Communication between Men and Women Free Essays

As everyone knows by now, there is a difference between a man and a womans outer appearance. What some people do not realize is that a man and a woman are also different in communication techniques. Generally speaking, men and women fall into two categories when dealing with communication techniques. We will write a custom essay sample on Communication between Men and Women or any similar topic only for you Order Now When men talk, it is for giving information. Deborah Tannen says this informative speaking is report-talk. Report-talk as defined by Deborah Tannen is public speaking. Women on the other hand, use small talk to communicate. Small talk is a conversation which is usually considered to be short and meaningless. Deborah Tannen states that this communication technique of women is rapport-talk. Rapport-talk as defined by Deborah Tannen is private speaking. This essay will discuss the following: (1) How Deborah Tannen and John Gray are similar in respect to their views on communication between men and women (2) how Tannen and Gray are different in their views on communication between men and women (3) the effects that result from these different types of communication (4) which essay is in agreement with my personal opinion and (5) the suggestions about communication from the essay. Deborah Tannen and John Gray are two authors who have many similarities. One similarity is the fact that both authors notice that men and women do speak differently. Tannen suggests that the way that men and women communicate is something that is learned from the early stages in life. From childhood, men learn to use talking as a way to get and keep attention. So they are more comfortable speaking in large groups made up of people they know less well-in the broadest sense public speaking. From childhood, girls criticize peers who try to stand out or appear better than others. People feel their closest connections at home Both authors realized men and women have different ways of talking. However, their views on the communication techniques are different. Deborah Tannen suggests that For most men, talk is primarily a means to preserve independence and negotiate and maintain status in a hierarchical social order. Deborah Tannen also suggest that women talk when with one or a few people they feel close to and comfortable with John Gray however says To fully express their feelings, women assume poetic license and use various superlatives and metaphors, and generalizations. Men mistakenly take these expressions literally. Because they misunderstandthey commonly react in an non-supportive manner. John Gray believes men use speech as a way of conveying facts. Women tend to look for support when they are talking, but do not ask for it; they feel the request is well implied. John Gray also theorized that when a man is upset or stressed he will automatically stop talking and go to his cave to works things out. Men are unable to express their feelings as well as women and this is why they go into a cave. Also men do not want to worry their partner. Men try to make their partner happy. Men think that their partner will be happy if they do not have to worry about the man. Women tend to believe that you can never abandon a friend who is upset. It doesnt seem loving to abandon someone when they are upset. Women instantly want to support men in the way they want to be supported, her intentions are good but it is counterproductive. Men show love by not worrying. How to cite Communication between Men and Women, Essay examples

Modernism in the Old Man and the Sea Essay Example For Students

Modernism in the Old Man and the Sea Essay Outline1 Introduction2 MODERNISM2.1 The Explosion of Modernism: 1910-19303 Characteristics of Modernism3.1 Stream of consciousness3.2 Internal monologue3.3 Realism as a literary technique4 Characteristics  of Realism Introduction 1. The definition of Modernism Chapter one: 1. The theory of Modernism : Broadly speaking, ‘modernism’ might be said to have been characterized by a deliberate and often radical shift away from tradition, and consequently by the use of new and innovative forms of Expression Thus, many styles in art and literature from the late 19th and early 20th centuries are markedly different from those that preceded them. The term ‘modernism’ generally covers the creative output of artists and thinkers who saw ‘traditional’ approaches to the arts, architecture, literature, religion, social organization (and even life itself) had become outdated in light of the new economic, social and political circumstances of a by now fully industrialized society. Amid rapid social change and significant developments in science (including the social sciences), modernists found themselves alienated from what might be termed Victorian morality and convention. They duly set about searching for radical responses to the radical changes occurring aro und them, affirming mankind’s power to shape and influence his environment through experimentation, technology and scientific advancement, while identifying potential obstacles to ‘progress’ in all aspects of existence in order to replace them with updated new alternatives. All the enduring certainties of Enlightenment thinking, and the heretofore unquestioned existence of an all-seeing, all powerful ‘Creator’ figure, were high on the modernists’ list of dogmas that were now to be challenged, or subverted, perhaps rejected altogether, or, at the very least, reflected upon from a fresh new ‘modernist’ perspective. Not that modernism categorically defied religion or eschewed all the beliefs and ideas associated with the Enlightenment; it would be more accurate to view modernism as a tendency to question, and strive for alternatives to, the convictions of the preceding age. The past was now to be seen and treated as different from th e modern era, and its axioms and undisputed authorities held up for revision and enquiry. MODERNISM The first half of the nineteenth century saw an aesthetic turning away from the realities of political and social fragmentation, and so facilitated a trend towards Romanticism: emphasis on individual subjective experience, the sublime, the supremacy of Nature as a subject for art, revolutionary or radical extensions of expression, and individual liberty. By mid-century, however, a synthesis of these ideas with stable governing forms had emerged, partly in reaction to the failed Romantic and democratic Revolutions of 1848. Exemplified by ‘practical’ philosophical ideas such as positivism, and called by various names – in Great Britain it is designated the ‘Victorian era’ – this stabilizing synthesis was rooted in the idea that reality dominates over subjective impressions. Central to this synthesis were common assumptions and institutional frames of reference, including the religious norms found in Christianity, scientific norms found in classical physics and doctrines that asserted that the depiction of external reality from an objective standpoint was not only possible but desirable. Cultural critics and historians label this set of doctrines Realism, though this term is not universal. In philosophy, the rationalist, materialist and positivist movements established a primacy of reason and system. Modernism as a literary movement reached its height in Europe between 1900 and the mid1920s.‘Modernist’ literature addressed aesthetic problems similar to those examined in non-literary forms of contemporaneous Modernist art, such as painting. The general thematic concerns of Modernist literature are well-summarized by the sociologist Georg Simmel: â€Å"The deepest problems of modern life derive from the claim of the individual to preserve the autonomy and individuality of his existence in the face of overwhelming social forces, of historical heritage, of external culture, and of the technique of life†. The Modernist emphasis on radical individualism can be seen in the many literary manifestos issued by various groups within the movement. The Explosion of Modernism: 1910-1930 On the eve of World War I, a growing tension and , unease with the social order, manifested itself in artistic works in every medium which radically simplified or rejected previous practice. These developments began to give a new meaning to what was termed Modernism‘: it embraced disruption, rejecting or moving beyond simple Realism in literature and art. The Great War of 1914-18 marks a fundamental break between the old world and the new. The experience of the war shattered people’s faith in society and its institutions. People were horrified by the effects of war and mechanized society in general. They were interested in recovering the unique experience of the individual by exploring his/her inner world. The Victorian moral universe collapsed and was replaced by a climate of moral ambiguity, by a sense of emptiness and lack of values. The Modernist novel broke with most of the conventions which had characterized Victorian fiction. First of all the omniscient narrator as moral guide was replaced by the direct or indirect presentation of characters’ thoughts and feelings. Secondly many novels no longer followed a linear plot or a chronological sequence of events. The Modernists turned away from the idea of the novel as a mirror of society and from the sense of social responsibility felt by the Victorian novelists. A nove l can be set in one day and the analysis of a single moment can tell us more about a character than a traditional narrative life-story. The development of the Modernist novel was deeply influenced by the theories of Sigmund Freud (1856-1939), who proposed a theory of human consciousness as multi-layered, involving different levels of experience and memory. The most significant level was the unconscious, accessible through dreams only. Freud argued that much of man’s conscious behaviour was governed by irrational unconscious drives. This represented a challenge to the idea that the world was rationally ordered. Freud suggested that man’s perception of reality was fundamentally subjective, because man organised the information he received from the outside world according to his interior experience, desires and impulses. Man’s childhood experience therefore had a great influence on his behaviour as an adult because the memory of it was preserved in his unconscious and continued to influence his adult self. Another thinker who influenced the techniques of Modernism was Henri Bergson (1859-1941), who argued that time could not be measured according to units (such as hours, minutes, etc.) because it is a flow, a duration and not a series of points. We do not experience the world moment by moment but in a continuous way. Instead of perceiving time as linear, we experience a mixture of past, present and future in the same moment. His theories contributed to Modernist fiction challenge to the traditional idea of linear narrative. Linked to Bergson’s notion of time is the psychologist William James’s (1842- 1910) notion of â€Å"stream of consciousness† discussed in The Principles of Psychology (1890). Consciousness, James said, â€Å"does not appear to itself chopped up in bits† but is something that â€Å"flows†. Modernist literature attempted to move from the bonds of Realist literature and to introduce concepts such as disjointed time lines. Modernist literature can be viewed largely in terms of its formal, stylistic and semantic movement away from Romanticism. It often features a marked pessimism, a clear rejection of the optimism apparent in Victorian literature in favour of portraying alienated or dysfunctional individuals within a predominantly urban and fragmented society. Modernist literature, moreover, often moves beyond the limitations of the Realist novel with a concern for larger factors such as social or historical change, and this is particularly prominent in ‘stream of consciousness’ writing or technique. Examples can be seen in the work of among others, earnest Hemingway (1899.1961). Modernism describes a series of reforming cultural movements in art and architecture, , music, literature as well Embracing change in the present, it includes the works of thinkers who rebelled against nineteenth century academic traditions. Modernism in Literature is not a chronological designation; rather it consists of literary work possessing certain loosely defined characteristics. This set modernists apart from 19th century artists, who had tended to believe in progress. Modernism, while it was still progressive increasingly saw traditional forms and traditional social arrangements as hindering progress, and therefore the artist was recast as a revolutionary, overthrowing rather than enlightening. Modernist literature is marked by a break with the sequential, developmental, cause-and-effect presentation of the reality of realist fiction, toward a presentation of experience as layered and discontinuous. To achieve this writers use devices such as fragmentation and juxtaposition, motif, symbol, allusion. The Man Who Would Be King Analysis EssayRealism as a literary technique Broadly defined as the faithful representation of reality or verisimilitude, realism is a literary technique practiced by many schools of writing. Although strictly speaking, realism is a technique, it also denotes a particular kind of subject matter, especially the representation of middle-class life. A reaction against romanticism, an interest in scientific method, the systematizing of the study of documentary history, and the influence of rational philosophy all affected the rise of realism. According to William Harmon and Hugh Holman, Where romanticists transcend the immediate to find the ideal, and naturalists plumb the actual or superficial to find the scientific laws that control its actions, realists center their attention to a remarkable degree on the immediate, the here and now, the specific action, and the verifiable consequence (A Handbook to Literature  428). Many critics have suggested that there is no clear distinction between realism and its related late nineteenth- century movement,  naturalism. As Donald Pfizer notes in his introduction to  The Cambridge Companion to American Realism and Naturalism: Howells to London, the term realism is difficult to define, in part because it is used differently in European contexts than in American literature. Pfizer suggests that whatever was being produced in fiction during the 1870s and 1880s that was new, interesting, and roughly similar in a number of ways can be designated as realism, and that an equally new, interesting, and roughly similar body of writing produced at the turn of the century can be designated as  naturalism (5). Put rather too simplistically, one rough distinction made by critics is that realism espousing a deterministic philosophy and focusing on the lower classes is considered  naturalism. In American literature, the term realism encompasses the period of time from the Civil War to the turn of the century during which William Dean Howells, Rebecca Harding Davis, Henry James , Mark Twain, and others wrote fiction devoted to accurate representation and an exploration of American lives in various contexts. As the United States grew rapidly after the Civil War, the increasing rates of democracy and literacy, the rapid growth in industrialism and urbanization, an expanding population base due to immigration, and a relative rise in middle-class affluence provided a fertile literary environment for readers interested in understanding these rapid shifts in culture. In drawing attention to this connection, Amy Kaplan has called realism a strategy for imagining and managing the threats of social change (Social Construction of American Realism  ix). Realism was a movement that encompassed the entire country, or at least the Midwest and South, although many of the writers and critics associated with realism (notably W. D. Howells) were based in New England. Characteristics  of Realism * Renders reality closely and in a comprehensive detail. Selective presentation of reality with an emphasis on verisimilitude, even at the expense of a well-made plot. * Character is more important than action and plot; complex ethical choices are often the subject. * Characters appear in their real complexity of temperament and motive; they are in explicable relation to nature, to each other, to their social class, to their own past. * Class is important; the novel has traditionally served the interests and aspirations of an insurgent middle class. * Events will usually be plausible. Realistic novels avoid the sensational, dramatic elements of naturalistic novels and romances. * Diction is natural vernacular, not heightened or poetic; tone may be comic, satiric, or matter-of-fact. * Objectivity in presentation becomes increasingly important: overt authorial comments or intrusions diminish as the century progresses. Interior or psychological realism a variant form. Other Views of Realism  : * The basic axiom of the realistic view of morality was that there could be no moralizing in the novel The morality of the realists, then, was built upon what appears a paradoxmorality with an abhorrence of moralizing. Their ethical beliefs called, first of all, for a rejection of scheme of moral behavior imposed, from without, upon the characters of fiction and their actions. Yet Howells always claimed for his works a deep moral purpose. What was it? It was based upon three propositions: that life, social life as lived in the world Howells knew, was valuable, and was permeated with morality; that its continued health depended upon the use of human reason to overcome the anarchic selfishness of human passions; that an objective portrayal of human life, by art, will illustrate the superior value of social, civilized man, of human reason over animal passion and primitive ignorance (157). Everett Carter,  Howells and the Age of Realism  (Philadelphia and New York: Lippincott, 1954) . * Realism sets itself at work to consider characters and events which are apparently the most ordinary and uninteresting, in order to extract from these their full value and true meaning. It would apprehend in all particulars the connection between the familiar and the extraordinary, and the seen and unseen of human nature. Beneath the deceptive cloak of outwardly uneventful days, it detects and endeavors to trace the outlines of the spirits that are hidden there; the measure the changes in their growth, to watch the symptoms of moral decay or regeneration, to fathom their histories of passionate or intellectual problems. In short, realism reveals. Where we thought nothing worth of notice, it shows everything to be rife with significance. George Parsons Lathrop, The Novel and its Future,  Atlantic Monthly  34 (September 1874):313 24. * â€Å"Realism is nothing more and nothing less than the truthful treatment of material.† William Dean Howells,  Ã¢â‚¬Å"Editor’s Study,†Ã‚  Harpers New Monthly Magazine  (November 1889), p. 966. * Realism is The art of depicting nature as it is seen by toads. The charm suffusing a landscape painted by a mole, or a story written by a measuring-worm. Ambrose Bierce  The Devils Dictionary  (1911).

The Lasting Effect Of The Crusades Essay free essay sample

, Research Paper The Good, the Bad, and the Ugly The impact of the Crusades of early European history are the topic of muchcontroversy. Through the scrutiny of three different paperss of those events, sentiments of at least three different natures have been formed. One believes that these holy wars were so good for the civilization, while another would take a firm stand that they were asham, a fraud intended to merely beef up the clasp of the pontificate. The other believes thatthey were perchance the greatest shame that organized faith has seen. The first authorship on the topic, The Crusade s Widen Europe s Horizon takesthe side of the campaigns, supporting them as a profitable investing on the portion of theEuropeans. The writer states that Both the Moslems and the Christians learned a greatdeal from each other. His grounds includes many architectural, strategical, economicaland manner thoughts that civilizations exchanged and used during and after the wars. We will write a custom essay sample on The Lasting Effect Of The Crusades Essay or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page TheChristian Godheads busying the sanctum land had 200 old ages in which they could construct castlesand unrecorded. These castle employed both manners of the West in add-on to those of the easternByzantine and Arab civilizations. Besides, the celebrated stained-glass Windowss found in westernchurches and cathedrals were originally an Arabic manner, which the occupying Christiansadapted for their ain usage. The find of besieging tactics, illustrated in most novels andmovies as a European invention, were really learned from the Moslems, who usedcross-bows, combustibles, and bearer pigeons for communicating intents. New goodsbrought into the market led to better economical developments. Faster ships were built foreasier transit, and the first international Bankss were invented. These Bankss allowedmerchants to lodge their financess in one metropolis, and so retreat them upon making one ofthe trading metropoliss, Constantinople or Acre. Called Templars, these Bankss allowed for amuch m ore efficient system of trading. Finally, the writer points out the influence on thestyle of the reformers. The usage of aromas became popular, as did the local clothingtrends in add-on to oriental carpets, tapestries, and rugs. Despite the positive viewpointof the papers, the writer does non, nevertheless, seek to deny the negative consequence of theCrusades. He states that From a strictly military point of position, the Crusades must bewritten off as a failure for the West # 8230 ; His logical thinking is a consequence of the fact that after all thechanging of custodies happening over the 200 twelvemonth period, the district reverted to Moslemcontrol for good. He thinks of the Crusades as an investing by the westerners that, in theend, payed off. The 2nd papers examined, Western Civilization, expresses a feeling thatthe campaigns were, merely put, a gag. The writer, William L. Langer, states that all theCrusades accomplished was fring the universe or troublesome knights. In his p osition, theentire event was a complete and arrant failure, chiefly due to the fact that the Crusader sfailed in their mission to change over the holy land to Christian control. He besides denies anyconnection between the enlightenment in Europe and the Crusades. He states thatalthough the Renaissance began during the clip of the Crusades, the development ofwestern Europe did non come from Jerusalem, but from Sicily and Spain. The Crusaders in Jerusalem were largely merchandisers and soldiers and were non truly interested in larning. Alternatively, these soldiers and merchandisers spent their clip worrying about doing a profit.Also, the development of trade between the two civilizations was non a consequence of the Crusades, and had begun over a hundred old ages antecedently. The writer doesn T deny, nevertheless, thehastening of eastern commercial development as a consequence of the Crusades, but claims thatthe cost of directing soldiers to the East in add-on to the expensive gusta tory sensations acquired upon geting at that place outweighed the trade benefits, and ruined many European nobles. Althoughthe victory of the first crusade brought a new sense of pride and faith into the papacy, inthe long run, it hurt the church immensely. Pope s began using the Crusades as an excuseto conquer land or raise taxes, anything to improve their own political standings.Christians were horrified by this twisting of the holy war, and raised a voice in protest.This caused the papacy to lose a great deal of its moral prestige, leading to the overalldecline of Christianity in the west. Despite his negative philosophy about the Crusades, theauthor does admit the connection between them and the development of popular romanticpoetry. On numerous occasions, soldiers returning from the east brought with them storiesof courage, bravery and the sad fate of capture on the part of the crusaders in the form ofsongs. He also admits that the knights did adopt the clothing, living, and architecturalstyles of the east. Basically, he believes that the Crusades were a schem e created by thepapacy to gain popularity, and in the long run riches and a more powerful grip on thepeople. In the third document, Where the Crusades Live On, Anton La Guarda expresseshis feeling that the Crusades were an unnecessary excuse for religious based violence. Heuses examples of mass slaughters. For example, he tells of the fateful day of July 5, 1099,when the Crusaders finally broke through the defenses of Jerusalem. They celebrated byslaughtering all inhabitants of the city. They took pride in this, because killing Moslemsand Jews was considered zealous. The author also professes his concern for the Crusadesbeing a metaphor for glory and bravery as well as romantic ideals. He states that the term Crusade is over and incorrectly used in such contexts as crusades against aids,corruption, and world poverty, in that those are worthwhile causes, whereas theCrusades were not. Also, he talks about the murder of countless Jews as a prelude to theholy war. However, today the chu rches and castles built by the Crusaders serve as greatsources of tourist revenue for the countries they are located in. The author believes theCrusades to be a vast fiasco, based completely on ignorance, greed, and jealousy. Heuses excerpts from writings that include the following: †¦much courage and so little honor, so much devotion and so littleunderstanding†¦ †¦intolerance in the name of god, which is the Sin against the holy ghost. He states that the crusaders left a legacy of enmity(hatred.) Also significant inthe article is the use of a writing by Amin Maalouf, who uses the claims that any actiontaken against the westerners would be considered no more than legitimate vengeance. La Guarda goes on to accuse the widening schism on the Crusades, by stating that theknights sacking Constantinople led to the Moslem control of the Byzantine empire. All inall, La Guarda s view of the Crusades is one of animosity. He thinks of them as a disgraceto Christianity, stating t hat while Christians have so much, Moslems have so little. Heexplains that freedom is a luxury to most Moslems, and even a decent standard of livingseems unattainable. He compares the Crusaders to the Mongols, implying that they weresavages bent on personal gain, not chivalrous soldiers fighting in the name of god. Hisview is that the crusades were an excuse to slaughter countless masses of non-believers,and that the fact that the modern Catholic and entertainment world looks upon them asglorious is a shame. Three documents, with three different views. None are right, none are wrong. Onthe one hand, many things were accomplished by the crusades, on the other, many thingswere destroyed. Depending on one s heritage, on one s upraising, and one s personality,one must come up with his or her own view, because there is no single right and wrong.Too much happened on both sides to make a one sided opinion, and that s what this essayis about.

Understanding Confidence Intervals

Understanding Confidence Intervals Inferential statistics gets its name from what happens in this branch of statistics. Rather than simply describe a set of data, inferential statistics seeks to infer something about a population on the basis of a statistical sample. One specific goal in inferential statistics involves the determination of the value of an unknown population parameter. The range of values that we use to estimate this parameter is called a confidence interval. The Form of a Confidence Interval A confidence interval consists of two parts. The first part is the estimate of the population parameter. We obtain this estimate by using a simple random sample. From this sample, we calculate the statistic that corresponds to the parameter that we wish to estimate. For example, if we were interested in the mean height of all first-grade students in the United States, we would use a simple random sample of U.S. first graders, measure all of them and then compute the mean height of our sample. The second part of a confidence interval is the margin of error. This is necessary because our estimate alone may be different from the true value of the population parameter. In order to allow for other potential values of the parameter, we need to produce a range of numbers. The margin of error does this, and every confidence interval is of the following form: Estimate  ± Margin of Error The estimate is in the center of the interval, and then we subtract and add the margin of error from this estimate to obtain a range of values for the parameter. Confidence Level Attached to every confidence interval is a level of confidence. This is a probability or percent that indicates how much certainty we should be attributed to our confidence interval. If all other aspects of a situation are identical, the higher the confidence level the wider the confidence interval. This level of confidence can lead to some confusion. It is not a statement about the sampling procedure or population. Instead, it is giving an indication of the success of the process of construction of a confidence interval. For example, confidence intervals with confidence of 80 percent will, in the long run, miss the true population parameter one out of every five times. Any number from zero to one could, in theory, be used for a confidence level. In practice 90 percent, 95 percent and 99 percent are all common confidence levels. Margin of Error The margin of error of a confidence level is determined by a couple of factors. We can see this by examining the formula for margin of error. A margin of error is of the form: Margin of Error (Statistic for Confidence Level) * (Standard Deviation/Error) The statistic for the confidence level depends upon what probability distribution is being used and what level of confidence we have chosen. For example, if Cis our confidence level and we are working with a normal distribution, then C is the area under the curve between -z* to z*. This number z* is the number in our margin of error formula. Standard Deviation or Standard Error The other term necessary in our margin of error is the standard deviation or standard error. The standard deviation of the distribution that we are working with is preferred here. However, typically parameters from the population are unknown. This number is not usually available when forming confidence intervals in practice. To deal with this uncertainty in knowing the standard deviation we instead use the standard error. The standard error that corresponds to a standard deviation is an estimate of this standard deviation. What makes the standard error so powerful is that it is calculated from the simple random sample that is used to calculate our estimate. No extra information is necessary as the sample does all of the estimation for us. Different Confidence Intervals There are a variety of different situations that call for confidence intervals. These confidence intervals are used to estimate a number of different parameters. Although these aspects are different, all of these confidence intervals are united by the same overall format. Some common confidence intervals are those for a population mean, population variance, population proportion, the difference of two population means and the difference of two population proportions.

Aristotelian Tragedy Macbeth

Many of Shakespeare’s plays follow Aristotelian ideas of tragedy, for instance Macbeth does a decent job in shadowing Aristotle’s model. Aristotle describes one of the most important elements of a tragedy to be a tragic hero. The tragic hero however must present certain qualities such as nobility and virtue. In the play Macbeth, Macbeth is a perfect example of a tragic hero. Macbeth begins the play coming home from battle, he is said to have fought with great courage and King Duncan himself awards him the title of the thane of Cawdor in reward for his bravery. The qualities make Macbeth a tragic hero as he possesses not only a noble title, but also the assets of a great warrior and hero. However, Aristotle emphasizes that if the tragic hero was as perfect as he seems than the audience would not be able to identify with him and this would not be considered a tragedy. Macbeth shows us his humanity very early in the play when he learns that Malcolm, Duncan’s son, will be the heir to the throne of Scotland. In response, Macbeth acknowledges that he himself should be awarded the crown and will not rest until royalty is his. Macbeth is an ambitious character, which is a quality that many humans can identify with. This ambitiousness is known as Macbeth’s tragic flaw. This leads to Aristotle’s next component of a tragedy, the tragic flaw. The hero’s tragic flaw must lead to the downfall of the character; his demise can be caused by no one other than himself. Macbeth’s ambitious personality leads him to become caught up in attaining power for himself. Macbeth’s ruthless behavior causes him to commit murder to Duncan in order to gain kingship. Even after his wish comes true, he continues to sacrifice the lives of others, including his close friend Banquo, to assure that he never loses his throne. However, Macbeth does not go unpunished as he suffers countless dreams and illusions that drive him to insanity. The loss of his wife also brings Macbeth to his final denouement. In the end, Macbeth is killed by Macduff; because of his arrogance he believed he was invincible even after being told his fate. Macbeth reaches his end through the same way he lived his life, through murder and deception. Many argue over the fairness of Macbeth’s life, but the goal of a tragedy in Aristotle’s view point is to strike fear and pity in the audience through harsh punishment upon the hero in extreme ways. Finally, Aristotle claims that in order for a tragedy to be effective, the fear and pity must be released from the audience through catharsis. First the tragic hero must gain some knowledge from his tragic life. Macbeth shows this self-realization in his ‘yellow leaf’ soliloquy when he expresses remorse for his actions. Also, in the end he knows he must fight until the end whether his fate is death. At this point the audience is cleansed of the emotions of the plot and the tragedy is finished. Macbeth is a primary example of a typical Aristotelian tragedy. It follows the structure necessary from the tragic hero, to his downfall and ultimately to the catharsis necessary for an original Greek drama. The aspects of this play are a perfect example of the tragedies of that era. Aristotelian Tragedy Macbeth Many of Shakespeare’s plays follow Aristotelian ideas of tragedy, for instance Macbeth does a decent job in shadowing Aristotle’s model. Aristotle describes one of the most important elements of a tragedy to be a tragic hero. The tragic hero however must present certain qualities such as nobility and virtue. In the play Macbeth, Macbeth is a perfect example of a tragic hero. Macbeth begins the play coming home from battle, he is said to have fought with great courage and King Duncan himself awards him the title of the thane of Cawdor in reward for his bravery. The qualities make Macbeth a tragic hero as he possesses not only a noble title, but also the assets of a great warrior and hero. However, Aristotle emphasizes that if the tragic hero was as perfect as he seems than the audience would not be able to identify with him and this would not be considered a tragedy. Macbeth shows us his humanity very early in the play when he learns that Malcolm, Duncan’s son, will be the heir to the throne of Scotland. In response, Macbeth acknowledges that he himself should be awarded the crown and will not rest until royalty is his. Macbeth is an ambitious character, which is a quality that many humans can identify with. This ambitiousness is known as Macbeth’s tragic flaw. This leads to Aristotle’s next component of a tragedy, the tragic flaw. The hero’s tragic flaw must lead to the downfall of the character; his demise can be caused by no one other than himself. Macbeth’s ambitious personality leads him to become caught up in attaining power for himself. Macbeth’s ruthless behavior causes him to commit murder to Duncan in order to gain kingship. Even after his wish comes true, he continues to sacrifice the lives of others, including his close friend Banquo, to assure that he never loses his throne. However, Macbeth does not go unpunished as he suffers countless dreams and illusions that drive him to insanity. The loss of his wife also brings Macbeth to his final denouement. In the end, Macbeth is killed by Macduff; because of his arrogance he believed he was invincible even after being told his fate. Macbeth reaches his end through the same way he lived his life, through murder and deception. Many argue over the fairness of Macbeth’s life, but the goal of a tragedy in Aristotle’s view point is to strike fear and pity in the audience through harsh punishment upon the hero in extreme ways. Finally, Aristotle claims that in order for a tragedy to be effective, the fear and pity must be released from the audience through catharsis. First the tragic hero must gain some knowledge from his tragic life. Macbeth shows this self-realization in his ‘yellow leaf’ soliloquy when he expresses remorse for his actions. Also, in the end he knows he must fight until the end whether his fate is death. At this point the audience is cleansed of the emotions of the plot and the tragedy is finished. Macbeth is a primary example of a typical Aristotelian tragedy. It follows the structure necessary from the tragic hero, to his downfall and ultimately to the catharsis necessary for an original Greek drama. The aspects of this play are a perfect example of the tragedies of that era.

Disition making Statistics Project Example | Topics and Well Written Essays - 750 words

Disition making - Statistics Project Example cted and the demand is low, the option of doing nothing will earn the company a profit of 140,000 or stimulating the demand via the local advertising. The feedback of advertising can either be modest or sizeable with their corresponding probabilities estimated at 0.3 and 0.7. When the advertising is modest the profit will be 70000, and if the advertising id sizable the profit will grow to 770,000. Consequently, assuming the facility to be built is larger, and the demand happens to be high, the recorded profit will be 280,000. The paper therefore, draws the help for the Director of Research and Development Department at Al Karim to decide on the best decision by embarking on the decision that will maximize the profit of the organization. The paper further draws the decision tree for the current situation of the company. Additionally, the paper calculates the anticipated revenue for the alternative (Fitzgerald, 2002). The sole objective of Al-Karim Inc. in the manufacturing industry is to make and maximize profits. The profits are gained from the operation of the company’s daily activities. The company operation involves producing Cleaning Vacuums in Qatar. The company through the office of the Research and Development Department will consider building a facility that will have positive revenue returns from its operation. The amount of profit that the company will earn depends on the demand of the product in the anticipated locations of Doha. Assuming the smaller facility brings forth a higher return than the larger facility, then the company will resolve on the same and vice versa. The choice of facilities depends on various variables like the demand, the probability of certainties, the external factors like advertising response, and the profit that comes along with the variables. The company will use the decision tree find out the best choice out of the alternatives. The choice of the fa cility will completely depend on the amount of the expected profit from the

Kepplewray project Essay Example | Topics and Well Written Essays - 750 words

Kepplewray project - Essay Example The team management experience at Kepplewray shall now be explored in depth. Teams have been traditionally defined as â€Å"dynamic, emergent and adaptive† units that are rooted in systems involving multiple levels (Kozlowski & Ilgen, 2006). The Kepplewray project also required us to form teams that adapt to multiple situations such as climbing on uneven rocks, aiming at the right target and jumping into the water. As part of this project, all team members were required to engage in activities such as Ghyll Scrambles, Rock Climbing, Abseiling, Canoeing, Archery, Mountain Walking and Tree Climbing. However, this project was not merely a venue for recreation but also a venue for learning team management with diverse members as it brought together both disabled and non-disabled individuals. One of the first steps in this project was that of building a team. This is necessary to enhance the effectiveness of the team, satisfy members’ needs and enhance work conditions (Brawley & Paskevich, 1997). Tuckman has explained the stages of team development as forming, storming, norming and performing which occur as the team sets goals, expands, faces challenges, tackles issues and finds their solutions and delivers the output (O'Connell & Cuthbertson, 2009). Although Tuckman suggests storming to be the most difficult stage, performing proved to be the most difficult stage in our case (Scholtes et al., 2003). While forming a team, identifying the issues (in this case the problem of climbing up steep rocks and canoeing in fast waters) or setting mutual goals was not a problem, executing tasks such as abseiling was. At the very least, group dynamism was weak as some individuals lacked energy and vitality to take up challenges owing to fear. It is believed that successful coaches possess the quality of creating and developing a vision that incorporates the differing levels of ability amongst group members as well as varying motivations, perceptions and personal characteristics (Desjardins, 1996). Good visions have the power of enhancing t he emotional commitment of group members and uniting them around a task (Stevens, 2002). Since our group also contained individuals who were either disabled or obese, our coach set realistic targets and assigned certain activities such as abseiling only to those individuals who were not obese. This way group conflict was minimized. Cohesion has primarily been defined as social cohesion (the extent to which team members â€Å"like each other† and task cohesion (the extent to which members work together to achieve common objectives) (Hodge, 1995). Although social cohesion was weak at first, as time passed a positive environment was created as members got to know each other and started interacting. Task cohesion was also reflected in instances where one of us got stuck while climbing the mountain which urged one of my friends to assist that person so that he could catch up with us. Role acceptance also generates significant challenges for the team. Furthermore, role clarity and role acceptance are generally interrelated (Weinberg & Gould, 2011). One of the major issues our team faced was who will do what? There was a lot of ambiguity initially; however, right before the activities were to start the coach clarified everyone’s roles which enhanced our team’s cohesion. Although everyone would be a part of the activities, someone had to lead the team and coordinate with the coach. While climbing for instance, one of the leaders was supposed to be behind the team and one was