Chekhov: A Life. 1952, Grove Press, New York. Magarshack, David. Chekhov the Dramatist. 1952, John Lehmann Ltd., London. Moorty, S.S. The Cherry Orchard: The Glory of the Past. 2000. Bard.org. 4/15/2004 Priestley, J.B. Chekhov 1970, A.S. Barnes Co., Inc., Cranbury, New Jersey. Rayfield, Donald. The Cherry Orchard – Catastrophe and Comedy. 1994, Twayne Publishers, New York. Rayfield, Donald. Chekhov: The Evolution of His Art. 1975, Harper Row Publishers, Great Britain. Reid, John. Vishnevyi sad (The Cherry Orchard). 2004. The Literary Encyclopedia. 4/15/2004 Sayers, Dorothy. The New Statesman and Nation. Feb. 27, 1937, p. 324. Simmons, Ernest J. Chekhov: A Biography. 1962, Little Brown, Boston.

Using the Spanish Verb Haber

Haber is one of the most common verbs in Spanish, used most of the time as an auxiliary or helping verb. Although haber is similar in form to have and is often translated that way, it is unrelated to the English verb. Haber has three main uses as seen below. Haber as an Auxiliary Verb in Compound Tenses When used as an auxiliary verb, haber is the equivalent of the English auxiliary to have (which is much different than the English to have when it means to possess). Haber is used to form what is known as the perfect tenses because they refer to actions that have been or will be completed. (Completed used to be a common meaning of perfect.) As in English, the perfect tenses are formed by following a form of haber with a past participle. He comprado un coche. (I have bought a car.) ¿Has estudiado? (Have you studied?)Han salido. (They have left.)Habrà ¡ salido. (She will have left.)Habrà ­a hablado. (I would have spoken.) In English, it is very common to insert an adverb or another word between the two parts of a compound verb, such as in the sentence he has always gone. But in Spanish (except perhaps in poetry), the two verb parts arent separated. As a beginner, you dont need to learn all the tenses using haber now, but you should be able to recognize haber when it is used. You should also be aware that while the perfect tenses in Spanish and English are quite similar in form, they arent always used in exactly the same way. Haber for There Is or There Are One peculiarity of haber is that it has a unique conjugated form, hay (pronounced basically the same as the English eye) that means there is or there are. Hay una silla en la cocina. (There is one chair in the kitchen.)Hay dos sillas en la cocina. (There are two chairs in the kitchen.) Note that in the above examples, the English there isnt referring to location, but to mere existence. The most common word for there in terms of location is allà ­. Example: Hay una silla allà ­. There is a chair there. Haber can be used in this way in tenses other than the present, although not as commonly. In formal Spanish, as in the second example above, the singular form of the verb is used even when it refers to more than one person or thing. Haber  in Idioms Haber can be used in a number of idioms, which are phrases that have a meaning apart from the meanings of the words in them. The one youll run into most often as a beginner is haber que, which means to be necessary when followed by an infinitive. When used this way in the present tense, the hay form of haber is used. Hay que saltar. (It is necessary to jump.)Hay que conocerlo para comprenderlo. (It is necessary to know him in order to understand him.)Habrà ¡ que salir a las dos. (It will be necessary to leave at 2 oclock.) Conjugating Haber As is the case with most other common verbs, haber is conjugated irregularly. Here is the conjugation for its present indicative tense, the one used most often. yo (I) he I have tà º (informal singular you) has you have usted (formal singular you), à ©l (he), ella (she) ha (sometimes hay) you have, he has, she has nosotros, nosotras (we) hemos we have vosotros, vosotras (informal plural you) habà ©is you have ustedes (formal plural you), ellos, ellas (they) han (sometimes hay) you have, they have

Modern Family Myth Essay - 1153 Words

Debunking the Modern Family Myth According to Stephanie Coontz in â€Å"What We Really Miss About The 1950’s†, the 1950’s were symbolic in terms of the nuclear American family. The â€Å"typical† nuclear American family structure consisted of an unemployed stay-at-home mom, working dad, a child or two, and a suburban home. In her article, she refers to the 1950’s as being the optimal time period for family’s where the ideology in television shows such as â€Å"Father Knows Best† and â€Å"Leave It To Beaver† was not just a depiction of how life was supposed to be lived, but an accurate portrayal of how life actually was back then. Today, the once commonly known family structure has been modified and tweaked and the standard image of a modern day family is no†¦show more content†¦Today’s culture seems to not be able to accept anything that is out of the norm. As a result, gay marriage has been under constant backlash due to the idea that the â₠¬Å"true marriage† and a â€Å"real family† is constituted by the union of a male and a female. Although the model family was previously seen as the union of a male and female back in the 1950’s, things change over time and with it news things are formed. With gay couples increasingly coming out and demanding their rights, the definition of the traditional family is being altered and along with it the disappearance of some American myths and traditions. We now live in the year 2013, and the same ideals that we possessed back in the 1950’s no longer function the same way today; many people are choosing not marry until a later age, and the divorce rate is at the highest it’s ever been, so how do we really define what a â€Å"real† and â€Å"traditional† American family is and who should be able to get a say in who gets to marry or not. With gay marriage becoming an increasingly popular discussion topic there exist constant feuding between which is right or not. We must think through it logically and ask ourselves: how does a homosexual couple not constitute as much of a family as a heterosexual couple? Gay marriage in American culture but more closely religious culture is primarily not accepted but in Evan Wolfson’s â€Å"What is Marriage†, what really constitutes a marriage these daysShow MoreRelatedLeslie Silkos, Yellow Woman: An Old Myth Changed into a Modern Story907 Words   |  4 Pagestale (or myth) is well illustrated in the story â€Å"Yellow Woman† by Leslie Silko. Not only is the story a modern explanation of a traditional Native American myth, but the style that Silko uses to tell it evokes and adapts the oral communication style that those old myths were passed down with. 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Stem Cell Research The Future Of Medicine Essay

Since their discovery in the 1980s, stem cells have been considered one of the most exciting concepts in the scientific community. Stem cells represented untold implications for medicine, and for the last three decades researchers have continued to explore the many opportunities stem cell research has to offer. Today, the future of stem cells is still bright, and scientists are closer than ever to successfully implementing their clinical applications. However, stem cell research remains a highly controversial topic that raises many questions regarding the constitution of personhood and the creation and destruction of human life. These ethical considerations have been a frequent and unfair obstacle to research efforts. Stem cell research is one of the most groundbreaking developments in modern science and medicine, and while the ethical implications must be addressed as the new era of regenerative medicine emerges, it would be a great injustice to allow these questions to impede resea rch. Stem cells are the future of medicine, and the opportunities stem cell research represents must continue to be explored in the coming years. In order to understand the future of stem cells, it is important to first understand their past. Stem cells are a relatively new concept that scientists were completely unaware even existed until the 1980s. 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The Role of Innovation in Business - 2932 Words

The role of innovation in business Introduction Innovation is defined in Schumpeters Theory of Economic Development (1912) in the field of economics. In Schumpeter’s view, innovation is the process that introduces new combinations of production factors into the production system to get potential profits (Shelton, 2009). Schumpeter argued that innovation is composed of five aspects: the introduction of new products, generation of new technologies, exploration of new markets, acquirement of new materials, implementation new organizational forms (Shelton, 2009). As the famous statement of Ralph Waldo Emerson goes, â€Å"If a man can write a better book, preach a better sermon, or make a better mousetrap than his neighbor, though he†¦show more content†¦In addition, Apples stock value has achieved $ 550 billion and has already become the worlds most valuable company (Amit, Zott amp; Pearson, 2012). Even so, growth of Apples stock price can not keep up the speed of profit rate growth in the same period, which means that there is still room to soar (Markides, 1997). Besides, Apple has become the worlds most innovative companies and won the champion of â€Å"Global Top 50 most innovative companies† of Business Week for six consecutive years (Cusumano, 2010). Apples innovation is mainly focused on product innovation and business model innovation. Apple specializes in creating attractive products. Jobs repeatedly emphasized the companys products will be clean and simple. This design concept runs through the entire product line (Thomke amp; Feinberg, 2009). The clean and simple design of Apple’s products is owing to its technological innovation. For instance, iPhone applies over 200 technological patents such as multi-touch, gravity sensor, light sensor, three-axis gyroscope (Pontiskoski amp; Asakawa, 2009). 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It is the love between Romeo and Juliet that makes the play so enduringly popular To what extent do you agree with this statement Essay Example For Students

It is the love between Romeo and Juliet that makes the play so enduringly popular To what extent do you agree with this statement? Essay I personally disagree with this statement but I do think that love and romance are both major parts of the play. Each mood in the play works well with one and other and contrasts well with each other, which makes the play entertaining and work so well. The overarching mood of the play is Love but it would fall to pieces without its other moods. The love is the overarching mood in the play and makes it popular with all of its beautiful images and the enlightening sonnet, which is shared between Romeo and Juliet when they first meet. One of the best love images in the play is when Romeo has first sighted Juliet and he uses a simile to describe her it seems she hangs upon the cheek of night as a rich jewel in an Ethiops ear. He is saying how her beauty is rare like jewels are. It also shows how Juliet stands out against everyone else because of her radiance. The sonnet that is shared between Romeo and Juliet uses words in the lexical set of religion. Shakespeare has done this to make the love between Romeo and Juliet is pure and holy. The fact that Romeo and Juliet had shared a sonnet shows that their love is mutual. These images make people enjoy the play but if there was too much of this the audience would get bored and would not be as mortified by the tragic ending because they would almost be immune to the other moods and emotions in the play. So to balance out the love and romance, Shakespeare has cleverly juxtaposed the love mood with humour and sexual innuendo. The Nurse is a bawdy character used to contrast the love and often comes out with lines that are perhaps intended to shock but make people laugh i. . dost thou fall upon thy face? Thou wilt fall backward when thou hast more wit, wilt thou not, Jule? and this means that when she was a child, Juliet would fall forwards but when she is older she will be on her back when she is having sex. This contrasts well with the love which was coming up in the play and it adds humour to the play which makes the tragic end more effective because Shakespeare builds up your happiness for Romeo and Juliet and almost makes you forget that the chorus has already told of their doomed love. This makes the tragic end more hard hitting, as there is a looming sense of Pathos and dramatic irony, which makes us sympathetic for the couple. The two moods of love and humour are well contrasted and without the humour the love would fail. The violence plays a very big part in the play because the reason that Romeo and Juliets love could never work out is because the families of the two lovers have a grudge that leads to frequent violent confrontations e. g. ct 1 scene 1 the two families servants fight and in act 3 scene 1 Romeo and Tybalt fight which leads to Tybalts death. This makes Romeo and Juliets situation much harder because now there is no chance of the Capulets ever setting their differences with Romeo aside. So by adding the violence to the play, it makes Romeo and Juliets relationship harder. This adds sympathy from the audience and also makes it more entertaining with all of the excitement of the fighting. .u21839d7120b2ddedb3c9fb17465963aa , .u21839d7120b2ddedb3c9fb17465963aa .postImageUrl , .u21839d7120b2ddedb3c9fb17465963aa .centered-text-area { min-height: 80px; position: relative; } .u21839d7120b2ddedb3c9fb17465963aa , .u21839d7120b2ddedb3c9fb17465963aa:hover , .u21839d7120b2ddedb3c9fb17465963aa:visited , .u21839d7120b2ddedb3c9fb17465963aa:active { border:0!important; } .u21839d7120b2ddedb3c9fb17465963aa .clearfix:after { content: ""; display: table; clear: both; } .u21839d7120b2ddedb3c9fb17465963aa { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u21839d7120b2ddedb3c9fb17465963aa:active , .u21839d7120b2ddedb3c9fb17465963aa:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u21839d7120b2ddedb3c9fb17465963aa .centered-text-area { width: 100%; position: relative ; } .u21839d7120b2ddedb3c9fb17465963aa .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u21839d7120b2ddedb3c9fb17465963aa .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u21839d7120b2ddedb3c9fb17465963aa .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u21839d7120b2ddedb3c9fb17465963aa:hover .ctaButton { background-color: #34495E!important; } .u21839d7120b2ddedb3c9fb17465963aa .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u21839d7120b2ddedb3c9fb17465963aa .u21839d7120b2ddedb3c9fb17465963aa-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u21839d7120b2ddedb3c9fb17465963aa:after { content: ""; display: block; clear: both; } READ: How were some sonnets used to express different views on love EssayThis would be good to see on stage as it would be fast paced and would keep the audiences attention. The tragic moments in the play come in small bursts throughout the play which prepares us for the large amount of tragedy at the end of the play. When Tybalt dies that is a very tragic moment, not only for the Capulet family but now there was an even harder situation for Romeo and Juliet as there was no chance of Romeo ever being forgiven by the Capulets now. The tragedy at the end when Romeo and Juliet commit suicide is very moving because the dramatic irony is so strong and there is a large sense of underlying pathos because the audience know that if Romeo had got to the Capulets vault a little bit later then he would have seen Juliet wake up and he would have realised that she was alive but because he didnt know she was really alive and not dead. There is a strong feeling of frustration because we know that Juliet is alive and he doesnt but we cant do anything to stop his impending suicide. With this strong ending people are moved and it has audiences attentive to the play. So tragedy is a key mood in the play and definitely helps to make it popular. Through the whole play there are constant references to Greek Tragedy, which has a lot to do with fate. The fate in this play makes it very popular. At the beginning there are many references to fate in the prologue, which builds up dramatic irony, tension and pathos. There are many words in the lexical set of fate death marked, star crossed, fatal and it makes us realise that nothing can stand in the way of fate and Romeo and Juliet are doomed from the start. The play is revolving around fate because at the start of the play when the two families have a confrontation, the Prince says anyone who fights again will be killed, then Romeo kills Tybalt and Romeo gets banished and it goes on in a chain of events which all build up to Romeo and Juliets death which means that if the two Servants hadnt have started the fight, none of this would have happened, so it again emphasises that Romeo and Juliet were destined to die and that fate controls everything. There are many references to Greek mythology Phaeton, Cynthias brow, Abraham Cupid which would emphasise fate because Greeks were firm believers that our lives were pre-destined and that you cant change the course of fate. So fate was a large part of the play and it makes it very popular with the audience. Shakespeare carefully set out the pace of the play. When he wanted a romantic scene he would slow everything down, have as few people as possible in the scene and have as few stage directions as possible. But when he wanted a fast violent scene he would have lots of people entering and exiting the scene and lots of stage directions, which would make the scene very fast. This would make people more attentive to the play and they would watch it intensively when there were lots and lots of action. And when he wanted to have a slow scene everything was quiet and there would only be one or two people on stage, which would make things gentle. The pace is an essential part of the play because it is very important to keep the audiences attention and pace is a very good way of getting it. In conclusion I have discovered that all of the moods are essential to the play. Although the love is the main mood it would not work without the other moods that back it up and contrast with each other. The play would fall to pieces without all the moods because the plot simply would not work without them.