Discussion Board 8-1 Essay Example | Topics and Well Written Essays - 250 words - 2

Discussion Board 8-1 - Essay Example This presents a real risk especially in cases where the counselor has not found a safety shelter for the victim of abuse. Alternative shelter during handling of a case helps isolate a victim from the abusers and encourage in-depth if not complete disclosure (Jackson-Cherry, 2014). Another reason for delay relates to the dilemma that strikes counselors especially when reporting of a case is likely to lead to separation of parents of an abused. A counselor may wish to advance and find justice treatment while ensuring compactness of the family, but fears breakup of the family upon reporting. To deal with such causes of procrastination, counselors need to stick by the laws and ethics of their respective states regarding reporting of child abuse cases. Another way to avoid procrastinations of reporting child abuse due certain fears is to refer clients to other superior authorities or institutions also concerned with protection of children welfare. Alternatively, a counselor can contact a mandated reporter to report the case on behalf. Section 350 of the Hawaii State’s laws against child abuse require quick reporting of child abuse, and outlines provisions for prosecution of a counselor for late reporting of a child abuse incidence (Hawaii.gov,

Customer Service Plan Essay Example | Topics and Well Written Essays - 1750 words

Customer Service Plan - Essay Example Internal Customers: Owner/CEO: He wants the event to be a success from all aspects and also wants maximum sponsorship deals. Employee Teams (Internal): Sponsorship team: They want to sign maximum fruitful sponsorship deals. Operations team: They want proper coordination between the designers, models, technical staff, auditorium authority, etc. Hospitality team: There motto is to take care of designers, models, guests, sponsors and to look after them in an coordinated manner along with the other two teams. Temporary staff: They might be present if need be, to help in any activity, the teams tell them to perform. External Customers: Designer: They want their designs to be showcased in the best possible manner; they would demand the best infrastructural support for the show. Sponsors: They would want high return from the sponsorship amount they have spent and would demand the broadest mileage for their Brand. Guests: Would want to be taken care of with respect and proper concern. Current innovations: Customer service can play a key role in any industry in today's day and age, especially when differentiation in product offering has almost become commoditised. It is only out of the box 'customer service' that can add value to your business. In the context of event management customer service garners an extra connotation of importance, as event management deals with people and their expectations of a superior event experience from the company. Innovative customer service starts from proper planning about all the resources and also predicting the moot points along with possible areas of failure and taking care of them beforehand along with having contingency supporting...The event will take place on 5th June 2009, at TAFE Sydney Institute, Ultimo. The night would commence with a cocktail party and live entertainment. More than 150 guests will be invited, amongst those will be guests connected with the fashion industry. The event is a unique opportunity for the young designers as well as for the sponsors to connect with the fashion industry and its insiders. Customer service can play a key role in any industry in today's day and age, especially when differentiation in product offering has almost become commoditised. It is only out of the box 'customer service' that can add value to your business. In the context of event management customer service garners an extra connotation of importance, as event management deals with people and their expectations of a superior event experience from the company. Innovative customer service starts from proper planning about all the resources and also predicting the moot points along with possible areas of failure and taking care of them beforehand along with having contingency supporting plans with adequate resources. Communication with the customer and logical assumption of the key necessities in terms of resources are key to its success. When all these come together in perfect synchronization, customers are satisfied and there are possibilities of retaining them or gaining more business opportunities arise.

Tiger Beer Essay Example for Free

Tiger Beer Essay Launched in 1932, Tiger Beer became Singapores first locally brewed beer. It is a 5% abv bottled pale lager. As APBs exclusive flagship brand, it is available in more than 60 countries worldwide including the USA, Canada, Australia, New Zealand and various countries in the Middle East, Europe and Latin America. ] Distribution ? APB has breweries in Singapore, Malaysia, Thailand, Vietnam, Cambodia, China, New Zealand, Papua New Guinea, India, Sri Lanka, Laos and Mongolia. The company has a strong market share in several countries within the Asia Pacific Region, primarily in Singapore, Malaysia, Vietnam, Cambodia, Papua New Guinea and New Zealand. ? In Malaysia, Tiger Beer is produced and marketed by Guinness Anchor Berhad (GAB). ? In the USA, Tiger Beer’s brand is well known in New York and San Francisco. ? In the UK, Tiger Beer can be found in more than 8,000 premium bars/clubs and distribution outlets in its major cities. ? Tiger Beer gained considerable popularity in Detroit in October 2006 due to the Detroit Tigers Baseball Teams entrance into the 2006 World Series. SWOT [pic] Brand position Brand Positioning as is seen from the communications of the Brand selected and their major competition Position Tiger beer as a brand and product that will allow consumers to STAND OUT with Tiger beer. The STAND OUT with Tiger beer campaign idea demonstrates how consumers can beunique, cool and contemporary. With great innovation on the product, it aims at reaching out toconsumers ¶ wants and needs. The strategy was executed mainly in the digital social space withendorsements from key opinion leaders and social influencers online. According to Synovate,perception of Tiger as a beer for good times and fun increased by 14 per cent; an additional 12per cent of consumers described the beer as one my friends approved of; and consumption among young adults increased by six per cent. Competitive Analysis Model The competition faced by Tiger Beer versus its competitors is analyzed using Porter s Five Forces Model to explain Tiger Beer competitive position and strategic advantages. [pic] Competitive Rivalry. The intensity of rivalry helps decide the extent of the value of brands and products in which will create head -to-head competition. It also determines the attractiveness of the industry. Tiger Beer is internationally renowned to be an exotic beer with high quality control. There are many other international beers such as Heineken, Carlsberg, Suntory and Tsingtao etc. With so many brands available, it will create a competitive industry. Their prices te nd to be similar and competition focuses on advertising, promotion and product development. Tiger Beer faces strong competitors and fight for higher market share through Differentitation. The traditional approach often takes to keep in terest and increase consumption is by advertising, POS materials and other promoters. Tiger Beer stands out by appealing to consumer and generates interest in its brand. Tiger Beer targets younger consumers which associate themselves with brands that are seen as cool and trendy by organizing a  µstand out with Tiger Beer ¶ campaign i. e. introduction of three designer bottles based on artistic and music themes. Tiger Beer also in touch with community of over 20,000 Tiger fans in Facebook that created more buzz and had fans share their views plus other activities in bloggers, Twitter, Flicker and YouTube. Threat of New Entrants In every industry, existing and potential competitors play a part in its profitability. The threat of new entrants is highly dependable on industry entry barriers. Newer brands such as Cheese Beer and Corn Beer have emerged. They all has managed to keep transportation cost low and hence, is able to keep beer prices at minimal. Cheese Beer The US Miller Beer Company develops beer which has the unique rich milk fragrance and light malt taste which is very delicious. It is made of the lacto -protein whey as main raw material, malts, and hops which ferments to produce the cheese beer. Corn BeerJapan launched the corn beer, a corn-based materials which is pure in taste,limpid color, low alcohol, low calorie, high in protein, vitamins and effective in human nutrition. Threat of Substitutes The threat that can subst itute a product highly depends on the price allocated to the product and its performance. This allows consumers to turn to different products to satisfy the same basic need. In the beverage industry, there are many substitutes product to Tiger Beer. Wine and hard liquor is highly available on the market. On other extreme, a substitute can be simply a Coca-Cola or a cup of coffee. Bargaining Power of Suppliers The ability to charge customers different prices with differences in the value created for those buyers usually indicates that the market is characterized by high supplier power. Tiger Beer minimize the power of suppliers through close coop eration with the raw materials suppliers and thus minimize the cost impact. Bargaining Power of Buyers With many other brands in the market, consumers have a large variety of brands to choose from. Many bars and restaurants usually carry several brands of beers. However, through effective marketing and promotion, Tiger Beer create the demand for its products and w ith that value instilled in the name, many bars and club will want to carry the brand . Entry to new market. The Indian beer market is in the focus of many players. The latest entry is the launch of Tiger beer, a fine beer brand Indians who have visited Singapore or Thailand might know already. The beer is also not totally new to the Indian beer market, as it was imported into India, but was only made available at exclusive premium outlets. India is the 10th country in the Asia Pacific region where the award-winning Tiger will be brewed, Asia Pacific Breweries Aurangabad Limited (APBAL), a subsidiary of Asia Pacific Breweries Limited (APB), said during the launch of Tiger beer in Mumbai. Tiger was first brewed in 1932, and is today available in more than 60 countries. In view of Indias growing beer market, rising disposable incomes of the consumers and favourable demographics, it is timely that we now offer Tiger as a premium option to the many discerning Indian drinkers who are becoming increasingly experimental in making an informed choice. Other brands offered by APB in India are Barons Strong Brew and Cannon 10000 which cater to the strong beer segment of the Indian beer market, whereas Tiger is positioned for those consumers who want a lower alcohol content. In additional,tiger beer expanding in Canada and successful entry into the United States. Molson, the largest beer importer in Canada, is set to market, distribute and sell the brew originating in Singapore, which is now available only in Ontario and British Columbia. Canadians consume the equivalent of 7 billion cans of beer annually. That is 33 times the size of the Singapore beer market. Positioning itself as a premium pan-Asian beer, Tiger is aiming to carve out a niche for itself in the North American market.

Love in Shakespeares Sonnets

Love in Shakespeares Sonnets Introduction In his poem, Scorn not the Sonnet (Poetical Works, 1827), Wordsworth famously said that the sonnets were the key with which Shakespeare unlocked his heart and whilst this can certainly be seen to be the case, the sonnets do much more than that. Writing of various forms of love, and indeed of love itself, using the contemporary sonnet form, Shakespeare develops the aspects of love which the sonnets reflect into an all-encompassing discussion on the major themes of life itself that continue to inform and direct the human condition, a fact which is perhaps partly responsible for their continuing popularity with both public and critics alike. This dissertation sets out to discover, through close reading of carefully selected representative sonnets and critical context, the way Shakespeare accomplishes this. The sonnet form as Shakespeare, whose 154 sonnets were first published in 1609, and his contemporaries used it was introduced into England in the sixteenth century by Sir Thomas Wyatt who translated sonnets in the Petrarchan form from the original Italian: As we should expect in a period when he [Shakespeare] was beginning to write the sonnet, allusions to Petrarchism become increasingly common. (Whitaker, 1953, p. 88) The Shakespearian or Elizabethan sonnet form differs from the Italian, originally developed by Petrarch in the fourteenth century, principally in form. Both styles are usually comprised of fourteen lines but have a different rhyme sequence and structure. The Petrarchan sonnet consists of an octet (a sequence of eight lines in which the theme is opened) and the subsequent sestet (which reflects on the theme it has introduced), whilst the Shakespearian is structured in iambic pentameter in three quatrains and a couplet, the three quatrains rhyming in abab form and the final couplet rhyming cc. It is important to understand Shakespeares structure because it so often reflects the theme, with the three quatrains each addressing a different aspect of the sonnets focus and the couplet usually providing an epigram summing up the idea which the sonnet reflects. Indeed, Shakespeare does not only use the sonnet form in his poems but also within his plays, incorporating what a contemporary audience would recognise to be evidence of true and even holy love. The most famous example of this is in the first meeting between Romeo and Juliet, written in 1594, where their words are exchanged in sonnet form: Romeo: If I profane with my unworthiest hand This holy shrine, the gentle fine is this: My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. Juliet: Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this; For saints have hands that pilgrims hands do touch, And palm to palm is holy palmers kiss. Romeo: Have not saints lips, and holy palmers too? Juliet: Ay, pilgrim, lips that they must use in prayer. Romeo: O, then, dear saint, let lips do what hands do; They pray, grant thou, lest faith turn to despair. Juliet: Saints do not move, though grant for prayers sake. Romeo: Then move not while my prayers effect I take. (Shakespeare, William. 1954. Romeo and Juliet, Act I, Scene v, p. 30) This is an excellent example of the innovative way in which Shakespeare uses the sonnet form and it is therefore appropriate to look at it in detail in the introduction to this dissertation in order to show the aspects of love with which the discussion will be concerned: From the early poems to the young man of rank, urging him to marry and have a son, through the idealising attempts to negate the space of social difference in the mutuality of private love, to the bitter wit of the Will poems to the dark woman, the player-poet seeks to reduce the gap between addresser and addressee that is the very condition of the Petrarchan mode. It has not escaped commentators or audiences that in Romeo and Juliet Shakespeare represents a moment of reciprocity via the archetype of in commensurability: a sonnet, uniquely shared by Romeo and Juliet in Act 1. (Schalkwyk, 2002. p. 65) In the first quatrain, Shakespeare has Romeo, who was previously infatuated with Rosaline, a state we are given to understand that he has often found himself in before this, declare his feelings in holy imagery which Juliet, in the second quatrain, immediately picks up on and develops. Thus, though inversion of the traditional male role as director is not removed, Shakespeare gifts Juliet with an aspect of equality with Romeo, by making her his equal in wit, a gender specific imperative which is found in both his plays and sonnets alike. Moreover, in the third quatrain, the lovers share their feelings and the structure itself, with each taking separate lines of the sonnet. This mutuality reflects how the play will develop, with Juliet continuing to grow in strength, and also shows the importance of the connection between what appears to be love and what is true love, associated fundamentally with God, as evidenced by the religious imagery of pilgrims and saints and perhaps most impor tantly palmers, which signifies one who has made the pilgrimage to Rome. The contemporary audience would recognise this first dialogue between the lovers as emblematic of true love precisely because it is expressed in the sonnet form. Also, Shakespeare establishes the connective between true love and religion which, as will be seen in the dissertation discussion, is another feature of the sonnets as a whole and indeed the sonnet form. The way in which Romeo and Juliet share the sonnet is, as is noted above (Schalkwyk, 2002. p. 65), very different from the way that the older Petrarchan sonnet form implements the structure to address the theme or indeed object of love. Shakespeares concept of love as expressed in the sonnets is essentially based upon reality, human beings interacting or regarded as representative of love without the necessity to involve the idea of worship as is certainly the case with Petrarchs Laura. Although many of the sonnets are addressed to an unknown and somewhat generically enigmatic female, referred to as the Dark Lady by critics, the sense of the sonnets being concerned with human love in all its aspects is always primary, as Shakespeare writes in Sonnet CXXX: I grant I never saw a goddess go; My mistress, when she walks, treads on the ground: (Shakespeare, William. 2003. Shakespeares Sonnets. ed. Katherine Duncan Jones. p.375) This is a thought that he completes by following the colon with a couplet summation that despite this, or perhaps because of it, his love is as rare as any belied with false compare. It is clear that love for Shakespeare is as concerned with humanity as much, if not more, than the conception of love and the distant, silent, object of that love as divine. Thus, the idea that Romantic love has little to do with love as it is actually experienced is another aspect of love with which the sonnets are concerned and which this dissertation will address. Indeed, one imperative which seeks to involve a less direct form of love is the notion of Platonic love, or love as an ideal, as expressed in Sonnet CXVI: Let me not to the marriage of true minds/Admit impediments (Shakespeare, William. 2003. Shakespeares Sonnets. ed. Katherine Duncan Jones. p.343). It is generally accepted that the first seventeen of the sonnets are addressed to a young man and in these Shakespeare turns more frequently to the idea that marriage should be the object of a mans life. However, he then turns, in sonnets XVIII-CXXVI, to homoerotic expressions of love to a man, identified, simply because of the dedication on the first (possibly unauthorised) publication, by Thomas Thorpe, as Mr. W.H.: The interpretation of the expression only begetter is doubtful. Did Thorpe mean that Mr. W. H. was the fair youth of the sonnets (though on this reading the dark lady also has a claim as a begetter, to some of the sonnets), or was he merely the gentleman who gave Thorpe the manuscriptMr. William Harvey perhaps, who in 1598 married the widowed mother of Lord Southampton? The manuscript can only have come from one in the innermost circle of those who knew Shakespeare and his noble friend. If Southampton was the friend, William Harvey may have been the only begetter. (Alexander Nisbet, 1935, p. 94) Like the Dark Lady, the young man is not identified within the sonnets and the location of his identity has similarly exercised scholars across the generations. However, although it is certainly true that spurious identification is of passing interest: The identity of the fair youth matters much more to those who believe that the poems grew from personal experience than to those who believe that they are poetic fictions, influenced more by sonneteering convention than by life. (Bate, 2008, pp. 41-2) Bates point is well-taken since the actual identity of the object of love is indeed much less important to an appreciation of the sonnets than their importance as representative of aspects of love: Somehow the poems convince each reader that what he or she sees in them is what is really there. But somehow they then sneak up behind you and convince you of something completely different. (Bate, 2008, p. 43) It might be argued, in fact, that precisely because of the lack of knowledge concerning the individual to whom the sonnets are addressed, readers have formed a generic connective with them across the generations which is cathartic in its anonymity: How do we lesser mortals know to perform our lesser miracles of life? Again we face the enigma of all creation, which Shakespeare himself has simply accepted and has nowhere attempted to explain. What was there when there was nothing? And how does something more forever come from something less? Whether the creation be instantaneous, in six days, or in aeons of ages the miracle is no less. And in it we live, and move, and have our being. And perhaps, alas!, have in us too little of the poet to see that there is any miracle at all. (Baldwin, 1950, p. 384) Thus, the individual biographical aspects of the sonnets, though of interest, can never be a primary informative and this may, indeed, be beneficial, as we shall hope to see. Chapter One: The Marriage of True Minds Little is known about Shakespeares life and this has given rise to much speculation about his biographical background: It is one of the ironies attendant on the growth of Shakespeares reputation that even the most diligent scholarship has been able to uncover very little of the background of the poets personal or public life. However, the poverty of detail has merely spurred his biographers to increased scholarly, inferential, and imaginative activity. (Marder, 1963, p. 156) What is certain, since it is documented through baptism of the children, is that he was married to Anne Hathaway, a fairly well connected Stratford girl, older than himself, when he was eighteen, and they had three children: a daughter, Susanna, and twins, Hamnet and Judith. Despite this, or maybe because of it, he spent the vast majority of his life away from home in London where most of his writing took place. There has been a great deal written about how happy or otherwise the couple might have been, especially since he left Anne nothing in his will except his second best bed. Many have read this as an insult but perhaps a more appropriate reading is that the best bed was for guests and the second best the marriage bed therefore to bequeath this to his wife, far from being an insult, was a love token. Carol Ann Duffy writes of this in her sonnet Anne Hathaway: The bed we loved in was a spinning world of forests, castles, torchlight, clifftops, seas where he would dive for pearls. (Duffy, The Worlds Wife, 2000, p. 30) This tender version of love would seem much more appropriate, especially since the first seventeen of the sonnets, known as the procreation sonnets, are largely concerned with the recommendation of marriage to a young man. If Shakespeare was so violently against marriage then it seems unlikely that he would have recommended it. However, as always with the sonnets, this is not as straightforward as it seems with the directive to marry being somewhat complicated by other imperatives with which Shakespeare is clearly concerned, not least his affection for the Fair Youth. The early sonnets in the sequence should be considered as they pertain to the question of marriage itself, therefore, rather than as they relate to Shakespeares life: Shakespeares Sonnets raise a number of problems. We do not know when they were written, to whom they are addressed, nor even if they are certainly autobiographical. (Knight, 1955, p. 3) With this in mind it is not only preferable but essential, therefore, to qualify any discussion on the possible relationship between the sonnet topics and Shakespeares life with the reminder that we know so little about the latter that any inferences must be regarded as tenuously speculative at best. Thus, the marriage question which relates to the first seventeen sonnets cannot be seen as directed in any major sense by the poets own life: The greatest sonnets, those which are neither wholly conventional nor wholly autobiographical, preserve this balance between embroilment and detachment in a way which is truly dramatic. A personal experience may underlie each, but it is experience transmuted, as in the plays, into the correlative form of characters in action. To some degree these characters are the dramatic counterparts of actual people-the youth, the dark woman-though they are not the people themselves. Others belong, as personages, only to the microcosm of poetry: Time, for example, one of the most powerful villains among Shakespeares dramatis personae; and above all, Shakespeares own diverse masks and moods, fully realised and understood. (Mahood, 1988, p. 90) The idea that the sonnets are in any way biographical must, indeed, be questioned but it must also be remarked that the way the words are used within the sonnets might be attributable to Shakespeares personal consciousness: The nature of the wordplay in the Sonnets varies according to whether Shakespeare is too remote or too near the experience behind the poem or whether he is at a satisfying dramatic distance from it. When he is detached, the wordplay is a consciously used, hard-worked rhetorical device. When his complexity of feeling upon the occasion of a sonnet is not fully realised by him, the wordplay often reveals an emotional undercurrent which was perhaps hidden from the poet himself. But in the best sonnets the wordplay is neither involuntary nor wilful; it is a skilfully handled means whereby Shakespeare makes explicit both his conflict of feelings and his resolution of the conflict. (Mahood, 1988, p. 90) Thus, when in Sonnet CXVI he writes of the marriage of true minds (Shakespeare, William, 2003, p.343) he is perhaps inviting us to infer a connective between what he writes and what he feels, an altogether different kind of marriage, metaphorical rather than literal and certainly more of the mind than of the heart. As the sequence begins, the poet addresses the youth familiarly but in an almost didactic tone, of the older to the younger, as here in Sonnet I: From fairest creatures we desire increase, That thereby beautys rose might never die, But as the riper should by time decease, His tender heir might bear his memory: But thou contracted to thine own bright eyes, Feedst thy lights flame with self-substantial fuel, Making a famine where abundance lies, Thy self thy foe, to thy sweet self too cruel: Thou that art now the worlds fresh ornament, And only herald to the gaudy spring, Within thine own bud buriest thy content, And, tender churl, makst waste in niggarding: Pity the world, or else this glutton be, To eat the worlds due, by the grave and thee. (Shakespeare, William, 2003, p.113) The importance of this sonnet in establishing the poets themes throughout the sequence must be stressed, as here we see Shakespeare writing of the transience of beauty, the selfishness of the individual, the battle between desire and fulfilment, the beauty of the natural world and its comparative with human beauty (to which he will return in the well-known Sonnet XVIII and elsewhere) and the basic responsibility of man to procreate or, as the sonnet has it, increase and thereby beautys rose might never die. All of these relate to the human condition and also perhaps to Shakespeares own concerns: In the case of a poet, I suggest it is chiefly through his images that he, to some extent unconsciously, gives himself away. He may be, and in Shakespeares case is, almost entirely objective in his dramatic characters and their views and opinions, yet, like the man who under stress of emotion will show no sign of it in eye or face, but will reveal it in some muscular tension, the poet unwittingly lays bare his own innermost likes and dislikes, observations and interests, associations of thought, attitudes of mind and beliefs, in and through the images, the verbal pictures he draws to illuminate something quite different in the speech and thought of his characters. (Spurgeon, 1935, p. 4) Thus, the fact that the boy is referred to in relation to fairest creatures facilitates the poets directive that this places upon the individual a responsibility: beauty is not given to die but to be carried on by the tender heir. The register is imperative and commanding, with the poet adopting the voice of one who has the authority to instruct by reason of superior age and wisdom, hence perhaps the juxtaposition of riper and decrease in the preceding line to reference to the tender heir and memory. The youth is instructed that he is, in common parlance, his own worst enemy, Thy self thy foe, since he does not see the waste of his beauty which lies in his refusal to share his gifts with posterity via procreation. This accusatory tone is extended to the self-abuse of masturbation in Within thine own bud buriest thy content, which also bears the pun of pleasure and substance, and the youth referred to as a glutton and tender churl, the latter implying an indulgence in the chiding of t he boy. This is, of course, the supreme image of the waste with which the poet is concerned since to make a famine where abundance lies is almost seen as a blasphemy, refusing, selfishly, to procreate and eat the worlds due by the selfish pursuit of personal indulgence: contracted to thine own bright eyes, as with Narcissus, in love with his own reflection and failing to see the self-destruction that is inherent in this. In addition, by referring to the boy in terms of a rose, the poet introduces the classic Romantic emblem of love as well as re-emphasising the transience of the poets beauty. This idea of beauty and its connective with nature is again related in terms of a comparative with natures beauty and inveterate perishability in Sonnet XVIII: Shall I compare thee to a summers day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summers lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed, And every fair from fair sometime declines, By chance, or natures changing course untrimmed: But thy eternal summer shall not fade, Nor lose possession of that fair thou owst, Nor shall death brag thou wanderst in his shade, When in eternal lines to time thou growst, So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee. (Shakespeare, William, 2003, p.147) The comparison of the transience of natures beauty with that of the youth to whom the poem is addressed is clear, yet the rhetoric of the opening seems to imply an equivocal nature to the connective of the extended metaphor that follows. The tentativeness of the image is also emphasised by this questioning in the first line and it enhances both the intimacy of the register of address and the relationship of the poet with the wider readership. This latter is important because it is so much a concern in the poem, with the idea of immortality attached here to writing as it was previously attached to procreation. The common denominator here is the idea of creation itself and its connective with the eternal. This is perhaps one of Shakespeares more famous sonnets, if not the most famous, therefore it is fitting that in a dissertation concerned with the aspects of love which the sonnets present, attention should be paid to the aspect of the writing which pertains to the process of creation and its connective with the reader. It is interesting to note, indeed, that the poet chooses to stress the importance of the eternal lines which he is composing and how this overcomes the basic transience of life and beauty whether in nature or humanity. Indeed, the punctuation of this sonnet is indicative of its imperative since there is frequent usage of the colon throughout, implying a thought begun and completed in each quatrain, functioning almost as enjambment and enhancing the idea that the many aspects of beauty and life which this sonnet covers are embodied within one thought as evidenced in the single extended metaphor which informs the sonnet as a whole. The poets almost godlike assimilation of the power to grant immortality appears dangerously hubristic in abstract and indeed encourages the inference that Shakespeare was aware of the strength of his poetic gifts and their ability to confer a kind of immorality on the object of love, who by the end of the sonnet has become subject to the sonneteer rather than in command. As the poet is also using his gifts to describe the loved one via nature, the features of the numinous within nature become connected with this hubristic stance. Thus, natures changing course and Chance, which significantly begins a line, are to some extent negated, or at least qualified, by the poets art. Features of life which terrify, therefore, such as death cannot brag in the face of the eternal nature of Art: Shakespeare prophetically felt the immortality and universality of his plays even though he seems to have made no great effort toward their preservation in print. (Marder, 1963, p. 361) This might, this sonnet would seem to suggest, also be extended to the sonnets. Indeed, in daring to criticise the glories of nature, Shakespeare appears to place creative Art above it, since it, unlike all that is natural, survives, only, though, as long as it is appreciated, as the final couplet significantly testifies: So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee. In this way, Shakespeare demonstrates an awareness of the fundamental importance of the connection between writer and reader, reinforced perhaps by his experience as an actor and writer of drama. Hence, the voice of the actor may be perceived in the words of the sonneteer and universality as well as the eternal perceived in both: On this planet the reputation of Shakespeare is secure. When life is discovered elsewhere in the universe and some interplanetary traveler brings to this new world the fruits of our terrestrial culture, who can imagine anything but that among the first books carried to the curious strangers will be a Bible and the works of William Shakespeare. (Marder, 1963, p. 362) Thus, Shakespeare may be seen, via the sonnets and plays, to transcend what is perceived as immediate in aspects of love and engage with the eternal. Chapter Two: I do believe her though I know she lies The potent sexual content of the sonnets becomes a major directive following the romantic turning point of Sonnet XVIII. The sequence moves powerfully from restrained yet poetic discussion of aspects of love to explicit sexual references which are concerned more with lust than love and often deceit is linked to this and this duplicity is most often associated with the heterosexual sonnets. Importantly, the passion is not directed solely towards heterosexual love, instead it involves an equal, if not stronger, reflection of homoerotic desire, with the Fair Youth and the Dark Lady equally powerful in the poets passion, indeed, often the two overlap producing an androgynous aspect to the passion which also appears in the plays: The first thing that startles the reader about the sonnets is the emotional virtuosity of the protagonist. The poems appear to have been composed over a longer period of years, and to cover a greater range of passionate experience, than any one of the plays. In recognizing the variety of moods and attitudes Shakespeare accumulates in the sonnets, we may choose either to admire his protean nature as an actual passionate friend and lover, or to stress his dexterity in accumulating such an extraordinary range of amatory motifs from literary sources. Either his own nature was unusually flexible and susceptible, or he deliberately chose to display the full scope of literary permutations of which emotional relationships are capable. Probably both views are true: he dexterously coordinated first-hand experience with the accumulated resources of the sonnet tradition, from the solemn and sentimental to the cynical and outrageous. (Richmond, 1971, p. 19) This is particularly noticeable in Sonnet XX where the poet longs for the youth to be a woman and the homoerotic replaces the marital directive which appeared in the didactic tone of the first sonnets in the sequence: A womans face with natures own hand painted, Hast thou, the master mistress of my passion; A womans gentle heart, but not acquainted With shifting change, as is false womens fashion: An eye more bright than theirs, less false in rolling, Gilding the object whereupon it gazeth; A man in hue all hues in his controlling, Which steals mens eyes and womens souls amazeth. And for a woman wert thou first created; Till Nature, as she wrought thee, fell a-doting, And by addition me of thee defeated, By adding one thing to my purpose nothing. But since she prickd thee out for womens pleasure, Mine be thy love and thy loves use their treasure.(Shakespeare, William, 2003, p.151) Shakespeare confronts directly here the clear belief that women are duplicitous and deceitful and that the master mistress of his passion, though gifted with a womans gentle heart is not acquainted/With shifting change, as is false womens fashion. The eye, the traditional window of the soul, is more bright but less false. Thus, the poet suggests that the beautiful youth has all a womans best gifts but none of her faults, a state of perfection to be idealised in desire. Shakespeare develops this by writing directly of the sexual difference where the punning prickd is clearly a reference to the redundancy of the penis for the poet. Nature here is the enemy, even the jealous sexual predator, having me of thee defeated thus frustrating the desires of the poet by changing what he perceives to be the original intention, to create a woman, in the addition of the male organ of procreation. The amorphous image appears to be the ideal with neither male nor female specifics to obscure or defeat the perfection of the union. Whether this desire is linked to Shakespeares own desire is equivocal as are all inferences of autobiographical content, it is tempting but dangerous to make too may autobiographical assumptions. However: In depicting this blend of adulation and contempt, and in all those sonnets where verbal ambiguity is thus used as a deliberate dramatic device, Shakespeare shows that superb insight into states of strangely mixed feelings which enabled him to bring to life a Coriolanus or an Enobarbus. Like Freud, he found the causes of quibbling by studying his own quibbles; and the detachment which such an analysis implies imparts to the best of the Sonnets that objectivity we look for in the finest dramatic poetry. (Mahood, 1988, p. 110) Certainly, there is a Freudian homoerotic subliminal here but there is no evidence to suggest that this was an actual experience of the poet any more than we can say that he wrote Hamlet therefore he must have experienced being the Prince of Denmark. To do either is to ignore Shakespeares imaginative genius and his ability to transmute the fancy into the creative, with both forming then a reality which has little if any connection with fact. So, although Shakespeare may have had sexual liaisons with both sexes and been crossed in love, the genius is in producing what can be seen to be unrelated to what might possibly have occurred in fact into an emblem of a generic tendency in humanity to which most of us can relate: If Shakespeares speaker fictionalized the young man, so too he fictionalizes himself (Berry, 2001, p.1). Having said that, Sonnet XX has been seen as offering significant clues not only to the nature of Shakespeares own sexuality but also to the identity of the Fair Youth himself and certainly to the reality of the human image even in its placing, as Kathryn Duncan Jones has pointed out in her notes to her 2003 edition of the Sonnets (the edition used throughout this dissertation): The placement of this anatomical sonnet at 20 may allude to a traditional association of this figure with the human body, equipped with twenty digits (Duncan Jones, 2003, p. 150). The direct connection which Duncan Jones makes between anatomy and imagination in this sonnet is interesting in that it breaches the gap between what might be seen to be metaphorical and what is actually a human figurative. Indeed, she goes on in her Introduction to expand on this: Many more numerological finesses may be discerned. For instance, the embarrassingly anatomical sonnet 20 [which] probably draws on primitive associations of the figure with the human body, whose digits, fingers and toes, add up to twenty (Duncan Jones, 2003, p. 101). As to the identity of the youth to which clues are supposedly to be found in this sonnet, they largely attach to the usage of the word, or name it is suggested, of hue and hues (spelt Hew and Hews in the Quarto). This, it has been mooted, might relate to a specific individual, especially as critics have noted that the name appears in one form or another, even if only in disparate letters, throughout the sonnet. As with much of the investigation into a connective between Shakespeares life and his Art, the link is at best speculative and at worst spurious and in either case somewhat superfluous: The sonnets have an extraordinary capacity to elicit categorical statements from their interpreters. It is announced that the youth is Southampton, the youth is Pembroke, the youth is nobody, the dark lady is Mary Fitton, she is Aemilia Lanyer, she is nobody, the sonnets are based on experience, they are not based on experience, the love was not homosexual, the love was homosexual, the love was a dramatic fiction which ha

Ethics of Governments Stance of Homosexuality Essay -- essays researc

Homosexuality, when defined by a dictionary, reads [as a] "sexual desire or behavior directed toward a person or persons of one's own sex ." While its opposite, heterosexuality, is described as: "[a] sexual feeling or behavior directed toward a person or persons of the opposite sex ." Homosexuality can be traced back to the earliest pieces of recorded history, although its definitive origin is unknown, many scientists believe that homosexuality exists in nature, although this is subject to interpretation ("Homosexuality" Wikipedia). Throughout its existence, this lifestyle, or as some call, "choice" has been subject to overly harsh scrutiny from both the legislature and culture. Why should it, that a nation which is founded on principles of freedom, not allow their own citizens to be able practice homosexuality free from societal and government persecution and discrimination? The foundation of the American government is known as the constitution, this document is what all freedoms given to the citizens of the United States receive, along with passages on government. It states...

Downfall Of The American Dream in The Great Gatsby :: The Great Gatsby

Authors use symbolism in their written expressions in order to enhance the thematic interests of the novel. The use of symbolism allows the reader to interpret the story, which in turn, stimulates a more personal, imaginative, and meaningful experience. Scott F. Fitzgerald’s, The Great Gatsby, became an instant classic because of the symbolism used to enhance the theme throughout the novel. Without this symbolism, the theme of the withering American Dream would have been less than adequate, and the book would have never attained the status and popularity among readers that it does today. The most prominent and influential symbols are the green light, Gatsby’s shirts, and the Valley of Ashes. When Gatsby is first seen, “he stretched out his arms toward…a single green light, minute and far way, that might have been the end of a dock.';(Fitzgerald 26) The green light that he appears to be reaching for is the light on Daisy’s dock. In Gatsby’s early life he had a romantic relationship with Daisy. However, he went away to war and when he came back she was married to an extremely wealthy man, Tom Buchanan. Gatsby concluded in his own mind that in order to win Daisy’s love, he too had to become wealthy. After he established himself financially, he bought a house directly across the water from Daisy and her green light. He associates Daisy with the green light, and it becomes a symbol of her throughout the novel. “The whole being of Gatsby exists only in relation to what the green light symbolizes.';(Bewley 41) Gatsby becomes so infatuated with the green light that it is almost as if Daisy does not even exist. She becomes no more than a romant ic dream within the green light on the dock. At last he realizes this when he and Daisy meet and, while staring at the green light, link arms. He finally attains what he thought he wanted and the green light becomes no more than a green light. This false sense of reality brings Gatsby great melancholy when he realizes that Daisy is not as great as he thought she was. This is similar to the feelings immigrants were overcome by when they reached America. They had been told their whole lives that America was the land of opportunity and that the streets were paved with gold, but when they got there they realized it wasn’t all that different from the homeland which they so eagerly deserted.

Serial Dilution Homework

Serial Dilution Homework Problems Name:_Vidya Punati_____________________ Section #:__36_______________________ 1. In the image above, the final dilution is 1:____1X10^-8___________________. 2. You make six 2-fold serial dilutions of a solution. Your final dilution will be 1:_64_________. 3. You dilute 1 ml of an unknown sample of bacteria to 1 x 10-6 and plate out 100? l onto a Petri dish. The next day you count 64 colonies.The number of viable bacteria in the original sample was a. 6. 4 x 107 cells/ml b. 6. 4 x 108 cells/ml c. 6. 4 x 109 cells/ml d. 6. 4 x 1010 cells/ml 4. A 1 ml sample of bacteria was diluted to 10-6 and 100? l was plated on the Petri dish at right. What was the approximate concentration of the original sample? 8 x 10^7 bacteria per mL. | | 5. What are two reasons serial dilution is a useful technique for counting populations of bacteria? ) When there are a lot of bacteria, it is hard to count undiluted colonies accurately because there could be hundreds of them. Serial dilution is a useful technique because the colonies are counted twice with different people and the average number of colonies is reported as the number of bacteria present in the sample after multiplying the dilution factor. 2) If the number of bacteria in the samples is high, colonies of bacteria are likely to cover the whole plate so that one cannot count any colonies at all.