Top 5 Reasons to Attend Private High School

Top 5 Reasons to Attend Private High School Not every person thinks about going to tuition based school. In all actuality, the tuition based school versus government funded school banter is a well known one. You probably won't think tuition based school merits a second look,â especially if theâ public schools in your general vicinity are truly acceptable, the instructors are qualified, and the secondary school appears to get loads of graduates into great universities and colleges. Your state funded school may considerably offer a lot of extracurricular exercises and sports. Is non-public school extremely worth the additional cash? It's Cool to Be Smart In a tuition based school, its cool to be keen. A first class training is the reason you go to non-public school. In numerous government funded schools the children who need to learn and who are savvy are marked as geeks and become the objects of social mocking. At tuition based school, kids who exceed expectations scholastically will frequently find that the school they are going to will put forth a valiant effort to address their issues, with cutting edge courses, online school alternatives, and more.â Concentrate on Personal Development While the significant concentration at most private secondary schools is preparing your youngster for school, the understudies individual development and advancement go connected at the hip with that scholastic arrangement. That way, graduates rise up out of secondary school with both a degree (once in a while, two-if there is an IB program at the school you pick) and a more prominent comprehension of their motivation throughout everyday life and who they are as people. They are more ready for school, however for their professions and their lives as residents in our reality. Eminent Facilities Libraries, which are currently called media places, are a point of convergence of the veryâ best private high schoolsâ such as Andover, Exeter, St. Pauls and Hotchkiss. Cash has never been an article at those and comparable more established schools with regards to books and examination materials of each possible kind. Be that as it may, media orâ learning centersâ are additionally the focal points of pretty much every private secondary school, enormous or little. Tuition based schools likewise have top notch athletic offices. Manyâ schoolsâ offerâ horseback riding,â hockey, racquet sports, ball, football,â crew, swimming, lacrosse, field hockey, soccer, bows and arrows just as many different games. They additionally have the offices to house and bolster every one of these exercises. Other than proficient staff to deal with these athletic projects, tuition based schools expect their school personnel to mentor a group. Extracurricular activitiesâ are a significant piece of private secondary school programs also. Ensembles, symphonies, groups and show clubs can be found in many schools. Interest, while discretionary, is normal. Once more, theâ teachers guideâ or mentor extracurricular exercises as an aspect of their responsibilities necessities. Inâ tough monetary occasions, the first projects to be cut in quite a while are the additional items, for example, sports, expressions programs, and extracurricular exercises. Exceptionally Qualified Teachers Private secondary school teachersâ usually have aâ first degreeâ in their subject. A high rate (70-80%) will likewise have aâ masters degreeâ and/or a terminal degree. At the point when a tuition based school senior member of personnel and head of school enlist instructors, they search for ability in and enthusiasm for the subject a competitor will educate. At that point they survey how the educator really instructs. At long last, they look at the at least three references from the competitors past training occupations to guarantee that they are employing the best applicant. Non-public school teachersâ rarely need to stress over control. Understudies realize that on the off chance that they cause issues they will be managed quickly and without plan of action. An educator who doesnt must be a traffic cop can instruct. Little Classes One of the top reasons why manyâ parentsâ begin to consider aâ private high schoolâ is that the classes are little. The educator to understudy proportions are commonly 1:8, and class sizesâ are 10-15 understudies. For what reason are little class sizes and low understudy to instructor proportions significant? Since they imply that your kid won't lose all sense of direction in the mix. Your youngster will get the individual consideration the person in question needs and pines for. Most government funded schools have classes numbering 25 understudies or more, and instructors are not generally accessible for additional help outside of typical school day hours. At non-public schools, particularly live-in schools, the desire is that educators are all the more promptly open to understudies, regularly coming in right on time and remaining late to suit additional assistance meetings with gatherings or individual students.â Among different contemplations to consider as you research a non-public school instruction for your kid, one point to consider is thatâ most private high schoolsâ are fairlyâ small, normally 300-400 understudies. That is a lot littler than the ordinary open secondary school which will have 1,000 understudies or more. Its extremely hard to stow away or simply be a number in a private secondary school.

What is literature by Terry Eagleton Essay Example For Students

What is writing by Terry Eagleton Essay To characterize what writing is, Terry Eagleton utilizes different people groups definitions and assesses them against each other. He calls attention to explanations behind every definition to be very much established yet in addition features their shortcomings. Initially, in any case, he begins with the essential inquiry if writing must be anecdotal however right away presents us with the way that English writing consistently contains innovative composition as well as genuine composition. Moreover he clarifies the issue of writings being contrastingly seen in another period. At the point when a writer composes his content he may see it as genuine and afterward right around 4000 years after the fact individuals have changing assessments about that. Eagleton here takes the case of the creators of the Genesis and how they more likely than not accepted their story to be valid. So if writing doesn't need to be anecdotal how might one characterize it at that point. Presently Eagleton acquaints us with the hypothesis of the Russian formalists, an activist, questioning gathering of pundits as he depicts them, that considered writing to be a method of utilizing language not commonly however in outrageous and impossible to miss ways. We will compose a custom article on What is writing by Terry Eagleton explicitly for you for just $16.38 $13.9/page Request now Ordinary discourse is changed to something increasingly composed, progressively specific. For the formalists writing was not composed to pass on thoughts nor history but instead to just utilize the gadgets and structures that it brings to language. So Formalism is an investigation of writing however besides an investigation of semantics in light of the fact that not the scholarly substance but rather the artistic structure and methods were of crucial significance. As a result writing needs to separate our regular language and restore our programmed utilization. At that point, as it were, writing gives us additional opportunities of utilizing language. The issue Eagleton sees here is that there isn't just a single sort of standard language, in light of the fact that an educator from England doesn't talk in a similar way as a rancher in Texas. The English-talking network is too enormous to have an all inclusive regular language, anyway it isn't too large to have a general language for composing an affection letter, for instance. Composed language is the equivalent, however communicated in language contrasts on numerous levels. As a matter of fact the impression of composed language additionally varies in the various social orders of the English-talking network. Another factor in this can be time. What we think to be verse today may have been prosa 500 years prior. To truly comprehend a bit of composing, we need to know the conditions it was written in. Eagleton then reaches the resolution that the formalists were not so much set out to look through the meaning of writing yet rather artistic quality. The embodiment of that was the making bizarre of language. Formalism sees writing only as verse, however there is substantially more to it. And furthermore scholarly gadgets are utilized in numerous different structures than just verse. Indeed, even in structures that are regularly not viewed as writing, for example, promotions, you will discover scholarly gadgets, so the meaning of writing can't be simply founded on the hypothesis of the formalists. The following inquiry Eagleton pose to himself is whether writing must have a self-referential language and a functional reason. It appears he arrives at a comparable resolution as he did with the formalists which is calling attention to that creators probably won't have expected their work to be broke down for its style instead of the substance and that various social orders see the work in various manners. Nervertheless, he at that point causes another point by saying that writings to can become writing essentially on the grounds that individuals treat it like that, so it actually all relies upon how individuals relate themselves to the composition. Be that as it may, at that point he attracts correlations with Formalism again in light of the fact that similarly as each bit of composing can be viewed as verse, each bit of composing can likewise be viewed as non-pragmatical. .uf7e79e40cfe1fc9528f376d74a8f3fed , .uf7e79e40cfe1fc9528f376d74a8f3fed .postImageUrl , .uf7e79e40cfe1fc9528f376d74a8f3fed .focused content territory { min-stature: 80px; position: relative; } .uf7e79e40cfe1fc9528f376d74a8f3fed , .uf7e79e40cfe1fc9528f376d74a8f3fed:hover , .uf7e79e40cfe1fc9528f376d74a8f3fed:visited , .uf7e79e40cfe1fc9528f376d74a8f3fed:active { border:0!important; } .uf7e79e40cfe1fc9528f376d74a8f3fed .clearfix:after { content: ; show: table; clear: both; } .uf7e79e40cfe1fc9528f376d74a8f3fed { show: square; progress: foundation shading 250ms; webkit-change: foundation shading 250ms; width: 100%; haziness: 1; change: obscurity 250ms; webkit-change: mistiness 250ms; foundation shading: #95A5A6; } .uf7e79e40cfe1fc9528f376d74a8f3fed:active , .uf7e79e40cfe1fc9528f376d74a8f3fed:hover { darkness: 1; change: murkiness 250ms; webkit-change: mistiness 250ms; foundation shading: #2C3E50; } .uf7e79e40cfe1fc9528f376d74a8f3fed .focused content region { width: 100%; position: relative ; } .uf7e79e40cfe1fc9528f376d74a8f3fed .ctaText { fringe base: 0 strong #fff; shading: #2980B9; text dimension: 16px; textual style weight: striking; edge: 0; cushioning: 0; content enrichment: underline; } .uf7e79e40cfe1fc9528f376d74a8f3fed .postTitle { shading: #FFFFFF; text dimension: 16px; text style weight: 600; edge: 0; cushioning: 0; width: 100%; } .uf7e79e40cfe1fc9528f376d74a8f3fed .ctaButton { foundation shading: #7F8C8D!important; shading: #2980B9; outskirt: none; fringe range: 3px; box-shadow: none; text dimension: 14px; text style weight: intense; line-tallness: 26px; moz-outskirt sweep: 3px; content adjust: focus; content design: none; content shadow: none; width: 80px; min-stature: 80px; foundation: url(https://artscolumbia.org/wp-content/modules/intelly-related-posts/resources/pictures/basic arrow.png)no-rehash; position: total; right: 0; top: 0; } .uf7e79e40cfe1fc9528f376d74a8f3fed:hover .ctaButton { foundation shading: #34495E!important; } .uf7e79e40cfe1fc9528f376d7 4a8f3fed .focused content { show: table; tallness: 80px; cushioning left: 18px; top: 0; } .uf7e79e40cfe1fc9528f376d74a8f3fed-content { show: table-cell; edge: 0; cushioning: 0; cushioning right: 108px; position: relative; vertical-adjust: center; width: 100%; } .uf7e79e40cfe1fc9528f376d74a8f3fed:after { content: ; show: square; clear: both; } READ: The key highlights of gothic writing EssayMaybe writing simply must be perused and enjoyed by someone and afterward this someone identifies with it and qualities it exceptionally and afterward it is writing. Writing can likewise have the rules of being elegantly composed, yet who is the appointed authority of that. For what reason do we have an idea of what is acceptable writing and what is terrible And isn't awful writing still writing Judged writing at that point. doesn't need to be elegantly composed yet it must be the sort of writing that is decided to be fine. So as a result to that, the way toward choosing what is writing isn't a goal one, and in this manner anything can be called writing. Significant works of writing like Shakespeares can be decided as not being elegantly composed and afterward they would not be writing any longer. So the artistic standard we have today is made by individuals, that in their time made a decision about the bits of composing, as far as being elegantly composed thus they made them writing. In any case, if others would have been the appointed authorities, possibly we would not have the absolute most well known works of writing today. For instance, Shakespeare in his time was bolstered by Queen Elizabeth I and on the grounds that she considered him to be a decent dramatist her kin came to consider him to be a decent author thus his work became writing. A major piece of the scholarly group depends on works from times a distant memory and still we consider them to be writing since we can at present identify with them. Certain humanly feelings and observations may never change like the yearning for affection. Yet every age re-composes crafted by Homer or Shakespeare to make it similar to their own life. How Homer was comprehended in the Middle Ages is most likely extraordinary to how we decipher his work today. As indicated by Eagleton that is the motivation behind why the meaning of writing is so flimsy in such a case that we identify with Shakespeare in another manner than he proposed the crowd of his opportunity to do what guarantees us that in people in the future to come they will see it in one more manner and possibly they won't have the option to identify with it by any stretch of the imagination. Eagleton feels that the choice of a bit of composing being writing is made by esteem decisions in the general public. As he would see it nothing can be sans esteem since all individuals are affected by different things and along these lines are never precisely the same people thus there must be esteems yet additionally biases, etc. It is normal for an individual to pass judgment on another as much as it is normal for this individual to esteem judge the composition of Homer or Shakespeare. And yet the individual is impacted by the worth judgment of the entire society and subsequently there are very few individual qualities. The amount we are affected by the worth decisions of society shows an analysis by the Cambridge pundit I. A. Richards. He gave his understudies sonnets to assess without uncovering the creator or the title of the sonnets and the absolute most commended artists were condemned while not all that notable artists were exceptionally lauded. This shows how much our recognition changes when we realize that we are going to peruse a sonnet by a well known artist, we won't scrutinize it as effectively as we would condemn an obscure artist. In any case, what is significantly all the more fascinating to Eagleton is that Richards understudies all assessed the sonnets in a similar way with similar biases and similar discernments. Obviously that was on the grounds that his understudies were of similar sources and had similar trainings. They didn't just react to the sonnets in artistic manners yet in addition inwardly. Hence this is the last confirmation of how choosing what writing is, can just consistently be in an emotional way. In the long run, Terry Eagleton reaches the inference that the social gatherings that are in the main positions will characterize the worth decisions of each generat

FOREST ELEPHANT AND ITURI FOREST IN CONGO Essay

Timberland ELEPHANT AND ITURI FOREST IN CONGO - Essay Example Then again, the locals chase on the timberland elephants and perform different exercises to continue their life. There is a scarcely discernible difference of contrast between maintaining the regular parts of the woodland and satisfying the necessities of the considerable number of partners. An exploration including the points of view of the considerable number of partners included is required so as to set up that line of contrast. Foundation of Ituri The woodland got its name from the celebrated Ituri River. Limited to the limits of the Uganda fringes and the open locales of Savannah, Ituri backwoods alongside its waterways winds up on the banks of the Zaire River. The timberland is made out of uneven areas secured with thick vegetation and the normal height over the slopes is around 800 meters. The thick vegetation incorporates trees of hardwood type, dominatingly spread over a few sections of land of the land. The timberland is plenteous in its characteristic assets and hence give s tremendous chances to monetary misuses. (Ituri Forest, 2011) Stakeholders Mbutis The locals are the significant partners engaged with changing both monetary and ecological viewpoints of the woodland. The Mbutis, in the past known as the Pygmies, have supported their life in these thick woodlands for a few ages. In spite of the fact that, at present, their populace is remaining around a small 40000, they despite everything assume a significant job in deciding the use of this timberland region. The Mbutis essential method of resource has experienced chasing. In spite of the fact that, the thinking for their chasing campaigns have all been firmly associated with their affordable means, the present patterns of chasing by the Mbutis, doesn't limit to that reason alone. Other financial perspectives are brought into the image, raising various partners, inspired by different results of chasing. There is a wide market opened for exchanging timberland items particularly the meat of deer, mo nkeys and woods elephants. The contemporary patterns in exchange showcase recommend that there is a developing interest for the Antelope meat. Business associations and different business people are focusing on the high business esteem for Antelope meat and thus, independent of the deceptive states of the woods, they travel up right to trade flour, rice and other nourishment items with Mbuti for Antelope meat. Since business chasing gives them the important way to support a forager’s life, there chasing undertakings keep on developing in the Ituri woodland. Aside from this, they develop vegetation and concentrate minerals from the land and trade it for nourishment items. Be that as it may, the assets of minerals and trees have pulled in different partners to utilize these assets for business purposes. The spots once misused uniquely by these locals have become a hotspot for some. Subsequently, there protein supplier’s job that they have been seeking after for over 2000 years is decreasing quickly. Moved pioneers The misuse began in the 1940’s itself when the Belgians opened up the streets for simple vehicle and from that point forward, a few sections of land of land have been cleared out of trees for development and horticulture. One significant result on account of these conditions is the consumption of conventional exchange between the Mbutis and the

Uncommon Applications

Here's the skinny: applying to college is terrifying. You have to somehow sell yourself to people who have either never met you or barely know you – while appearing charming, eloquent, and not desperate. Your parents have one idea where they want you to go, your crazy aunt has another, your little brother doesn't want you to go at all, your friends have their own problems. Somewhere within this torrent of opinions and pressures is you, just trying to remember the appropriate place to use a semicolon in your college essay. Your head definitely isn't wrapped around the idea of leaving the bed you've slept in your whole life and changing the world as you've known it for at least the next four years, if not forever. At least that's where my head is right now. The dreaded college application process is not dreaded simply because it's the most difficult writing anyone has ever done. It's dreaded because you have to look at yourself on a page and see if what you have is enough. Were your grades not that great that one year and now you have to explain your massive mess-up? Welcome to my boat. Were your SAT/ACT scores an embarrassment? What about your extracurriculars – did you really leave your room that often? Right now, no one wants to. But here's the point. I'm throwing everything I have into a college application. My hopes, goals, fears, frustrations, everything. Then you click the Common Application and suddenly all emotions and memories you've ever possessed cascade from your brain and you stare at your computer screen like it's an alien about to eat your face off. As I'm looking at college acceptance rates, it makes me want to hide in my bed and just live with my parents and eat cookies all day. But deadlines are looming, and I have two options: to be the best applicant I can be, including flaws and screw-ups, or to actually live in my parents' house and eat cookies for the rest of my life. Though I love them, I wouldn't want to do that to the m or to me. The application may be called Common, but this process is anything but. Make sure you're not either.

An outline of the Community Service Order - Free Essay Example

Sample details Pages: 9 Words: 2817 Downloads: 1 Date added: 2017/06/26 Category Law Essay Type Argumentative essay Level High school Tags: Community Essay Did you like this example? 109528 Formerly known as a Community Service Order introduced by the Criminal Justice Act 1972, a community punishment order[1] is now regulated by the Powers of Criminal Courts Act of 2000. The aims of a community punishment order is solely to reform the offender whilst he/she remains in the community, allow an opportunity to reflect on the criminal act for which s/he has been sentenced, the order is a method of rehabilitation preventing the offender from falling into a life of criminal activity and is also reparative to the public (particularly the victim).[2] The order, defined by s.163 of the PCC (2000) requires the convicted offender to spend time on unpaid work for the benefit of the community for a period between 40 to 240 hours. The offender is supervised whilst undertaking this work by a member of the youth offending team, a social worker, or a member of the probation service. Don’t waste time! Our writers will create an original "An outline of the Community Service Order" essay for you Create order As outlined in s46 of the PCC(S) Act (2000), the minimum age for a young offender to be sentenced to a community punishment order is 16. It is an alternative to a custodial sentence for the juvenile who having committed the offence, and found guilty of it, would otherwise be sent to a young offenderà ¢Ã¢â€š ¬Ã¢â€ž ¢s institution. For those under the age of 18, the Youth Justice Board would be responsible for locating secure accommodation for the committed juvenile. The other criteria for this sentence is that the court is satisfied by pre-sentence reports of the offenderà ¢Ã¢â€š ¬Ã¢â€ž ¢s ability and suitability to carry out this form of punishment and also à ¢Ã¢â€š ¬Ã¢â‚¬Å" there is somewhere suitable and a type of unpaid work available for the punishment to be carried out.[3] The Youth Justice Board was created by the Government in the provisions set out in the Crime and Disorder Act of 1998. With no specific body responsible in dealing with juvenile crime, the Government set out to create a Youth Justice Board responsible for both the operation and the provision of youth justice services.[4] The Boardà ¢Ã¢â€š ¬Ã¢â€ž ¢s primary aim as set out in s.37(1) of the CDA was to à ¢Ã¢â€š ¬Ã…“..prevent offending by children and young personsà ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ [5] When sentencing a young offender, consideration of the young personà ¢Ã¢â€š ¬Ã¢â€ž ¢s welfare needs (as outlined in s44 of the Children and Young Personà ¢Ã¢â€š ¬Ã¢â€ž ¢s Act 1933) will be paramount but other considerations such as protecting the public from further harm, reforming the offender from committing further acts of crime and allowing the public (including the victim) to have confidence in the criminal justice system will also be taken into account.[6] The youth court will not recommend a community punishment order unless it can be certain that this is the right path for the young offender to reintegrate himself into the community and is convinced that a custodi al sentence would only seek to destroy this reintegration. The court must also be sure that the young offender will be able to carry out the punishment of unpaid work, for it is not an easy option as commonly quoted by young people and the public itself. According to Cavadino and Dignan in 1997,[7] community punishment orders were used as an aid to reducing the prison population, and as discussed later, the very scope of community punishment has been reflected as being à ¢Ã¢â€š ¬Ã…“insufficiently punitiveà ¢Ã¢â€š ¬Ã‚ . [8] However, once the courts have sentenced the young person to a community punishment order, it is then up to the agencies responsible for the supervision of the young offender to be careful in ensuring that no conflicts of timing are made in respect of the personà ¢Ã¢â€š ¬Ã¢â€ž ¢s religious beliefs or any work/schooling schedule.[9] A convicted teenager may well view his sentence in this respect as being of relative ease to him, considering heavy demands of unpaid à ¢Ã¢â€š ¬Ã…“workà ¢Ã¢â€š ¬Ã‚  will not interfere with his à ¢Ã¢â€š ¬Ã…“hecticà ¢Ã¢â€š ¬Ã‚  scheduleà ¢Ã¢â€š ¬Ã‚ . Indeed, Davies et al in their 1996 text on Criminal Justice illustrated the contempt some magistrates demonstrated on the very à ¢Ã¢â€š ¬Ã…“punishmentà ¢Ã¢â€š ¬Ã‚  they had passed sentence on.[10] à ¢Ã¢â€š ¬Ã…“à ¢Ã¢â€š ¬Ã‚ ¦Ità ¢Ã¢â€š ¬Ã¢â€ž ¢s not structured enoughthey come and go as they pleaseà ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚  à ¢Ã¢â€š ¬Ã…“They tend to lose credibility when we have breach hearingsà ¢Ã¢â€š ¬Ã‚ ¦you hear how the administrator has bent over backwards in accepting excuses (in not completing the work allocated to them)à ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚  This view counters the very aim of community punishment orders, in that they are supposed to have a à ¢Ã¢â€š ¬Ã…“just desertsà ¢Ã¢â€š ¬Ã‚  tag attached to them when they are handed down, or to simplify, are meant to punish the offender for his criminal activity. However a young offender is to be punished for his criminal behaviour, the primary aim of the agencies involved has always been the welfare of that very individual, on account of his à ¢Ã¢â€š ¬Ã…“childà ¢Ã¢â€š ¬Ã‚  status. Society and the courts in modern times have recognised that the influences and actions a child participates in before adulthood will usually impress upon him through adult life, which is why the youth courts have to be careful in how they dispense justice upon a convicted young offender in relation to a community service sentence. It is the requirement of the Youth Justice Board and the associated Young Offenderà ¢Ã¢â€š ¬Ã¢â€ž ¢s Teams to prevent acts of crime before a child is immersed so deeply in criminal activity or an offence committed is so serious that it is only a matter of time before a youth court hearing is inevitable. Prosecution is viewed as a à ¢Ã¢â€š ¬Ã…“last resortà ¢Ã¢â€š ¬Ã‚  leaving many victims in despair as the youth continues t o offend depending on his attitude to the à ¢Ã¢â€š ¬Ã…“softly, softlyà ¢Ã¢â€š ¬Ã‚  method. This rehabilitative approach has often been seen as treating offenders with à ¢Ã¢â€š ¬Ã…“kid glovesà ¢Ã¢â€š ¬Ã‚  or condoning the anti-social behaviour of young offenders. Indeed, there are many steps to encounter before a juvenile may find himself in front of a youth court, including programmes such as mentoring, a parenting order where the offenderà ¢Ã¢â€š ¬Ã¢â€ž ¢s parents attend classes on how to improve their disciplinary skills and activities for young people (which have often been reported in the media as rewarding bad behaviour with free outings and holidays). According to the youth justice board[11], these preventative activities are to re-educate the young offender, to re-engage teenagers in their local community in regards to education, employment or training and to encourage them in developing their own role as an individual with understanding to their actions and behaviour. It is recognised in a survey conducted by MORI[12] that young offenders, who are low achievers academically or have been sidelined from the compulsory education system, are the group most at risk in their likelihood to commit crime. When conducting their survey, MORI discovered that peer pressure and committing crime because it was à ¢Ã¢â€š ¬Ã…“funà ¢Ã¢â€š ¬Ã‚  or because they were à ¢Ã¢â€š ¬Ã…“boredà ¢Ã¢â€š ¬Ã‚  were among the greatest reasons why the offender decided in their actions to illicit criminal activity.[13] So what are the alternatives available if the preventative actions should fail, and the offender before a youth court is deemed unsuitable for a community punishment order? Close in range to a punishment order is community rehabilitation and punishment orders whereby the offender is required to undertake the following: to be of good behaviour and lead an industrious lifeà ¢Ã¢â€š ¬Ã‚ ¦ to inform the supervisor of changes in address, or employment; and to comply with the supervisorà ¢Ã¢â€š ¬Ã¢â€ž ¢s orders for visits and in reporting to the officer when required. The above as outlined in Emmins on Criminal Procedure[14], are standard requirements of the offender, and are available for a period between six months to three years. It must be noted that these orders are only for à ¢Ã¢â€š ¬Ã…“matureà ¢Ã¢â€š ¬Ã‚  teenagers over the age of 16 years, where it is hoped they à ¢Ã¢â€š ¬Ã…“appreciateà ¢Ã¢â€š ¬Ã‚  the opportunity being given them as a chance of rehabilitation from a life of crime (with the possibility of a custodial sentence). In all essence though, this order is to be seen as a deterrent with a means of protecting the public from further harm by the convicted youth. Other community based punishments are available for the courtà ¢Ã¢â€š ¬Ã¢â€ž ¢s consideration, depending on the offenderà ¢Ã¢â€š ¬Ã¢â€ž ¢s suitability, and age, though they are not dependant on the element of unpaid work for the duration of the sentence. We will consider each of the following in turn. A curfew order is a requirement for the offender to rem ain in a specified place for a number of hours as agreed by the court. Usually in the form of an à ¢Ã¢â€š ¬Ã…“electronic tagà ¢Ã¢â€š ¬Ã‚  to ensure the offender complies, this order is regulated by the PCC (S) Act 2000, s.37 and is available in youth courts. It is often viewed as a restriction of liberty, regulating movements of the offender, though this type of punishment is not solely used for an offence which is normally punishable by imprisonment. The curfew order has a maximum duration of six months, and is extendable for a monitoring period of between two to twelve hours daily (half this if the offender is aged under 16). Theoretically, according to Stone in his sentencing text, this could add up to a punishment total of 2,184 hours, 9.1 times the length of a community punishment order.[15] Primarily used in youth courts, attendance centre orders has attracted little controversy since their inclusion as a community based punishment, originally under the Criminal Justic e Act, 1991.[16] It is not extensively used, as it has a limited age range, and little is required of the offender apart from attending a centre during his/her free leisure time, presumably to prevent them from being à ¢Ã¢â€š ¬Ã…“boredà ¢Ã¢â€š ¬Ã‚  and being pushed into further acts of criminal activity by their own mindset or peer pressure. The order can be made for a period from twelve up to a maximum of thirty-six hours for a youth between the ages of 16-20 years. Supervision orders introduced by the Children and Young Persons Act, 1969 is a flexible method of à ¢Ã¢â€š ¬Ã…“punishmentà ¢Ã¢â€š ¬Ã‚  and has a wider scope for pertaining to the complex needs of young offenders. Stone[17] argues that it is an appropriate sentence when the individual on the receiving end has complex needs and requires in-depth assessment. This may be more useful when there are à ¢Ã¢â€š ¬Ã…“reasonsà ¢Ã¢â€š ¬Ã‚  behind the criminal act, and the individual has behavioural problems that is not only limited to being subject to influence by their peers, or because they were à ¢Ã¢â€š ¬Ã…“inactive and boredà ¢Ã¢â€š ¬Ã‚ . However, the negative aspect to this sentence is that an individual cannot be changed à ¢Ã¢â€š ¬Ã…“overnightà ¢Ã¢â€š ¬Ã‚  when the supervision order is for a limited period of duration. Also, several agency initiatives, such as social workers, police and probation officers need to collaborate with each other to ensure the aims of the order are being met. With stretched resources; this is less likely to happen. Under s69(3) of the PCC(S)A 2000, a sentence can be passed in the form of an Action Plan, if the court is satisfied that this would be the appropriate means to rehabilitate and prevent the commission of further criminal acts by him/her. This is only available to offenders under the age of 18, and cannot be used in conjunction with any other community based sentence. Available for a limited period up to three months, the juvenile attend s meetings twice a week under the National Standards for Youth Justice guidelines. Under s 69(1)(b) of the 2000 Act, the offender is placed under the supervision of an appropriate officer, and must comply with that officerà ¢Ã¢â€š ¬Ã¢â€ž ¢s requests in order for the plan to be implemented to a successful conclusion. The action plan order has an element not attached to any other community based orders in that the offender must comply with the courtà ¢Ã¢â€š ¬Ã¢â€ž ¢s/officerà ¢Ã¢â€š ¬Ã¢â€ž ¢s demands that he/she stay away from a named area and arrangements for his/her education must also be satisfied, presumably that the offender maintains a good attendance record and behaves accordingly to that effect. Also the court has an option to fix a review hearing to check on the progress of the juvenile concerned. This shows that the courts may not always be convinced of the action planà ¢Ã¢â€š ¬Ã¢â€ž ¢s objectives if its officials require reassurance that the plan has rehabilitated the o ffender.[18] Fines are a means of monetary punishment to remind the offender that he has done wrong (R v Olliver, 1989)[19], though the negative aspect of this is that fines usually have to be à ¢Ã¢â€š ¬Ã…“chased upà ¢Ã¢â€š ¬Ã‚  through the court bailiffs if they are not paid, and if the offender is under 18, then the duty falls to the parent to pay, where in reality this is punishing the à ¢Ã¢â€š ¬Ã…“innocentà ¢Ã¢â€š ¬Ã‚  party who is not in the dock for the crime in the first place. With this wide variety of punishments available to the youth courts, their influence is likely to be affected by the pre-sentence report that is mandatory under the CJA 1991. Easton and Piper in their text, Sentencing and Punishment discovered that much depends on the structure and quality of the report being made to the presiding judge. Indeed, their view is that 40% of reports in high-custody areas were poor or unsatisfactory. So, what does this mean for the young offender who is in t he dock of a youth court, found guilty of a crime and about to be sentenced? The MORI report shows that in the recent year of 2004, a high number of young people committed another crime after being caught by the police for their previous offence.[20] When questioned by MORI what their attitude were to committing crime, 40% of those who took part in the survey stated their primary concern was their parentà ¢Ã¢â€š ¬Ã¢â€ž ¢s reaction, closely followed by the à ¢Ã¢â€š ¬Ã…“fearà ¢Ã¢â€š ¬Ã‚  of being arrested.[21] With community punishments often being viewed as à ¢Ã¢â€š ¬Ã…“softà ¢Ã¢â€š ¬Ã‚  and something to boast about between their friends as if it is a badge of respect that they have à ¢Ã¢â€š ¬Ã…“earnedà ¢Ã¢â€š ¬Ã‚ , or that they à ¢Ã¢â€š ¬Ã…“got off lightlyà ¢Ã¢â€š ¬Ã‚ , there is a real danger that instead of being seen as a second chance to turn their lives round, the community sentences carry little weight in the criminal justice system for juvenile offender s. Easton and Piper[22] point out that in the future, the Action Plan order will seek to encompass all the bewildering array of community punishments, will run for a period of 1-12 months with several interventions from a à ¢Ã¢â€š ¬Ã…“menuà ¢Ã¢â€š ¬Ã‚  which will include the options of mentoring, fines and reparation.[23] The way forward, according to the Home Office is the concentration on supervision orders, with the added combination of a reparation order as laid down in the Crime and Disorder Act, 1998. Implementing this in 2001, the Youth Justice Board developed an Intense Supervision and Surveillance Programme (ISSP), utilising electronic means and human resources to deal with any non-compliance issues. The effect of the order is to attain some form of educational achievements and for the offender to gain an understanding and remorse for his actions.[24] Easton and Piper illustrate the dangers of increasing restrictive regimes on young offenders where reliability is on the resources to implement these programmes. Without the resources, the reduction of juvenile crime remains to be seen. Not only that, but without a structured life and a lack of self-control due to parental irresponsibility,[25] juvenile crime may continue to be a common occurrence in todayà ¢Ã¢â€š ¬Ã¢â€ž ¢s society. Bibliography Books Cavadino P and Dignan J, 1997, The Penal System: An Introduction, 2nd edn. London: Sage Davies, Croall and Tyrer, 1998, Criminal Justice, 2nd edn, Pearson Ed: Essex Easton, S and Piper, C, 2005, Sentencing and Punishment, Oxford: OUP Hale et al, 2005, Criminology, Oxford: OUP Padfield, N, 2000, Text and Materials on the Criminal Justice Process, 2nd edn, London: Butterworths Sprack, J, 2002, Emmins on Criminal Procedure, 9th edn, Oxford: OUP Stone, N, 2001, A companion guide to sentencing, GB: Shaw and Sons Websites https://www.homeoffice.gov.uk https://www.opsi.gov.uk/acts/ https://www.youth-justice-board. gov.uk 1 Footnotes [1] Renamed to current name by: s41 of the CJCSA 2000 [2] pg.156, Stone.N, 2001, A companion guide to sentencing Part Two, GB: Shaw Sons [3] p.390-391, Sprack, J, 2002, Emmins on Criminal Procedure, 9th edn, Oxford: OUP [4] s44(1) and (5)(a) Crime and Disorder Act 1998 [5] https://www.opsi.gov.uk/acts/acts1998/98037f.htm#37 [6] Pg.353, Padfield N, 2000, Text and Materials on the Criminal Justice Process, 2nd edn. London: Butterworths [7] Cavadino P and Dignan J, 1997, The Penal System: An Introduction, 2nd edn. London: Sage [8] pg. 287, Davies, Croall and Tyrer, 1998, Criminal Justice, 2nd edn, Pearson Ed: Essex [9] as outlined in PCC(S) 2000, s.47(2) [10] pg. 94-5, Davies et al, 1996, Criminal Justice, London: Sage [11] https://www.youth-justice-board.gov.uk/YouthJusticeBoard/Prevention/PAYP/ [12] https://www.youth-justice-board.gov.uk/Publications/Downloads/YouthSurvey2004.pdf [13] pg.29, Circumstances of offending, ibid [14] pg. 389, Sprac k, J, 2002, Emmins on Criminal Procedure, OUP: Oxford [15] pg.171, Stone, N, 2001, A companion guide to sentencing : Part Two, GB: Shaw and Sons [16] Now regulated by the Powers of Criminal Courts (Sentencing) Act 2000, ss60-62 [17] 177, ibid [18] pg.186, Stone, N, 2001, A companion guide to sentencing : Part Two, GB: Shaw and Sons [19] R v Olliver (1989) 11 Cr App R(S) 10 [20]Table 3.4, pg.43, https://www.youthjusticeboard.gov.uk/Publications/Downloads/YouthSurvey2004.pdf 21Table 3.7,pg.46, https://www.youthjusticeboard.gov.uk/Publications/Downloads/YouthSurvey2004.pdf 22 paras 7 and 17, 2003, Home Office, Youth Justice à ¢Ã¢â€š ¬Ã¢â‚¬Å" Next Steps, London: Home Office [21]23 pg.254, Easton, S and Piper, C, 2005, Sentencing and Punishment, Oxford: OUP [22]24 ibid [23] [24] [25] Hale et al, 2005, Criminology, Oxford: OUP

Symptoms And Treatment Of Cancer - 1555 Words

Cancer is a disease that is caused when abnormal cells in the human body begin to divide uncontrollably. These abnormal, uncontrolled cells can then spread further into surrounding tissues, effectively harming them. Cancer is genetic, meaning there is a gene coded for this disease present that can be passed down through family. This does not mean, though, that one will be diagnosed with this disease if a family member had it and although it can be treated, cancer has the ability to return. When treating and examining this disease, stages and grading are taken into consideration. These stages go from 1 to 4. 1 being localised cancer (least dangerous) and 4 being largely expanded cancer (most dangerous). Today, more than 200 types of cancer are known to exist, and the one most commonly found in the U.S.A is skin cancer. In fact, it has been reported that 1 out of every 5 Americans will develop a form of skin cancer throughout their lifetime. Skin cancer, too, has many different types , and the most seen are: basal cell carcinoma, squamous cell carcinoma, and malignant melanoma -- which is more dangerous, but not as common as the other two. Basal Cell Carcinoma Basal cell carcinoma is also known as BCC and is the most common yet least risky type of skin cancer there is. This type of skin cancer gets its name from where it begins: the basal cells, which are in charge of producing new skin cells as the elder ones continue to die off. Even though BCC can happen to anyone, itShow MoreRelatedSymptoms And Treatment Of Cancer Treatments1664 Words   |  7 Pagesdealing with cancer treatments now, slight flaws in our practice after therapy have been present; in doing so, patients have experienced personal and emotional discomfort after therapy. Addressing these issues can become informal to patients, as technology have made it easier for our daily procedures to become convenient. The underlining cause of some confusion is not the patients fault but lack of communication from the health care provider after. Therefore, introducing the drawbacks of cancer treatmentRead MoreSymptoms And Treatment Of Cancer Essay1190 Words   |  5 PagesShort Summary Name Institution affiliation Cancer Over the years, cancer has proved to be a menace and a threat to livelihood. It is a class of diseases that have given doctors a hard time to manage. Cancer is characterized by cell growth that is out of control. The disease manifests itself in over 100 types, and each type is recognized with the type of cell it affected initially. The ugly aspect of cancer is that it causes wreckage to the body when cells divide uncontrollablyRead MoreSymptoms And Treatment Of Cancer1175 Words   |  5 Pagesin the United States get cancer every year (Rosen). Cancer is an uncontrollable growth and division of cells throughout the body, and it is a deadly disease that affects many people. Every person is different, every type of cancer is different, and every treatment is different. One main treatment for cancer is chemotherapy. However, saying no to chemotherapy is becoming more frequent among cancer survivors. When choosing to receive or not to receive chemotherapy every cancer patient should kee p anRead MoreSymptoms And Treatment Of Cancer1528 Words   |  7 Pagestumors and cancer, has always looked at cancer and its treatment through a biological lens. Cancer is a disease that develops when cells abnormally divide and multiply without control (Depression and Cancer). The treatment of cancer includes, but is not limited to, chemotherapy. This treatment aims to shrink tumors that result from unnecessary cells that keep dividing and multiplying. As chemotherapy only focuses on the biological treatment of cancer, the psychologically induced symptoms are left unattendedRead MoreSymptoms And Treatment Of Cancer888 Words   |  4 Pageslife-threatening diagnosis, such as cancer, has the potential to be an extremely stressful event and may have long-term effects. Depending on the diagnosis, many cancer patients may experience long-lasting, or chronic stress due to a variety of factors including receiving treatment, experiencing symptoms and side effects of treatment, waiting f or test results, and learning that the cancer has recurred. Patients with cancer often report cancer-related posttraumatic stress (National Cancer Institute, 2012). AccordingRead MoreSymptoms And Treatment Of Cancer995 Words   |  4 Pageshundreds of types of cancers that are known of; anyone can get any kind of cancer. Cancer is an illness in where cells multiply nonstop. This multiplication of cells may lead to death (Insel and Roth 279). Ewing s Sarcoma is a cancer that occurs in the bones which usually happens to younger people, but can still affect anyone. Tumors- an unusual growth in the body that can be cancerous- form on the bone. This is one of the most common bone cancers; however, not the most common cancer overall. It canRead MoreSymptoms And Treatment Of Cancer1432 Words   |  6 Pagesthe use of any kind of drug to treat a disease, but today, it is most used in a cancer context. These drugs can also be known as cytotoxic (i.e. cell-killing) drugs or as antineoplasti c (i.e. anti-cancer) drugs. But what is this complex disease called cancer? Cancer is a multi-step process mainly characterized by uncontrolled cellular growth and proliferation. Chemotherapy is very different from other cancer treatments, such as surgery or radiotherapy. One of the main reasons for this is, althoughRead MoreSymptoms And Treatments Of Cancer1148 Words   |  5 Pagesdeteriorating billions of bodies worldwide, Cancer is one of the biggest killers in the world. Sometimes going undetected, Cancer causes cells to divide uncontrollably and if gone undetected or if treatment fails, is extremely deadly to both humans and animals. Cancer can be located almost anywhere in the body and is able to spread everywhere if uncontained. The treatments most often used to treat Cancer are chemotherapy and radiation. Chemotherapy is a treatment that uses different medication and chemicalsRead MoreSymptoms And Treatment Of Cancer1997 Words   |  8 PagesDocetaxel also sold as Taxotere or Docecad, is a settled threatening to mitotic chemotherapy pharmaceutical that works by intruding with cell division. Docetaxel is affirmed by the FDA for treatment of secretly advanced or metastatic chest infection, head and neck development, gastric tumor, hormone-adamant prostate danger and non small cell lung disease. It works by preventing the disease cells from isolating into 2 new cells, so it obstructs the development of tumor. Docetaxel ties to microtubulesRead MoreSymptoms And Treatment Of Cancer1997 Words   |  8 PagesDocetaxel also sold as Taxotere or Docecad, is a settled threatening to mitotic chemotherapy pharmaceutical that works by intruding with cell division. Docetaxel is affirmed by the FDA for treatment of secretly advanced or metastatic chest infection, head and neck development, gastric tumor, hormone-adamant prostate danger and non small cell lung disease. It works by preventing the disease cells from isolating into 2 new cells, so it obstructs the development of tumor. Docetaxel ties to microtubules

Sakeena Essay Example For Students

Sakeena Essay Lakishmi: Good morning Sakeena Sakeena: Good morning sister Lakishmi: I dreamt last night of my brother Retik. I cannot stand that cruel decision of Khan, I have suffered a lot. I miss you my brother. (Lakishmi snobs/cries) Sakeena: I miss him too, we all do Lakishmi: Doesnt he have a heart. How did he leave him unburied in the desert? (Rises) Acha, I have made my decision. I will go burry him. My brother is not food for the vultures. Sakeena: Are you mad? You crazy fool! Khan will kill you. Lakishmi: Id do anything for Retik my brother, who wouldve done the same thing for me and you. Sakeena: You are not strong enough sister; youd be killed if you get caught. You know its forbidden, its against Khans law. Lakishmi: So, you will not join me in my mission? Sakeena: Its too dangerous. We would die, so why go kill our self. Thank God I still have my brain to think with. Of course I will not come and you must not go as well. Lakishmi: But Retik is our brother. Dont you want to burry him so he can go to heaven? Dont be selfish Sakeena. Sakeena: Lakishmi baby, you are my young sister and I should protect you. Lets just forget about this. Lakishmi: I will not forget about this. Instead, Ill go on my own, I dont even want to come, you traitor. Parados Chorus: On the dusty field waiting for the battle, the weather is filled with fear. Rahul: The scream of Retik arose, announcing war filling the environment with tension. Chorus: The swords were picked by passionate and brave soldiers ready to hit battlefield. Rahul: The sounds of the sword clashing between one another playing the notes of blood. The ground was an ocean of the brothers blood. Chorus: The morning announced victory for the people of Mumbai. Paen Rahul: God of many names Chorus: Please save Antigone and free Creon from the curse. Rahul: God of many names Chorus: A storm seems to be coming, please save us from all the misery that will be raining on us. Rahul: God of many names! Chorus: Open the skies of heaven and listen to our prayers. Dont ignore us Gods; we need you to accept all our prayers. Exodos Dave: No man can foretell his fate. Creon was the most victorious in all battles, and now fate has changed this. Everything is gone and all his lifes joy has failed. Rahul: What news have you got us Dave, speak. Dave: They are dead! Rahul: Dead, who is dead? Dave: Raj is dead. Rahul: Raj! Who killed him? Dave: His own hands did. He killed himself. Rahul: Did Maduri hear about this? Where we too loud? (Enter Maduri) Maduri: I have fainted in the morning after hearing bad news, but speak again tell me what happened. Dave: Lady Maduri, I will tell you everything I have seen, but you may not like it. Maduri: Tell me everything Dave: I went with Khan to bury Retik, but it was too late. His body was eaten by the dogs, so we took all thats left of his body and burned it. Maduri: May he rest in peace (prays for him) Dave: Then we went to the cave where Lakishmi was locked, and we found her dead, hanged by her own hands. Maduri: (Gasps) Dave: Raj was in the cave too. He put his arms around Lakishmi his bride and stabbed himself in front of Khan. Maduri: (Weeps and exits) Rahul: Poor Maduri is in shock for her sons death. Dave: I am worried about her, I will go see her. .uba40f8499c33d1c7c1b8474c67946f8c , .uba40f8499c33d1c7c1b8474c67946f8c .postImageUrl , .uba40f8499c33d1c7c1b8474c67946f8c .centered-text-area { min-height: 80px; position: relative; } .uba40f8499c33d1c7c1b8474c67946f8c , .uba40f8499c33d1c7c1b8474c67946f8c:hover , .uba40f8499c33d1c7c1b8474c67946f8c:visited , .uba40f8499c33d1c7c1b8474c67946f8c:active { border:0!important; } .uba40f8499c33d1c7c1b8474c67946f8c .clearfix:after { content: ""; display: table; clear: both; } .uba40f8499c33d1c7c1b8474c67946f8c { 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; } .uba40f8499c33d1c7c1b8474c67946f8c:active , .uba40f8499c33d1c7c1b8474c67946f8c:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uba40f8499c33d1c7c1b8474c67946f8c .centered-text-area { width: 100%; position: relative ; } .uba40f8499c33d1c7c1b8474c67946f8c .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uba40f8499c33d1c7c1b8474c67946f8c .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uba40f8499c33d1c7c1b8474c67946f8c .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; } .uba40f8499c33d1c7c1b8474c67946f8c:hover .ctaButton { background-color: #34495E!important; } .uba40f8499c33d1c7c1b8474c67946f8c .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uba40f8499c33d1c7c1b8474c67946f8c .uba40f8499c33d1c7c1b8474c67946f8c-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uba40f8499c33d1c7c1b8474c67946f8c:after { content: ""; display: block; clear: both; } READ: My version of An Inspector Calls Essay(Exit Dave to palace) (Enter Khan with Rajs body) Khan: Raj ooh Raj, why did you do this. Was I too harsh for locking up your fiancà ¯Ã‚ ¿Ã‚ ½? You are too young to die Raj, I blame myself for your death my son. You died because of my stubbornness. I didnt listen to you when you told me I was wrong. Rahul: you finally figured out you were wrong, now you get it? Khan: The truth is hard to bear. The Gods have punished me now and took away my son. (Enter Dave from palace) Dave: I have more mad news. Khan: What could be worse than my sons death? Dave: Your wife, Lady Maduri is dead. Khan: Oooh, my lovely wife. Why have you taken her away Gods? Dave: Maduri killed her self and her last words were for you Khan. She cursed you for being evil. Khan: Im surrounded by sorrows. Why is the world so harsh? Is there no pity for me? My wife and son are both dead. They were both angry from me. I caved Rajs fiancà ¯Ã‚ ¿Ã‚ ½ so he killed him self, and Maduri killed her self for the death of her son. Ooh cruel world, take me away. I want to die, someone kill me. (Weeps) I know that I am guilty. I am cursed. Let death come in. I want to die. I was so foolish. Rahul: (To audience) Happiness can never exist without wisdom. Proud men should learn to be wise.

Inherit The Wind Essays - Joseph Conrad, Congo Free State

Inherit The Wind Annonymous The Evil of Man In the novel Heart of Darkness, written by Joseph Conrad, Marlow finds himself in a position where he is faced to accept the fact that the man he has admired and looked up to is a madman. He realizes that Kurtz?s methods are not only unethical, but also inhumane. Marlow comes to realize that Kurtz is evil, and that he himself is also evil, thus Marlow?s disillusion makes his identification with Kurtz horrifying. As Marlow travels up the river, he is constantly preoccupied with Kurtz. Marlow says ?I seemed to see Kurtz for the first time...the lone white man turning his back suddenly on the headquarters, on relief, on thoughts of home...towards his empty and desolate station?(32). From the beginning of his trip, he is compared to Kurtz by all of the people that he comes into contact with, and a great deal of his thoughts are of Kurtz. He wonders how he will measure up to the standards that the company set for him, what Kurtz?s personality is like, and what Kurtz would think of him. The more obsessed he becomes with Kurtz, the more he sets himself up for the horrible reality of what his new idol was truly made of. Upon reaching Kurtz?s station, Marlow?s disillusion begins to set in. He is greeted by an English-speaking Russian whom he takes for a man who on the surface is deceant level-headed person, but after short conversation it is apparent to Marlow that he is talking with a disturbed individual, but that was not what bothered Marlow. Hearing of and seeing the acts committed by Kurtz made Marlow uneasy, and even afraid. It was at this point that Marlow begins his denial of any affinity he feels with Kurtz. He says in regard to the Russian ?I suppose that it had not occurred to him that Mr. Kurtz was no idol of mine?(59). Marlow sees all of the atrocities committed by Kurtz, and is appalled, but when he looks deep with inside himself he sees what he could easily become, and he desperately wants to suppress it. Once Kurtz is on the boat, and headed with Marlow back to civilization, things take a strange turn. Though Marlow and Kurtz have little to talk about, they develop a distinct respect for each other. As Kurtz dies, Marlow accepts this death easily and remains loyal to his dying requests. It troubles Marlow a great deal that there is so much of himself in the things Kurtz did. There is a point where Marlow finds the evil that lurks in heart of all men, and he simply accepts it. This is mostly clearly demonstrated at the end of the story when he claims to be thinking ?Don?t you understand I loved him-I loved him-I loved him?(79). In this quote Marlow lets it all out. On the surface he hated Kurtz?s actions, but he loved his power to fight the standards of society and to live as a true man. Marlow finds out that there is a savage beast in himself, and in all men in his mind. There are a lot of problems that Marlow faces and he maintains his composure. It Kurtz?s lack of composure that Marlow privately admires. In this story Marlow is forced to accept his disillusion with Krutz, and is terrified of the identification that comes along with this acceptance. It is only then when Marlow realizes the true nature of man.

buy custom Jazz Music essay

buy custom Jazz Music essay Jazz is one of the musical that was developed by African Americans and impacted by the harmonic structure of the whites. In most cases, Jazz is marked by the utilization of intonation and blues speeches. There is no specific date that one can account as the day for emergence of Jazz. Research indicate that in the 1840s, there was use of plantation brass accompanied by this kind of music. In fact, the earliest Jazz are said to have been developed in New Orleans which is a city that has mixed cultural tradition and race. Jazz continued to evolve in the days. Most of its composers were thrust into the public sphere. In fact, it became an anthem for the back members of the society. The following paper discusses the effect of Jazz on the black community. Jazz music was an opportunity for expression of the black Americans. In essence, many blacks had faced discrimination in the United States. They were taken in as slaves. The freed slaves, however, did not get similar treatment to the whites. They would work hard for minimal labor. Moreover, they had to use social amenities that were of low standards compared to those of the white. The evolution of the jazz music was thus significant to their exisence. It is because it gave them room to voice their anger, fear and frustration that they did face in their daily life. It is vital to note that Jazz developed from most of the Afro-American music. Moreover, it led to the opening of the discussions regarding segregation and racism based on institution that had characterized the setting. For instance, if Jazz was sung in a public zone, people would unintentionally get into discussion regarding the problem of discrimination. Jazz music thus brought psychological relief to the black Jazz music created a sense of integration among the blacks (Baskerville 44). Every person needs a sense of belonging. In fact, there is no person who would live to exist as an island. The black Americans were not an exception. They were in foreign land. Moreover, they were undergoing different kinds of suffering. Jazz music thus gave them a form of identity and belonging. They developed a feeling of integration towards each other. They would attend such joints and relieve themselves by singing to the popular tunes. In fact, the evolution of Jazz music gave room for many black Americans to find hope amidst social difficulties. They would enjoy social mobility. They would identify with the struggless that each person was encountering. Consequently, it helped them persevere. Research shows that despite the differences, jazz community remained integrated. Jazz music escalated the victimization of the blacks. It is a negative impact of the evolution of jazz. Jazz music gave room to the exploitation and discrimination of the blacks (Baskerville 67). It is evident in how Jazz musicians would be treated. The whites remained in total control of the music industry. The black musicians would be exploited unto death. The whites also through the music developed a clear perception that blacks were inferior to them. Consequently, they continued esteeming their perception. In fact, it seemed as though their actions were justified. However, the ultimate win for jazz was that in the long run, they became recognized. The blacks gained their full identity. They had a passion and a way of life that the rest of the society sought to protect. The discussion reveals that Jazz played a fundamental role in the life of the Black Americans. It was their voice to express their pain and suffering. Jazz gave them a sense of belonging. However, it negatively impacted that by enhancing their victimization. Buy custom Jazz Music essay

The Rule of Self-Reliance in the Nineteenth Century Literature Essay

The Rule of Self-Reliance in the Nineteenth Century Literature - Essay Example The paper will discuss four points: an emphasis on interrelationships, separation of self-sufficiency from isolation, and solitude from loneliness, and the authors’ implication of preserving individuality. Humanity is said to be interconnected with one another, but in the nineteenth century, many of literary works have secluded this concept and embraced self-reliance. Thoreau, Emerson, and Douglass are some of those who have triggered the mindset of readers that self-reliance is not a hindrance to manhood. Starting with Thoreau, his line, â€Å"be sure that you give the poor the aid they most need† (Thoreau 61), suggests that everyone should help those in need. Walden by Thoreau clearly states his life lessons wherein he implies that despite self-reliance, people still need each other (Fletcher-Spear 59). From this point, it can be said that people need each other to survive. Also, a line from Emerson’s Self-Reliance depicts that one â€Å"cannot be happy and st rong until he too lives with nature† (Emerson 11). This is one of his most spiritually satisfying lines implicating that everyone is interconnected and interrelated (Gowler 76). With this in mind, Emerson tends to emphasize that happiness is unattainable unless people never understand that life must be lived alone. Furthermore, Douglass also embedded such a notion in a line in his Narrative stating that if only every master would teach his or her slave how to read â€Å"he would at once become†¦no value to his master† (Douglass 107). What Douglass tries to implicate is that education, literacy, and reason are significant for slaves who strive for emancipation and their masters can be the sole provider of such needs (Kohn 499; Radloff 84). From his piece, he emphasizes that even less-fortunate people in this world, such as slaves, and their respective masters have interrelationships, either it may be for the good of both, or for the benefit of only one party. Altoge ther, the three authors have unique approaches on emphasizing the interrelationships of individuals based on their experiences. Their principles clearly suggest that there is really no man in an island, and everyone needs one another in order to survive. In terms of self-sufficiency and isolation, from this line, â€Å"I lived alone†¦in a house which I had built myself† (Thoreau 5), Thoreau implies self-sufficiency as he can live without the help of anybody, and he separated the idea of isolation from using another line, â€Å"...in my neighborhood† (Thoreau 17). Thoreau emphasizes that self-sufficiency can be seen from living in isolation, but he separated the idea of isolation as he depicted that his neighbors live far from his location and the idea of self-sufficiency as he can construct his own house without the help of his neighbors. In this respect, Thoreau’s practical approach clearly separates self-sufficiency from isolation by means of being practi cal (qtd. in Bodily 213). Also, Emerson’s line, â€Å"a man is to carry himself in the presence of all opposition† (Emerson 4) depicts a clear division of self-sufficiency from isolation because he depicted nothing about being isolated; instead, he implied an optimistic perception that one can stand alone even if others attempt to oppose (Gowler 76). Emerson tends to imply that self-sufficiency can be referred to standing in one’s own principles even if others oppose--this opposition is an exemplary of

A Generalized Thermodynamic Correlation Based on Three-Parameter Essay

A Generalized Thermodynamic Correlation Based on Three-Parameter Corresponding States - Essay Example Moreover, there are discrepancies existing between the extended and the original correlations’ interface. The main objectives of the paper are the development of the analytical correlations basing on the stated three – parameter corresponding state principle. Also, the work is aimed at covering the whole range of Tr and Pr in the practical application of hydrocarbons processing (Lee and Kesler). Furthermore, the work focuses on the improvement of consistence and accuracy of the pre-existing correlations. The achievement of the above stated objectives was based on the two state equations that are similar to Rubin, Benedict and general fluid reference (Lee and Kesler). In the paper, there is the description of the methodologies that can be efficiently used in the in the representation of the thermodynamic functions and volumetric functions. The description is based on the on the 3-parameter corresponding state principle proposed by Pitzer (Lee and Kesler). The functions referred in the description include fugacity coefficients, densities, enthalpy departures, isochoric and isobaric. The description of the methodologies has resulted in the generation of two equations of state that can be effectively used for reference fluids and the two equations are adequately used to represent both the thermodynamic and volumetric properties of both vapour and fluids as a function of the pre-stated 3-parameters within a range where Tr =0.3 to Tr =0.4 and Pr = 0 to Pr = 10. Using the above stated analytical form, there is an improvement in the representation of the properties at critical regions and within low temperatures (Lee and Kesler). The article concludes that, the stated methods are reliable and due to this; they have found wide applications in various in various conditions. Also, it is connoted that the accuracy of the methodologies can be compared to the original Pitzer correlations,

Employment contract Essay Example for Free

Employment contract Essay To raise a grievance at work the first step would be to talk to your line manager, explain the situation and see if the problem can be solved informally. If, however, the grievance cannot be resolved informally then the issue can be raised formally using the following procedure: Stage 1 Employees may request in writing a formal meeting with the line manager to state the grievance. Where the issue involves the line manager, this request should be made to the manager’s manager (area manager). Grievances should be made as soon as possible and in any event within 3 months of the issue complained about taking place. A hearing will be arranged, normally within 10 working days, for the employee to discuss the issue with the manager. A decision will be made once the matter has been fully investigated and the manager will communicate their response in writing within 5 working days. This should include details of the employee’s right to appeal. Stage 2 If the employee is dissatisfied with the decision then they have received in stage 1 then they can take their grievance further and request in writing a formal meeting under stage 2 of the grievance procedure. This will be conducted by a manager other than the manager that carried out the stage 1 meeting. The employee will receive the decision of this hearing in writing within 5 working days. Stage 3 If the employee is still dissatisfied with the decision then they may appeal in writing to the Chief Executive of the Trust within 10 working days of receipt of the stage 2 decision. A further meeting will take place and the decision will be confirmed in writing within 5 working days of the hearing. The decision at stage 3 of the procedure is final, in so far as the Trusts internal procedures are concerned. Bv 1. Data Protection All confidential information should be kept secure by employees in order to protect customers and their families. Confidential information (e.g. customer support plans, support notes and medication administration forms) must not be left in a place where non-authorised individuals may view it. Data should not be passed on to anyone without the consent of the customer or their next of kin. 2. Grievance Any grievances should be reported to the line manager to try to resolve the issue informally. If, however, it is not resolved at this level then there is a grievance procedure in place which enables employees to pursue the matter formally. 3. Conflict Management If employees have a problem with another member of staff and it cannot be resolved between themselves then they should contact their line manager for assistance with resolving the issue. If the conflict involves the line manager or if the employee feels that they are not receiving adequate support then they should report to the area manager. 4. Anti-discriminatory Practice All employees are expected to act with dignity and respect towards each person’s individual beliefs and identity. Customers, accessing Oaklea care and support services, should not be treated less favourably based on their; age, sex, disability, race, religion or belief, sexual orientation, marital status or pregnancy/maternity or gender. 5. Health Safety All employees have personal responsibility in ensuring their own and others health, safety, and welfare at work. We are required to read and apply organisational policies and procedures regarding health and safety, undertake necessary training, wear personal protective equipment (PPE) provided, use safety equipment and safety devices where required and report any hazardous conditions to the line manager or Health and Safety Officer. 6. Confidentiality All information concerning customers and/or their families must be treated  with the upmost respect and all employees have an obligation to protect this information. Confidential information must not be disclosed to a third party either formally or informally (gossip). The sharing of information may be necessary for continuation of good care and support of customers (e.g. between other employees or professions). If employees are asked to disclose information about a customer and are concerned that doing so may breach confidentiality then clarification should be sought via the line manager. 7. Whistle blowing If employees need to raise concern about a risk, malpractice or wrongdoing that affects others such as customers, other staff members, the company or the public then the company’s whistleblowing procedure should be followed. The first stage of this procedure would be to raise concerns with the employee’s line manager either in writing or through a meeting. If the issue involves the line manager or if the employee has already raised their [emailprotected] ?U: concerns with the line manager and feel that they have not been adequately addressed then the second stage of the procedure should be followed. At this stage, issues may be raised either in writing or through a meeting with a Director. If stage 2 has been undertaken and the employees concerns are unresolved or if they feel that the matter is so serious that it should be investigated by the Chief Executive immediately then concerns should be raised either in writing or via a meeting. Any employee raising concerns under the whistleblowing procedure has the right to remain anonymous. Bvi As a Community Home Carer, my role is to provide individualized care and support to people with social care needs so that they may continue to live in their homes and in the community. A care plan is in place for each customer that explains their specific needs and what care they require from us. My duties/responsibilities may include: Assisting customers with washing, bathing, personal hygiene, dressing, toileting, continence and catheter care. Meal and drink preparation and help with feeding where necessary. Helping customers to comply with their prescribed medication and fill out Medication Administration Records (MAR). Supporting customers  with cleaning, laundry, shopping and other household duties as required. Helping customers with mobility skills, transferring them safely where required (e.g. from bed to chair) and helping them to use aids and personal equipment. Providing end of life care. Documenting the care given at each visit in the Daily Support Notes (DSN). Liaising with other carers and health care professionals to ensure continuity of care. By carrying out these duties to a high standard and conforming to all policies, procedures and guidelines, customers will receive a quality service that will help them to maintain as much independence as possible in a safe environment within their own homes. The safeguarding carried out by carers is essential in protecting the health, wellbeing and human rights of vulnerable adults, and ensures that they live free from harm, abuse and neglect. It is our duty to report any safeguarding concerns to the appropriate person(s) so that action may be taken to protect the wellbeing of service users. Bvii a) Following best practice within my work role helps to safeguard vulnerable adults living in the community and ensures that they receive a quality service that promotes health and wellbeing. It is important that I stay within my job role, follow policies and procedures, keep up to date with changes in policies and legislation and keep up to date with training to develop my skills in the workplace. It is also important to work as part of a team, passing on skills where necessary (e.g. to new staff members) and gaining feedback from colleagues. Good communication skills are essential between team members and other professions involved in the care of the service user as this enables continuity of care. b) Failing to carry out the requirements of my role by not following policies, procedures and legislation and not complying with regulatory bodies endangers the health and wellbeing of service users and may put other team members at risk. Not following manual handling procedures, for example, would put me and the service user at risk of injury and not wearing personal protective equipment  when necessary may put me and others at risk of infection. Poor practice may also result in complaints from service users, disciplinary action and in severe cases it may lead to me losing my job, being prosecuted and/or prevented from working in the health and social care setting. Bviii As a Community Home Carer I must follow best practice within my work role and work to the company policies and procedures that mirror laws and legislation. There are also external factors which influence the standards that I must adhere to in my work such as the Care Quality Commission (CQC) essential standards, Skills for Care’s Common Induction Standards (CIS) which are the standards people working in health social care need to meet before they can safely work unsupervised (e.g. manual handling, first aid, health and safety training), the Health and Care Professions Council (HCPC) codes of practice and ADASS’ ‘Safeguarding Adults: A National Framework of Standards for good practice and outcomes in adult protection work’, which sets out a framework of best practice standards. Government initiatives also have an influence on the roles of carers such as ‘Our Care, Our Health Our Say’ which sets out policy goals to make health and social care ser vices that are designed around the patient rather than the needs of the patient being forced to fit around the service already provided. ‘Putting People First’ also aims for a personalised approach to the delivery of adult social care. Bix a) Two different representative bodies which influence my area of work are the care quality commission and the health and care professions council. b) The role of the care quality commission (CQC) is to regulate, inspect and review all adult health and social care services in the public, private and voluntary sectors in England and make sure that they are meeting national standards. These services include hospitals, care homes, GPs, dentists and services in the home (e.g. home carers). The Health and Care Professions Council (HCPC) are a regulatory body set up to protect the public by keeping a register of health and care professionals that meet their standards for training, professional skills, behaviour and health. If professionals fail  to meet these standards then they may be removed from the register and prevented from practicing. The HCPC replaced the General Social Care Council (GSCC) which was abolished in 2012.

How important is Book 11 to the overall meaning of The Odyssey? Essay

How important is Book 11 to the overall meaning of The Odyssey? The overall significance of Book 11 to the epic is that it shows how things change over time (Anticleia's death, the suitors at his home), which can be missed if someone is not around. It also shows us that the Ancient Greeks believe in destiny and intervention from the gods. The sacrifices and prayers from Odysseus and the attention he pays to Teiresias about returning to Ithaca show this. If he did not pay attention to Teiresias he may have done something to displease the gods (such as killing the 'Sun-gods' cattle and sheep). This could have lead to intervention from the gods to prevent Odysseus and his men from returning to their home. Book 11 also shows that they believed greatly in the afterlife, but unlike modern religions they believed that everyone went to Hades (Hell), with the exception of those souls who were left to wander the earth for all eternity. The afterlife was always thought to be a lot darker and bleaker than people now seem to think. It is Circe who tells Odysseus of the trip which he and his men must take. He then has to tell all of his men. All of them are very distraught when they first find out that they must travel to the ends of the earth. They know it is going to be a journey of many perils. This is why Homer describes the men as 'heart-broken' telling us 'They sat down where they were and wept and tore their hair. But their lamentations achieved nothing.' (Book 10, lines 566-568.) This shows that they are greatly disheartened by the news, having thought that their next voyage would take them back to their homeland. They know that there is nothing that they can do to avoid this risk filled journey, which makes it an even more arduous a task for them. It is probable that the men were aware that their end was fast approaching. Any journey to Hades made by a living mortal is going to be dangerous. It would only usually be made by the souls of the dead, who would not need to sail, as Odysseus and his men did. This would have most likely made the men think that they would not complete their trip to Hades or would not return from it. At this point of the voyage I don't think that anyone, with the probable exception of Odysseus, expects to see Ithaca or their family again. It is more likely that knowing they are heading for Hades, t... ...tors and cheats whom this dark world brings forth in such profusion to spin their lying yarns which nobody can test.' (Lines, 364-366.) This too is a possibility, as Odysseus has no proof of what he is saying, and that could be another reason he has offered to stay up to a year. Alcinous then asks Odysseus to continue, as he has 'the artistry of a bard.' (Line 369.), asking more of his friends, their expedition to Ilium and their deaths, saying 'We have endless time ahead of us tonight, it's early for us to go to our beds.' (Lines 373-374.) Odysseus agrees to continue the tale, but does imply he is tired, saying that there is also time for sleep. I think that Homer sees humankind as chess pieces, which the gods or destiny are playing with. From the prophecies made, and what we know to happen after them, it seems that occurrences in the poem have been pre-destined. I think in The Odyssey Homer sees humans as insignificant overall. The have little influence over their lives; the gods decide what will happen with them. The lives of mortals seem to be a game for the gods, where they all want their character to win. Athene wants Odysseus to win, but Poseidon does not.

Cognitive science Essay

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