The Tempest Caliban Unjustly Punished Essay Example For Students

The Tempest: Caliban Unjustly Punished Essay The Tempest: Caliban Unjustly PunishedThrough Prosperos verbal and physical abuse, the enslaved Caliban is unjustlyportrayed as a vicious and subhuman beast. Prospero has no feelings for Caliban. Therefore he thinks that Caliban was put on earth for work. AdditionallyProspero just thinks he makes fires and does work for him so people should nothave sympathy for him. We cannot miss him. He does make our fire, Fetch in ourwood, and serves in offices That profit us What ho, slave, Caliban.(Shakespeare 35) This shows that he is overworking Caliban and that he is justa piece of property. Also, Prospero thinks he is always moving slowly. WhenCaliban is first coming into the play, Prospero yells Come forth, I say. We will write a custom essay on The Tempest: Caliban Unjustly Punished specifically for you for only $16.38 $13.9/page Order now Theres other business for thee. Come, thou tortoise. When? ( 35) This a primeexample of Prospero harassing Caliban because Prospero feels he is not workingefficient enough. In addition Prospero orally abuses him by saying rude thingslike, Thou poisonous slave, got by the devil himself Upon thy wicked dam, comeforth! (35) Prospero is scolding him saying he is evil. Prospero then goes onto call him, Thou most lying slave, (37) because he accuses him of rapingMiranda, Prosperos daughter. He then orders Caliban to get fire wood. Hedoesnt understand that Caliban has feelings. In conclusion, Prospero isdepicting Caliban as a subhuman beast, someone he isnt. English

B.O.P shift from U.S. to S.U. essays

B.O.P shift from U.S. to S.U. essays The balance of power in Europe shifted to the United States and the Soviet Union during the years 1945 to 1970 making way for change. The balance of power in Europe came with the surrender of Germany to end WWII. With no common enemy to unite them, the inherent differences between East and West, capitalism and communism solidified the division of Europe between the now Super Powers, the U.S. and the U.S.S.R. Lastly, as the Cold War deepened between the United States and the Soviet Union during the next several decades it intensified U.S. and U.S.S.R. positions of power in Europe. The changing balance of power in Europe shifted to the United States and the Soviet Union after World War II and the years to follow. With the surrendering of Germany during WWII, the victorious U.S. and U.S.S.R. occupied all of Europe, but the treatment of Germany and all of Europe was based on the decisions of the Big Three (Churchill, Stalin, and Roosevelt). The decision between western allies and Stalin for the U.S.S.R. to enter the war against Japan after the war in Germany had concluded postponed political decisions on the Balkans and Eastern Europe, which gave Stalins Red Army time to occupy those areas. The Yalta Conference attended by the Big Three attempted to liberate Europe and deal with Germany reparations and Poland. The Yalta Agreements were loosely struck and access to Berlin by the Western powers was not as clearly worked out as it should have been. Such lack of precision was characteristic of other parts of the Yalta agreements as well, leading to future disputes and recriminations between Western powers and the Russians creating a further division of powers. Escalating the division of the now Super Powers, the U.S. and U.S.S.R. was the failure of the de facto agreement made between the Big Three, allowing Soviet occupation of Eastern Europe to continue. The destiny of Easter Europe in...

Making a Living as a Life Story Writer

Making a Living as a Life Story Writer A business card left at a coffee shop that garners a $50,000+ writing gig. Same card, different coffee shop, that results in a feature story in a local publication. No, its not the card thats magic, but the profession it advertises: life story writer. Those were only two of the many strokes of good luck Ive had since I started my career as a life story and family history writer nearly ten years ago. The genre, also known as personal history, serves a population of mostly older adults eager to preserve their stories without having to do the writing themselves. The books are intended for family and friends, not the wider public, so theres no need for queries, book proposals, agents, or publishers- just a client willing to invest the time and money to record their cherished memories. Heres how it works: I sit down with a client for a series of interviews in which we talk about their growing-up years, their parents and siblings and relatives, their first loves, their war experiences, their careers, their challenges and joys, their reflections on what it all means- in other words, anything they feel moved to talk about. In between interviews, Im at my desk, shaping our transcripts into a compelling narrative that will, if Im doing my job right, give future generations a glimpse of family members they may or may not have ever met. This kind of writing does more than reveal the character of the narrator; it also brings to life long-ago eras. Think about it: The fifty years or so that separates the generation of grandparents from their grandchildren means that they will each spend the bulk of their life in two vastly different worlds- even if they live in the same town. Its the difference between a horse-drawn plow and an air-conditioned combine, between a one-room schoolhouse and a middle school with a thousand kids, between an outhouse and a heated toilet seat. The world is changing fast; people who hire me want their descendants to know what the world used to look like. Why has it been so easy to find clients and publicity? Two reasons. The first is a swell in interest in life stories. With genealogy the second most searched topic on the internet (Ill leave you to imagine the first), with DNA kits topping the list of holiday gifts and shows like Who Do You Think You Are? topping the charts, its clear that people are curious about their roots. And because were storytelling creatures, its only natural that the focus should swing from data- birthdates, death dates, cemetery plot numbers- to what we really love: the stories that bring it all to life. And the second reason Ive been able to make a living as a life story writer? Supply and demand. There may be loads of clients wanting to hire someone to write their story, but there arent loads of writers to do so. Im guessing thats because most writers have never heard of this niche. What a shame. Not only is it a way to earn your keep

What causes market monopoly Essay Example | Topics and Well Written Essays - 2500 words

What causes market monopoly - Essay Example This is a normal behavior because it works. In general, the government regulation that helps create monopoly conditions falls into one of three categories: Barriers to Labor. Licensing or other regulation impeding the mobility of labor. Barriers to Resources. Examples include natural resources, wireless spectrum. Barriers to Operations. Examples include casino gambling, illegal drug trade. The stated purpose of the legislation is always to protect the public, but interested parties usually write the legislation to suit their own agenda. In many cases, the legislation that purported to protect the public actually harms the public. An example is barbers. Why does a barber require a license to cut hair, and why does the license to cut hair require a lengthy period in a beauty college? The answer is that the legislation is purely to protect the markets of existing barbers. During hard times, setting up a private barbershop or beauty salon is not difficult for anyone with some skill, whic h presents competition to the existing barbers and beauticians. The clip-joint owners went to the state legislature and worked out a deal. It was in the public interest to cut the deal because the state is always worried about taxes and someone who receives cash for cutting hair in a private shop may forget to pay their taxes on the income. Likewise, the clip-joint owners wanted to make sure it was difficult to get into this business, but not so difficult that the labor supply dries up. They wanted limited competition in good times and high barriers to entry in bad times. The solution was to require a license and make the requirements of getting a license be a three to six month course at a beauty college. This is an example of barriers to entry into the labor markets, which we shall discuss. Barriers to Labor Markets As illustrated by the story about the barbershop protection societies, many different groups have formed protective associations. The public face of the protective ass ociation is always to ensure compliance to the highest ethical standards, but the real agenda is always ensuring that their turf is staked out and defended. We shall say now, we have never seen a protective association of theoretical physicists. We have never heard specious claims of how the public must be protected from all that high-powered thinking and the only solution is to license and regulate them. Perhaps the reason is that not many people are capable of becoming a theoretical physicist. Realtors, however, are a different story. Like barbers and the business of cutting hair, if the market looks good and a person has sales talent, real estate looks good. Especially if that person is a â€Å"connector† who collects contacts and likes to stay in touch with many different people. Realtors are just as intelligent as barbers and they formed a protective association that has been very successful in placing a very high barrier to entry into that field. The barrier to entry is so high in many areas that it hurts the public. We shall explain: After the realtor’s protective association convinced the state legislature to pass appropriate legislation and license the realtors subject to an industry oversight board with regulatory powers granted by the legislature, along came the Multi Listing Service (MLS). Now that everyone was a member of the union, the idea was to make it easier for everyone to share pieces of the pie. Few understand this, but it hurts consumers because a disincentive has been created: there is no

Product Development block Essay Example | Topics and Well Written Essays - 1000 words

Product Development block - Essay Example It will discuss diets from a collection of foods that a female is required to take for effective weight reduction. In addition, the mechanisms and norms that one should develop along with health dieting in order to achieve a standard healthy weight will be analyzed. Whole grains- whole grains consist of food such as wheat, oats and bulgur. These kinds of foods are rich in fiber. This kind of food are highly recomeneded as they cause the consumer to feel full for a longer period of time as compared to other types of foods. Therefore they reduce the average capacity one would eat other meals. As a result, the person reduces the chances of gaining weight. Moreover, whole grains can improve the overall health status of a female. This is because they reduce the conversion rate of carbohydrates to sugar (TURNER, N. 2010, p. 576). Grains are a good source of carbohydrates.In a day, four servings of every grain taken in moderation is advisable for healthy living. Broccoli and green beans among others have the same response as whole grains. They make the consumer fill satisfied for a longer time therefore reducing their feeding habits. A female taking vegetables is more likely to remain healthy and avoid gaining weight. In addition, vegetables are low in calories. In a day, a female is advised to take at least two to three servings of fruit. Healthy living requires each female of course to ensure fruits taken are fresh. They should avoid peeling the fruits as this ensures they maximize on the fiber found in the skin of the fruits. Fruits and vegetables are good sources of vitamin A and C. On average, females are advised to have 3 to five servings of vegetables in a day. A serving of vegetables comprises of a cup of leafy raw vegetables, half a cup of cooked vegetables and a glass of fresh juice or fruit. One can take one or two fruits in a day. Commercial bottled juices are not advised as they contain high calorie content and unnecessary

Are there any ways Essay Example for Free

Are there any ways Essay Are there any ways in which you consider that experiences conveyed by the sonnets, by pre-20th century poets differ from those conveyed by the writers of modern sonnets? Â  Are there any similarities? Â  You must consider two pre-20th sonnets. A sonnet is a lyric poem consisting of fourteen lines with a very formal rhyme scheme, they usually express thought, mood, or feeling, and these ideas are usually resolved or summarised in the last lines of the poem. The two main forms of the sonnet are the Petrarchan, which consists of an octave, or eight-line stanza, and a sestet, a six-line stanza. The octave has two quatrains, rhyming a b b a, a b b a; the first quatrain presents theme, the second develops it. The sestet is built on two or three different rhymes, and arranged either c d e c d e, or c d c d c d, or c d e d c d; the first three lines exemplify or reflect on the theme, and the last three lines bring the whole poem to a unified close. Among great examples of the Petrarchan sonnet in the English language are Sir Philip Sidneys sonnet sequence Astriphel and Stella (1591), which established the form in the England, and was incredibly popular during the Elizabethan era. The English, or Shakespearean sonnet, exemplified by the work of Shakespeare, developed as a variation to a language less rich in rhymes than in Italian. This form differs from the Petrarchan; it divides into three quatrains, each rhymed differently, with a final, independently rhymed couplet, which makes an effective, unifying climax to the whole. The rhyme scheme is a b a b, c d c d, e f e f, g g. The two pre-20th century sonnets I have chosen are both Shakespearean sonnets Let me not to the marriage of true minds and Shall I compare thee to a summers day? I decided to chose these two Shakespearean sonnets because of the good use of imagery within both sonnets, and I thought that they where the most descriptive of those of which we analysed. I also thought Shakespeare had conveyed his feelings and emotions effectively within both the sonnets; especially Shall I compare thee to a summers day? I chose They say I should not wait about your street by Diana Hendry as my post-20th century sonnet. I found that this was the most interesting of the three post-20th century poems. Hendry uses imagery in an effective way, and the language within the sonnet resembles the games, which the women encourage her to play. Shall I compare thee to a summers day is about the beauty Shakespeare sees in a certain person, the other sonnet, Let me not to the marriage of true minds conveys the theme of true love. Whereas the post-20th century sonnet They say I should not wait about your street is about love, and the expectations other women have about feelings, which are expressed. All three sonnets have the same Shakespearean structure, and they all summarise their feelings about the chosen theme within the last two lines. They say I should not wait about your street is a poem, which is structured with the first stanza portraying the views of other women, and the second stanza revealing the view of the woman herself. Hendry uses colloquial language to convey the theme of the sonnet, this may be so that people can understand her situation, and try to relate to it. Hendry begins the sonnet with the view and opinion of another person, the first few lines express the way women are subservient towards the men; Or go to places where by chance well meet. Or hold your hand unless you as me to. These two lines demonstrate the way women try to appeal to men; acting in certain ways, or doing certain things that may make them feel uncomfortable. It also gives the impression that men have control over the relationship as the like to. Hendry portrays these two lines with the sense of weariness, suggesting she is uncomfortable and new to this way of thinking. She continuous to use this tone within the first stanza of the sonnet, referring to the way the women tell her what to do; They say I should emphasise my waist. And cultivate the arts that make men thirst: These lines demonstrate the things women do to tease men, trying to get attention from them, and this also suggests that the main aim of the women is to get a husband, relating back to the pre-20th century view that women had. The last two lines of the first stanza explain in more detail the way that women play games to encourage men to have feelings for them, but encourage her not to show any feelings for the men. The games that the women play demonstrate a childish approach to an adult relationship; Should learn to waken lust and yet stay chaste And should never say I love you first In some ways the final line suggests that the women are just trying to protect her from a disappointment. But I would come to you clear-eyed and plain My treasures in a kerchief wrapped The abrupt change of the tone is heard in the first word, the tone is more certain and definite, as well as straight forward and clear, this reflects what is expressed in the first line, she is love, and will not play games, but will tell the person how she feels in a clear and simple way. This line also suggests she will come as herself with no make-up or masks to hide her. The treasures she brings are not important to others, but are to her; this displays her innocent, pure nature, but also demonstrates a childish aspect of her, such as a weakness. Id give the first primrose, a daisy chain, A lucky stone, my heart for your tattoo. These two lines display her lack of maturity and innocence further. The first primrose is a reflection of spring, and the feelings of her first love like the first primrose of spring. She expresses her love further when she declares that she would give up her heart for his love. The childish items that she would trade for his love are insignificant to other people, but have a lot of sentimental value to her. And when, in time, they say we told you so, My truth Ill have and they their status quo. This final couplet expresses how she feels about the love the man has for her, that he does not feel the same way she does, this also displays how insecure their relationship is. This demonstrates her mature aspect, and is sure she will know the truth about her feelings. The women will tell her she made a mistake, and that they were right, and know that their approaches to relationships are correct. The woman will have learnt from her mistake, and not let it happen again. Shakespeares sonnet; Shall I compare thee to a summers day? is about the beauty of a love; Shakespeare uses traditional Elizabethan language of the time. The sonnet begins with a rhetorical question, which dismissed, and the thought is expressed in further detail; Shall I compare thee to a summers day? Thou art more lovely and more temperate. Shakespeare decides that the person is lovelier than a summers day, and explains that the person does not change rapidly, this could be a reflection of the individuals personality; they are tolerant, and fair. These first lines give images of warmth and light, and contrast with the next line; Rough winds do shake the darling buds of May, And summers lease hath all too short a date: The first words give a brutal tone, which soften by the end of the line, when references of spring are brought to it. The darling buds of May express vulnerability, this line also tries to find a fault with the summer. The colon at the end of the fourth line suggests an expansion of the original idea. Sometime too hot the eye of heaven shines, And often is his gold complexion dimmd: And every fair from fair some time declined, By chance, or natures changing course untrimmd The first line refers to the sun; this is a very effective metaphor, suggesting that the sun is wrong in shining too hot. The third line implies that when the sunsets the beauty of people will decline with age. This quatrain focus on the effect of age on beauty and the tone is unchanging from the first quatrain. But thy eternal summer shall not fade Nor lose possession of that fair thou owst: Nor shall Death brag thou wandrest in his shade, When in eternal lines to time thou growst. Shakespeare uses a counter mount, and uses imagery within this quatrain. Shakespeare is convinced that the person will not loose their beauty, and death is unable to overshadow him, wrinkles will also not affect his beauty. These lines suggest that time, age nor death can change the beauty of the person, conveying that the person is almost beyond human beauty. So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. These last two lines contain words that are all mono-symbolic; giving a sense of power and simplicity. A factual tone is used, emphasising the length of the two lines, and the slow pace chosen. The tone also inflicts the idea that the statement cannot be contradicted, and the two lines give the sonnet a balance when read. The repetition of the words So long in both lines emphasise the point made; the beauty is always present. Let me not the marriage of true minds is a sonnet about true love which never dies. The sonnet makes some strong links with the church and marriage. There are many images described within the sonnet; Let me not to the marriage of true minds Admit impediments: love is not love Which alters when it alteration finds, Or bends with the remover to remove. The use of the word impediments is mentioned in a marriage service, and the third line describes unfaithfulness within a marriage. Alters encourage links with the church, and therefore encourage images of love, and never-ending love. It is the star to every wandering bark, Whose worth is unknown although his height be taken. These two lines refer to stars and guiding of the lost, this gives images of the North Star guiding people home. In addition, navigators use the stars for guidance, because they are constant. The star is also personified, with the height of it commented upon. Within his bending sickles compass come This line emphasises the sickle, a curved blade, which, in this context, would be associated with death. A strong image of hell is revealed, in contrast to the church images received from the first few lines. But bears it out even to the edge of doom The image of hell is resumed in this line, and the use of the word doomed conveys never-ending, forever. The line also implies that true love will still be love even through the bad times, and that love makes you a stronger person. If this be error and upon me provd, I never writ, nor no man ever lovd. Shakespeare is so confident in true love he expresses it in these last two lines, when he implies that if he is wrong then no man has ever loved. These last lines are hyperbole, exaggerated for effect. The sonnet has a constant factual tone, and uses iambic pentameter, which is used in all Shakespearean sonnets. The themes in the pre-20th century compared to the post 20th century sonnet have not changed dramatically; love is still seen to over-power what people say. Beauty is still an element in love, and when you are in love the person is always beautiful to you. Shakespeare suggests that true love is forever, and Hendry also believes this, as in her sonnet she expresses her love, but knows that it is not true love, as he does not feel the same way about her. The language between the three sonnets have not changed, they have been written so that they can be understood, they language is suitable in the era that they have been written in. The language used by Shakespeare seems incomprehensible to us, because language has changed so much since the Elizabethan times. To conclude I think that the experiences conveyed through the sonnets by pre-20th century writers do not differ from those conveyed by post-20th century poets, but are conveyed in different ways within the sonnets. Diana Hendry writes of her experience in an unusual way, keeping the Shakespearean structure, but changing the mood into a complicating and confusing one. Her poem gives the impression that at the present time people are confused and uncertain of their feelings. Shakespeare writes his poems in his traditional way, declaring his love for the person, doing it in the way which reflects his nature, and also the true meaning of love. He also insinuates that people in the Elizabethan times were more conscious of what love is, and how to express their feelings. This suggests that people were simpler, and less confused with materialistic things, which could influence our decisions.

Full Fathom Five :: Full Fathom Five Essays

Full Fathom Five In Sylvia Plath’s poem, "Full Fathom Five" she describe her father in beautiful and abstract terms which signify aspects to the relatioship Plath had with her father. This poem, along with other works from Sylvia Plath, provide a lot of insight into the type of relationship she might have had with her father. The imagery Plath uses to describe her father is reminiscent of fairy tails and monsters, where the idea she gives me about her father is a larger-than-life character which is made of the sea; huge, with white hair, and beard. She describes her father's hair as a huge net, which gives him a larger than life size, common to the perception a young girl would have of her father. Another word that comes to my mind when thinking about her father is that he was an extremeley fathomable figure in Plath's life, something very possible due to the fact that her father died when she was barely eight years old. This is consistent with the title of the poem 'Full Fathom Five'. Plath's view of her father as this large fable-like, mythical characater. In the poem she describes him as one who 'surfaces seldom'. This line refers to her not knowing her father for a long time, and at the time she did know him (from birth to age eight) she was quite small and vulnerable compared to the formidable presence of ones father. Another clue to Plath's reverence towards her father is the reference she makes to him being 'inscrutable'. A young child is very likely to see their father as difficult to approach, or ask questions. An ideal father is one who is loving and approachable, but Plath's description of her own father conveys neither feature. Undoubtedly a troubled childhood which can be infered from this poem is consistent with the subsequent events of Sylvia Plath's life. Plath went through years of depression, eventually commiting suicide in 1964. I suspect that Plath had a great deal of anger surrounding her fathers death, perhaps for leaving her so early. Yet at the same time, she expresses an anger for the life her father led while he was living, implicating some sence of insest in their relationship. Plath wrote another poem about her father entitled 'Daddy' in which among other things, Plath calls her father a bastard. Full Fathom Five :: Full Fathom Five Essays Full Fathom Five In Sylvia Plath’s poem, "Full Fathom Five" she describe her father in beautiful and abstract terms which signify aspects to the relatioship Plath had with her father. This poem, along with other works from Sylvia Plath, provide a lot of insight into the type of relationship she might have had with her father. The imagery Plath uses to describe her father is reminiscent of fairy tails and monsters, where the idea she gives me about her father is a larger-than-life character which is made of the sea; huge, with white hair, and beard. She describes her father's hair as a huge net, which gives him a larger than life size, common to the perception a young girl would have of her father. Another word that comes to my mind when thinking about her father is that he was an extremeley fathomable figure in Plath's life, something very possible due to the fact that her father died when she was barely eight years old. This is consistent with the title of the poem 'Full Fathom Five'. Plath's view of her father as this large fable-like, mythical characater. In the poem she describes him as one who 'surfaces seldom'. This line refers to her not knowing her father for a long time, and at the time she did know him (from birth to age eight) she was quite small and vulnerable compared to the formidable presence of ones father. Another clue to Plath's reverence towards her father is the reference she makes to him being 'inscrutable'. A young child is very likely to see their father as difficult to approach, or ask questions. An ideal father is one who is loving and approachable, but Plath's description of her own father conveys neither feature. Undoubtedly a troubled childhood which can be infered from this poem is consistent with the subsequent events of Sylvia Plath's life. Plath went through years of depression, eventually commiting suicide in 1964. I suspect that Plath had a great deal of anger surrounding her fathers death, perhaps for leaving her so early. Yet at the same time, she expresses an anger for the life her father led while he was living, implicating some sence of insest in their relationship. Plath wrote another poem about her father entitled 'Daddy' in which among other things, Plath calls her father a bastard.

Second Foundation 7. Arcadia

DARELL, ARKADY novelist, born 11, 5, 362 F.E., died 1, 7, 443 F.E. Although primarily a writer of fiction, Arkady Darell is best known for her biography of her grandmother, Bayta Darell. Based on first-hand information, it has for centuries served as a primary source of information concerning the Mule and his times†¦ Like â€Å"Unkeyed Memories†, her novel â€Å"Time and Time and Over† is a stirring reflection of the brilliant Kalganian society of the early Interregnum, based, it is said, on a visit to Kalgan in her youth†¦ Encyclopedia Galactica Arcadia Darell declaimed firmly into the mouthpiece of her transcriber: â€Å"The Future of Seldon's Plan, by A. Darell† and then thought darkly that some day when she was a great writer, she would write all her masterpieces under the pseudonym of Arkady. Just Arkady. No last name at all. â€Å"A. Darell† would be just the sort of thing that she would have to put on all her themes for her class in Composition and Rhetoric – so tasteless. All the other kids had to do it, too, except for Olynthus Dam, because the class laughed so when he did it the first time, And â€Å"Arcadia† was a little girls name, wished on her because her great-grandmother had been called that; her parents just had no imagination at all. Now that she was two days past fourteen, you'd think they'd recognize the simple fact of adulthood and call her Arkady. Her lips tightened as she thought of her father looking up from his book-viewer just long enough to say, â€Å"But if you're going to pretend you're nineteen, Arcadia, what will you do when you're twenty-five and all the boys think you're thirty?† From where she sprawled across the arms and into the hollow of her own special armchair, she could see the mirror on her dresser. Her foot was a little in the way because her house slipper kept twirling about her big toe, so she pulled it in and sat up with an unnatural straightness to her neck that she felt sure, somehow, lengthened it a full two inches into slim regality. For a moment, she considered her face thoughtfully – too fat. She opened her jaws half an inch behind closed lips, and caught the resultant trace of unnatural gauntness at every angle. She licked her lips with a quick touch of tongue and let them pout a bit in moist softness. Then she let her eyelids droop in a weary, worldly way- Oh, golly if only her cheeks weren't that silly pink. She tried putting her fingers to the outer corners of her eye and tilting the lids a bit to get that mysterious exotic languor of the women of the inner star systems, but her hands were in the way and she couldn't see her face very well. Then she lifted her chin, caught herself at a half-profile, and with her eyes a little strained from looking out the comer and her neck muscles faintly aching, she said, in a voice one octave below its natural pitch, â€Å"Really, father, if you think it makes a particle of difference to me what some silly old boys think you just-â€Å" And then she remembered that she still had the transmitter open in her hand and said, drearily, â€Å"Oh, golly,† and shut it off. The faintly violet paper with the peach margin line on the left had upon it the following: â€Å"THE FUTURE OF SELDON'S PLAN† â€Å"Really, father, if you think it makes a particle of difference to me what some silly old boys think you just â€Å"Oh, golly.† She pulled the sheet out of the machine with annoyance and another clicked neatly into place. But her face smoothed out of its vexation, nevertheless, and her wide, little mouth stretched into a self-satisfied smile. She sniffed at the paper delicately. just right. Just that proper touch of elegance and charm. And the penmanship was just the last word. The machine had been delivered two days ago on her first adult birthday. She had said, â€Å"But father, everybody – just everybody in the class who has the slightest pretensions to being anybody has one. Nobody but some old drips would use hand machines-â€Å" The salesman had said, â€Å"There is no other model as compact on the one hand and as adaptable on the other. It will spell and punctuate correctly according to the sense of the sentence. Naturally, it is a great aid to education since it encourages the user to employ careful enunciation and breathing in order to make sure of the correct spelling, to say nothing of demanding a proper and elegant delivery for correct punctuation.† Even then her father had tried to get one geared for type-print as if she were some dried-up, old-maid teacher. But when it was delivered, it was the model she wanted – obtained perhaps with a little more wail and sniffle than quite went with the adulthood of fourteen – and copy was turned out in a charming and entirely feminine handwriting, with the most beautifully graceful capitals anyone ever saw. Even the phrase, â€Å"Oh, golly.† somehow breathed glamour when the Transcriber was done with it. But just the same she had to get it right, so she sat up straight in her chair, placed her first draft before her in businesslike fashion, and began again, crisply and clearly; her abdomen flat, her chest lifted, and her breathing carefully controlled. She intoned, with dramatic fervor: â€Å"The Future of Seldon's Plan. â€Å"The Foundation's past history is, I am sure, well-known to all of us who have had the good fortune to be educated in our planet's efficient and well-staffed school system. (There! That would start things off right with Miss Erlking, that mean old hag.) That past history is largely the past history of the great Plan of Hari Seldon. The two are one. But the question in the mind of most people today is whether this Plan will continue in all its great wisdom, or whether it will be fully destroyed, or, perhaps, has been so destroyed already. â€Å"To understand this, it may be best to pass quickly over some of the highlights of the Plan as it has been revealed to humanity thus far. (This part was easy because she had taken Modern History the semester before.) â€Å"In the days, nearly four centuries ago, when the First Galactic Empire was decaying into the paralysis that preceded final death, one man – the great Hari Seldon – foresaw the approaching end. Through the science of psychohistory, the intrissacies of whose mathematics has long since been forgotten, (She paused in a trifle of doubt. She was sure that â€Å"intricacies† was pronounced with soft c's but the spelling didn't look right. Oh, well, the machine couldn't very well be wrong-) he and the men who worked with him are able to foretell the course of the great social and economic currents sweeping the Galaxy at the time. It was possible for them to realize that, left to itself, the Empire would break up, and that thereafter there would be at least thirty thousand years of anarchic chaos prior to the establishment of a new Empire. â€Å"It was too late to prevent the great Fall, but it was still possible, at least, to cut short the intermediate period of chaos. The Plan was, therefore, evolved whereby only a single millennium would separate the Second Empire from the First. We are completing the fourth century of that millennium, and many generations of men have lived and died while the Plan has continued its inexorable workings. â€Å"Hari Seldon established two Foundations at the opposite ends of the Galaxy, in a manner and under such circumstances as would yield the best mathematical solution for his psychohistorical problem. In one of these, our Foundation, established here on Terminus, there was concentrated the physical science of the Empire, and through the possession of that science, the Foundation was able to withstand the attacks of the barbarous kingdoms which had broken away and become independent, out at the hinge of the Empire. â€Å"The Foundation, indeed, was able to conquer in its turn these short-lived kingdoms by means of the leadership of a series of wise and heroic men like Salvor Hardin and Hober Mallow who were able to interpret the Plan intelligently and to guide our land through its (She had written â€Å"intricacies† here also, but decided not to risk it a second time.) complications. All our planets still revere their memories although centuries have passed. â€Å"Eventually, the Foundation established a commercial system which controlled a large portion of the Siwennian and Anacreonian sectors of the Galaxy, and even defeated the remnants of the old Empire under its last great general, Bel Riose. It seemed that nothing could now stop the workings of Seldon's plan. Every crisis that Seldon had planned had come at its appropriate time and had been solved, and with each solution the Foundation had taken another giant stride toward Second Empire and peace. â€Å"And then, (Her breath came short at this point, and she hissed the word, between her teeth, but the Transmitter simply wrote them calmly and gracefully.) with the last remnants of the dead First Empire gone and with only ineffectual warlords ruling over the splinters and remnants of the decayed colossus, (She got that phrase out of a thriller on the video last week, but old Miss Erlking never listened to anything but symphonies and lectures, so she'd never know.) there came the Mule. â€Å"This strange man was not allowed for in the Plan. He was a mutant, whose birth could not have been predicted. He had strange and mysterious power of controlling and manipulating human emotions and in this manner could bend all men to his will. With breath-taking swiftness, he became a conqueror and Empire-builder, until, finally, he even defeated the Foundation itself. â€Å"Yet he never obtained universal dominion, since in his first overpowering lunge he was stopped by the wisdom and daring of a great woman (Now there was that old problem again. Father would insist that she never bring up the fact that she was the grandchild of Bayta Darell. Everyone knew it and Bayta was just about the greatest woman there ever was and she had stopped the Mule singlehanded.) in a manner the true story of which is known in its entirety to very few. (There! If she had to read it to the class, that last could he said in a dark voice, and someone would be sure to ask what the true story was, and then – well, and then she couldn't help tell the truth if they asked her, could she? In her mind, she was already wordlessly whizzing through a hurt and eloquent explanation to a stern and questioning paternal parent.) â€Å"After five years of restricted rule, another change took place, the reasons for which are not known, and the Mule abandoned all plans for further conquest. His last five years were those of an enlightened despot. â€Å"It is said by some that the change in the Mule was brought about by the intervention of the Second Foundation. However, no man has ever discovered the exact location of this other Foundation, nor knows its exact function, so that theory remains unproven. â€Å"A whole generation has passed since the death of the Mule. What of the future, then, now that he has come and gone? He interrupted Seldon's Plan and seemed to have burst it to fragments, yet as soon as he died, the Foundation rose again, like a nova from the dead ashes of a dying star. (She had made that up herself.) Once again, the planet Terminus houses the center of a commercial federation almost as great and as rich as before the conquest, and even more peaceful and democratic. â€Å"Is this planned? Is Seldon's great dream still alive, and will a Second Galactic Empire yet be formed six hundred years from now? I, myself, believe so, because (This was the important part. Miss Erlking always had those large, ugly red-pencil scrawls that went: ‘But this is only descriptive. What are your personal reactions? Think! Express yourself! Penetrate your own soul!' Penetrate your own soul. A lot she knew about souls, with her lemon face that never smiled in its life-) never at any time has the political situation been so favorable. The old Empire is completely dead and the period of the Mule's rule put an end to the era of warlords that preceded him. Most of the surrounding portions of the Galaxy are civilized and peaceful. â€Å"Moreover the internal health of the Foundation is better than ever before. The despotic times of the pre-Conquest hereditary mayors have given way to the democratic elections of early times. There are no longer dissident worlds of independent Traders; no longer the injustices and dislocations that accompanied accumulations of great wealth in the hands of a few. â€Å"There is no reason, therefore, to fear failure, unless it is true that the Second Foundation itself presents a danger. Those who think so have no evidence to back their claim, but merely vague fears and superstitions. I think that our confidence in ourselves, in our nation, and in Hari Seldon's great Plan should drive from our hearts and minds all uncertainties and (Hm-m-m. This was awfully corny, but something like this was expected at the end.) so I say-â€Å" That is as far as â€Å"The Future of Seldon's Plan† got, at that moment, because there was the gentlest little tap on the window, and when Arcadia shot up to a balance on one arm of the chair, she found herself confronted by a smiling face beyond the glass, its even symmetry of feature interestingly accentuated by the short, vertical fine of a finger before its lips. With the slight pause necessary to assume an attitude of bepuzzlement, Arcadia dismounted from the armchair, walked to the couch that fronted the wide window that held the apparition and, kneeling upon it, stared out thoughtfully. The smile upon the man's face faded quickly. While the fingers of one hand tightened whitely upon the sill, the other made a quick gesture. Arcadia obeyed calmly, and closed the latch that moved the lower third of the window smoothly into its socket in the wall, allowing the warm spring air to interfere with the conditioning within. â€Å"You can't get in,† she said, with comfortable smugness. â€Å"The windows are all screened, and keyed only to people who belong here. If you come in, all sorts of alarms will break loose.† A pause, then she added, â€Å"You look sort of silly balancing on that ledge underneath the window. If you're not careful, you'll fall and break your neck and a lot of valuable flowers.† â€Å"In that case,† said the man at the window, who had been thinking that very thing – with a slightly different arrangement of adjectives- â€Å"will you shut off the screen and let me in?† â€Å"No use in doing that'† said Arcadia. â€Å"You're probably thinking of a different house, because I'm not the kind of girl who lets strange men into their†¦ her bedroom this time of night.† Her eyes, as she said it, took on a heavy-lidded sultriness – or an unreasonable facsimile thereof. All traces of humor whatever had disappeared from the young stranger's face. He muttered, â€Å"This is Dr. Darell's house, isn't it?† â€Å"Why should I tell you?† â€Å"Oh, Galaxy- Good-by-â€Å" â€Å"If you jump off, young man, I will personally give the alarm.† (This was intended as a refined and sophisticated thrust of irony, since to Arcadia's enlightened eyes, the intruder was an obviously mature thirty, at least – quite elderly, in fact.) Quite a pause. Then, tightly, he said, â€Å"Well, now, look here, girlie, if you don't want me to stay, and don't want me to go, what do you want me to do?† â€Å"You can come in, I suppose. Dr. Darell does live here. I'll shut off the screen now.† Warily, after a searching look, the young man poked his hand through the window, then hunched himself up and through it. He brushed at his knees with an angry, slapping gesture, and lifted a reddened face at her. â€Å"You're quite sure that your character and reputation won't suffer when they find me here, are you?† â€Å"Not as much as yours would, because just as soon as I hear footsteps outside, I'll just shout and yell and say you forced your way in here.† â€Å"Yes?† he replied with heavy courtesy, â€Å"And how do you intend to explain the shut-off protective screen?† â€Å"Poof! That would be easy. There wasn't any there in the first place.† The man's eyes were wide with chagrin. â€Å"That was a bluff? How old are you, kid?† â€Å"I consider that a very impertinent question, young man. And I am not accustomed to being addressed as ‘kid.'† â€Å"I don't wonder. You're probably the Mule's grandmother in disguise. Do you mind if I leave now before you arrange a lynching party with myself as star performer?† â€Å"You had better not leave – because my father's expecting you.† The man's look became a wary one, again. An eyebrow shot up as he said, lightly, â€Å"Oh? Anyone with your father?' â€Å"No.† â€Å"Anyone called on him lately?' â€Å"Only tradespeople – and you.† â€Å"Anything unusual happen at all?† â€Å"Only you.† â€Å"Forget me, will you? No, don't forget me. Tell me, how did you know your father was expecting me?† â€Å"Oh, that was easy. Last week, he received a Personal Capsule, keyed to him personally, with a self-oxidizing message, you know. He threw the capsule shell into the Trash Disinto, and yesterday, he gave Poli – that's our maid, you see – a month's vacation so she could visit her sister in Terminus City, and this afternoon, he made up the bed in the spare room. So I knew he expected somebody that I wasn't supposed to know anything about. Usually, he tells me everything.† â€Å"Really! I'm surprised he has to. I should think you'd know everything before he tells you.† ‘I usually do.† Then she laughed. She was beginning to feel very much at ease. The visitor was elderly, but very distinguished-looking with curly brown hair and very blue eyes. Maybe she could meet somebody like that again, sometimes, when she was old herself. â€Å"And just how,† he asked, â€Å"did you know it was I he expected.† â€Å"Well, who else could it be? He was expecting somebody in so secrety a way, if you know what I mean – and then you come gumping around trying to sneak through windows, instead of walking through the front door, the way you would if you had any sense.† She remembered a favorite line, and used it promptly. â€Å"Men are so stupid!† â€Å"Pretty stuck on yourself, aren't you, kid? I mean, Miss. You could be wrong, you know. What if I told you that all this is a mystery to me and that as far as I know, your father is expecting someone else, not me.† â€Å"Oh, I don't think so. I didn't ask you to come in, until after I saw you drop your briefcase.† â€Å"My what?† â€Å"Your briefcase, young man. I'm not blind. You didn't drop it by accident, because you looked down first, so as to make sure it would land right. Then you must have realized it would land just under the hedges and wouldn't be seen, so you dropped it and didn't look down afterwards. Now since you came to the window instead of the front door, it must mean that you were a little afraid to trust yourself in the house before investigating the place. And after you had a little trouble with me, you took care of your briefcase before taking care of yourself, which means that you consider whatever your briefcase has in it to be more valuable than your own safety, and that means that as long as you're in here and the briefcase is out there and we know that it's out there, you're probably pretty helpless.† She paused for a much-needed breath, and the man said, grittily, â€Å"Except that I think I'll choke you just about medium dead and get out of here, with the briefcase.† â€Å"Except, young man, that I happen to have a baseball bat under my bed, which I can reach in two seconds from where I'm sitting, and I'm very strong for a girl.† Impasse. Finally, with a strained courtesy, the â€Å"young man† said, â€Å"Shall I introduce myself, since we're being so chummy. I'm Pelleas Anthor. And your name?† â€Å"I'm Arca- Arkady Darell. Pleased to meet you.† â€Å"And now Arkady, would you be a good little girl and call your father?† Arcadia bridled. â€Å"I'm not a little girl. I think you're very rude – especially when you're asking a favor.† Pelleas Anthor sighed. â€Å"Very well. Would you be a good, kind, dear, little old lady, just chock full of lavender, and call your father?† â€Å"That's not what I meant either, but I'll call him. Only not so I'll take my eyes off you, young man.† And she stamped on the floor. There came the sound of hurrying footsteps in the hall, and the door was flung open. â€Å"Arcadia-† There was a tiny explosion of exhaled air, and Dr. Darell said, â€Å"Who are you, sir?† Pelleas sprang to his feet in what was quite obviously relief. â€Å"Dr. Toran Darell? I am Pelleas Anthor. You've received word about me, I think. At least, your daughter says you have.† â€Å"My daughter says I have?† He bent a frowning glance at her which caromed harmlessly off the wide-eyed and impenetrable web of innocence with which she met the accusation. Dr. Darell said, finally: â€Å"I have been expecting you. Would you mind coming down with me, please?† And he stopped as his eye caught a flicker of motion, which Arcadia caught simultaneously. She scrambled toward her Transcriber, but it was quite useless, since her father was standing right next to it. He said, sweetly, â€Å"You've left it going all this time, Arcadia.† â€Å"Father,† she squeaked, in real anguish, â€Å"it is very ungentlemanly to read another person's private correspondence, especially when it's talking correspondence.† â€Å"Ah,† said her father, â€Å"but ‘talking correspondence' with a strange man in your bedroom! As a father, Arcadia, I must protect you against evil.† â€Å"Oh, golly – it was nothing like that.† Pelleas laughed suddenly, â€Å"Oh, but it was, Dr. Darell. The young lady was going to accuse me of all sorts of things, and I must insist that you read it, if only to clear my name.† â€Å"Oh-† Arcadia held back her tears with an effort. Her own father didn't even trust her. And that darned Transcriber- If that silly fool hadn't come gooping at the window, and making her forget to turn it off. And now her father would be making long, gentle speeches about what young ladies aren't supposed to do. There just wasn't anything they were supposed to do, it looked like, except choke and die, maybe. â€Å"Arcadia,† said her father, gently, â€Å"it strikes me that a young lady-â€Å" She knew it. She knew it. â€Å"-should not be quite so impertinent to men older than she is.† â€Å"Well, what did he want to come peeping around my window for? A young lady has a right to privacy- Now I'll have to do my whole darned composition over.† â€Å"It's not up to you to question his propriety in coming to your window. You should simply not have let him in. You should have called me instantly – especially if you thought I was expecting him.† She said, peevishly, â€Å"It's just as well if you didn't see him – stupid thing. Hell give the whole thing away if he keeps on going to windows, instead of doors.† â€Å"Arcadia, nobody wants your opinion on matters you know nothing of.† â€Å"I do, too. It's the Second Foundation, that's what it is.† There was a silence. Even Arcadia felt a little nervous stirring in her abdomen. Dr. Darell said, softly, â€Å"Where have you heard this?† â€Å"Nowheres, but what else is there to be so secret about? And you don't have to worry that I'll tell anyone.† â€Å"Mr. Anthor,† said Dr. Darell, â€Å"I must apologize for all this.† â€Å"Oh, that's all right,† came Anthor's rather hollow response. â€Å"It's not your fault if she's sold herself to the forces of darkness. But do you mind if I ask her a question before we go. Miss Arcadia-â€Å" â€Å"What do you want?† â€Å"Why do you think it is stupid to go to windows instead of to doors?† â€Å"Because you advertise what you're trying to hide, silly. If I have a secret, I don't put tape over my mouth and let everyone know I have a secret. I talk just as much as usual, only about something else. Didn't you ever read any of the sayings of Salvor Hardin? He was our first Mayor, you know.† â€Å"Yes, I know.† â€Å"Well, he used to say that only a lie*** that wasn't ashamed of itself could possibly succeed. He also said that nothing had to be true, but everything had to sound true. Well, when you come in through a window, it's a lie that's ashamed of itself and it doesn't sound true.† â€Å"Then what would you have done?† â€Å"If I had wanted to see my father on top secret business, I would have made his acquaintance openly and seen him about all sorts of strictly legitimate things. And then when everyone knew all about you and connected you with my father as a matter of course, you could be as top secret as you want and nobody would ever think of questioning it.† Anthor looked at the girl strangely, then at Dr. Darell. He said, â€Å"Let's go. I have a briefcase I want to pick up in the garden. Wait! Just one last question. Arcadia, you don't really have a baseball bat under your bed, do you?† â€Å"No! I don't.† â€Å"Hah. I didn't think so.† Dr. Darell stopped at the door. â€Å"Arcadia,† he said, â€Å"when you rewrite your composition on the Seldon Plan, don't be unnecessarily mysterious about your grandmother. There is no necessity to mention that part at all.† He and Pelleas descended the stairs in silence. Then the visitor asked in a strained voice, â€Å"Do you mind, sir? How old is she?† â€Å"Fourteen, day before yesterday.† â€Å"Fourteen? Great Galaxy- Tell me, has she ever said she expects to marry some day?† â€Å"No, she hasn't. Not to me.† Well, if she ever does, shoot him. The one she's going to marry, I mean.† He stared earnestly into the older man's eyes. â€Å"I'm serious. Life could hold no greater horror than living with what she'll be like when she's twenty. I don't mean to offend you, of course.† â€Å"You don't offend me. I think I know what you mean.† Upstairs, the object of their tender analyses faced the Transcriber with revolted weariness and said, dully: â€Å"Thefutureofseldonsplan.† The Transcriber with infinite aplomb, translated that into elegantly, complicated script capitals as: â€Å"The Future of Seldon's Plan.†

Postmodernism in Literature

Postmodernism is difficult to define, because we go through it on a daily basis. Some would say it began in the 1950’s, and others say it began with the tearing down of the Berlin Wall in 1989. Postmodernism is characterized by a variety of elements that question the reading experience. Postmodern authors celebrate this by using humour and absurd experiences to create a bizarre alternate reality. The different elements that are used throughout postmodernism stories include magic realism, metafiction and irony.Magic realism is where the supernatural is not displayed as questionable. Magic realism differs from fantasy because it is set in a normal, modern world with accurate descriptions of humans and a society that does not question it. Another element is Irony. Irony is used in postmodernism literature. Irony is when that which one would not expect occurs is true. Finally, Metafiction is a device that self-consciously addresses the devices of fiction. This often happens by the author introducing themselves into the story. Post modernism and post colonialism are linked.The use of these techniques and elements encourage the reader to contemplate or query their reading experience and ones understanding of life and societies political and cultural values. Magic realism is where the supernatural is not displayed as questionable. Characters accept rather than question the logic of the magic element. Magic realism is displayed in a short story; A Very Old Man with Enormous Wings by Gabriel Marquez. The story is about an old distorted man with enormous wings found on the beach by a couple. They try to communicate with him but find it is useless as he speaks a different language.The neighbor comes over and tells the couple that he is an angel that has come to take their sick child. The community and people from all over the world were astonished and wanted to see the angel. The couple grew tired of having so many people at their house that they began to charge mo ney to see the angel they became rich and built a mansion. After a while the community grew tired of the angel because a woman who had turned into a spider by disobeying her parents arrived to town to share her stories with the community. Eventually the angel began to roam free and finally took off into the sky.This story directly relates to magic realism because the crowd does not question the angel or spider woman. The couple’s neighbor does not question it at all, but she is quite familiar with it â€Å"He's an angel,† she told them. â€Å"He must have been coming for the child, but the poor fellow is so old that the rain knocked him down† (3). The woman is not shocked or surprised to see this man at all, in fact she is not questioning it either, but in reality it would seem very bizarre. The use of magic realism makes the reader question the reading experience and reality itself.Magic realism also plays a role in The Snow Horse by J. Winterson, A story about a man who drives to a party in a horrible snow storm but is stopped by a strange man who insists on telling him a ghost story. After dropping the strange man off he decides to take a short cut that his wife warned him not to take and ends up in a car crash, but as it is crashing he sees a horse running up beside the car. The story that the strange man told him consisted of a man getting ambushed and robbed and was left for dead his horse died beside him as well.The story exhibited a richness of details that the man believed in the snow horse and seen it as he was crashing. When he gets home and into bed he hears something â€Å"Then I heard it, unmistakable, the steady clip of hooves under the window and towards the drift, and out, further and further, faster and faster, on the high old coaching road, beneath the rack of stars. †(6). Here Winterson is making a reference to Santa’s reindeer. This effect leaves the reader uncertain, whether to believe the magical elemen t of the snow horse or the realist events in the story.Last but not least magic realism is displayed in The Night Face Up by Julio Cortazar. This story is about a man who is running from the Aztecs but is dreaming of being on a motorcycle and ends up in a car crash, yet the way Cortazar sets up the story makes it seem the opposite way around. This story is a good example of magic realism because it makes the reader question which world is reality and which one is a dream â€Å"It was unusual as a dream because it was full of smells, and he never dreamt smells† (266).Here is a distinct part where reality is being confused with a dream. The story is very descriptive of both worlds which makes the reader uncertain and question which is world is real and which is not. This disrupts the reading experience. Irony is when that which one would not expect occurs is true, when reality is different from appearance. Irony is seen in Araby by James Joyce. Araby is about a young boy who fa lls head over heels for his friends older sister. He has never spoken to her but he seems to be deeply in love with her.When he finally speaks to her she mentions the Araby Bazaar and how she could not go, the boy brings himself to go to this bazaar to bring her back something but realizes it is not as he imagined it. This narrative is ironic because it is perceived as the boy writing it, but in the ending it confirms that the narrator has learned his lesson and the reader learns it is an older, mature and more emotionally experienced version of the boy â€Å"I lingered before her stall, though I knew my stay was useless, to make my interest in her wares seem the more real. †(4).The young boy went through tough situations to get to the bazaar and when he got there it was not what he pictured it to be. When he describes his anger it then tells the reader it is an older version of the boy telling his experience from the past. By using this technique it creates an ironic tension because it is human nature to change what was said, how it was said and how other people acted, so it makes the reader question the reading experience by thinking whether he told the story correctly or not. Irony also plays a role in A Girls Story by David Arnason.This story is ironic because it is not â€Å"a girls story† it is a man who is stereotyping a female. It is the opposite of a girl’s story. Arnason is constantly stereotyping women and predicting what the reader expects out of the story. Arnason seems to stereotype how a woman would write the story as well â€Å"I’m going to have trouble with the feminists about this story. I can see that already. †(228). Here you can tell that it is a man stereotyping a woman because of the fact he is directly addressing women who will read this story and how they will dislike it.Irony also occurs in The Happy Man by Naguib Mahfouz. The happy man is about a man who wakes up extremely happy and cannot understan d why. He is usually faced with strain and contemplation, but he wakes up happy. He then goes about his day and cannot even stay at work or sleep because of this strange happiness. He goes to a doctor to see why he is so happy â€Å"I haven’t come to see you because I’m ill,† he told the doctor in a hesitant tone of voice, â€Å"but because I’m happy! † (240). It is ironic because being happy is not an illness is very ironic to go to see a doctor because of it.He questions himself because he usually is not a happy man, but because of the grief and contemplation he has gone through has cause him to lose his mind and become inconceivably happy that he goes to doctors to try to cure it. This makes the reader question the reading experience and life itself. Metafiction is a device that self-consciously addresses the devices of fiction. This often happens by the author violating narrative levels by intruding to comment on their writing, involving his or herself with the fictional characters or even directly addressing the reader.The use of metafiction makes the reader contemplate their reading experience. In A Girls Story by David Arnason metafiction is strongly used. Satire is also used throughout the story as well. Satire is the use of irony, sarcasm and ridicule. Here Arnason disrupts the reading experience by satirizing what the reader would think of this part of the story by saying â€Å"I could do a lot more of that but you wouldn’t like it† (228). Arnason predicts what a reader would like or dislike in the story.Another strongly use of metafiction in the story is where Arnason directly mentions himself â€Å"He even looks a little like me and he smokes the same kind of pipe† (232). Here Arnason is directly addressing the reader by involving himself with the fictional characters. This disrupts the reading experience and makes the reader question the cultural and political views held by society. Another e xample of metafiction is displayed in Lost in the Funhouse by John Barth. Barth displays reflexivity where this enables to reader to understand the process by which he or she reads the world as a text.He casually interrupts to explain how he created the story â€Å"Description of physical appearance and mannerisms is one of the several standard methods of characterization used by writers of fiction. † (54). Barth tells the reader how describing physical appearance is important Alex 7 to keep the reader’s imagination and interest going. Throughout the story Barth interrupts to comment on his writing to explain what is going on and why he is using these different techniques.This makes the reader question the reading experience and their understanding of Barth’s writing. Finally metafiction is used in Araby. The reader perceives it as being the young boy telling his story, but in the end it is shown to be a more mature, older version of the boy. Usually when telli ng a story from the past people tend to change what happened, so this makes the reader question whether the narrator has changed anything about the story or not â€Å"Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger. (4). Here we see a different side of the boy, a more experienced angry version. This shows the reader the man who is now telling the story from a past experience. These elements and techniques that the postmodern use disrupt and question the reading experience and encourage the reader to question it. Postmodernism and Post colonialism are linked through these techniques, magic realism, irony and metafiction.

Assassination Attempt on Franklin D. Roosevelt

Assassination Attempt on Franklin D. Roosevelt Statistically, being the president of the United States is one of the most dangerous jobs in the world, since four have been assassinated (Abraham Lincoln, James Garfield, William McKinley, and John F. Kennedy). In addition to the presidents that have actually been killed while in office, there have been a myriad of unsuccessful attempts to kill U.S. presidents. One of these happened on February 15, 1933, when  Giuseppe Zangara tried to kill President-elect Franklin D. Roosevelt in Miami, Florida. The Assassination Attempt On February 15, 1933, just over two  weeks before Franklin D. Roosevelt was inaugurated as President of the United States, FDR arrived at the Bayfront Park in Miami, Florida around 9 p.m. to give a speech from the back seat of his light-blue Buick. Around 9:35 p.m., FDR finished his speech and had begun talking to some supporters who had gathered around his car when when five shots rang out. Giuseppe Joe Zangara, an Italian immigrant and unemployed bricklayer, had emptied his .32 caliber pistol at FDR. Shooting from about 25 feet away, Zangara was close enough kill FDR. However, since Zangara was only 51, he couldnt see FDR without climbing up on a wobbly chair in order to see over the crowd. Also, a woman named Lillian Cross, who stood near Zangara in the crowd, claimed to have hit Zangaras hand during the shooting. Whether it was because of bad aim, the wobbly chair, or Mrs. Crosss intervention, all five bullets missed FDR. The bullets, however, did hit bystanders. Four received minor injuries, while Chicagos Mayor Anton Cermak was mortally hit in the stomach. FDR Appears Brave During the whole ordeal, FDR appeared calm, brave, and decisive. While FDRs driver wanted to immediately rush the president-elect to safety, FDR ordered the car to stop and pick up the wounded. On their way to the hospital, FDR cradled Cermaks head on his shoulder, offering calming and comforting words which doctors later reported kept Cermak from going into shock. FDR spent several hours at the hospital, visiting each of the wounded. He came back the following day to check on the patients again. At a time when the United States desperately needed a strong leader, the untested president-elect proved himself strong and reliable in the face of crisis. Newspapers reported on both FDRs actions and demeanor, putting faith in FDR before he even stepped into the presidential office. Why Did Zangara Do It? Joe Zangara was caught immediately and taken into custody. In an interview with officials after the shooting, Zangara stated that he wanted to kill FDR because he blamed FDR and all rich people and capitalists for his chronic stomach pain. At first, a judge sentenced Zangara to 80 years in prison after Zangara pleaded guilty, saying, I kill capitalists because they kill me, stomach like drunk man. No point living. Give me electric chair.* However,  when Cermak died of his wounds on March 6, 1933 (19 days after the shooting and two days after FDRs inauguration), Zangara was charged with first-degree murder and sentenced to death. On March 20, 1933, Zangara strode to  the electric chair  unaided and then plunked himself down. His last words were Pusha da button! *Joe Zangara as quoted in Florence King, A Date Which Should Live in Irony,  The American Spectator  February 1999: 71-72.

Case study and history of hypertension

Case study and history of hypertension History of Present Illness: Mr. AS is an 85 year old Caucasian male with a past history of hypertension and chest pain who currently presents to us with dementia and complaints of not knowing how he got here. Our patient was diagnosed with hypertension at the age of 40 and developed chest pain at the age of 45 when he was told he needed a pace maker. The pace maker was placed and he has had no heart complications since then. At the age of 55 our patient was diagnosed with dementia which he lived with independently at home until two years ago when he had a stroke. He was admitted to ALF on April 28, 2009 where he was told that he had a stroke and could not walk. Mr. AS has been staying at the facility since admission. Our patient currently denies any chest pain, headaches or vision changes. Mr. AS does complain of a cough that becomes productive at times with clear sputum. He stopped smoking 20 years ago and has a 160 pack year history. He also states that he thinks he hears himself wheezing at times. Mr. AS states that his legs don’t allow him to walk anymore and that the exercises that are done with the walker hurt his arms. He states that he has feeling in his legs but that movement is the problem. Mr. AS stated during the interview that he has accepted the fact that he will not be able to walk again and that he is content with his life as long as he can breathe and talk. Our patient also stated that he has problems remembering recent events and is better at remembering events that occurred during his childhood. Past Medical History: Hypertension at the age of 40 which is controlled with medication. Chest pain at the age of 45 which was fixed with the placement of a pacemaker. Dementia was diagnosed at the age of 55 Stroke at the age of 83 Appendectomy at the age of 10 due to an appendicitis Inguinal hernia repair at the age of 10 Current Medications Mirtazapine 15mg PO QD for depression Namenda 10mg PO Bid for treatment of alzheimer ’s symptoms Allopurinol 300mg PO QD for hyperuricemia Aspirin 81mg PO QD for general health and relief of minor pain Certavite antioxidant 18mg PO QD to prevent vitamin deficiency and undernutrion Loratadine 10mg PO QD for allergies Nifedipine 90mg PO QD for treatment of hypertension and angina Metoprolol tartrate 25mg PO QD for treatment of hypertension and angina Nasal decongestant 0.05% SP 2 sprays for each nostril Bid for allergies Omeprazole 20mg PO Bid for gastroesophageal reflux Aricept 10mg PO QD for dementia associated with alzheimer’s Tamsulosin HCl 0.4mg PO QD for benign prostatic hyperplasia Zolpidem Tartrate 5mg PO QD for help sleeping Acetaminopen 500mg PO every 6 hours for high temperature Allergies No known allergies Family History: Grandma had TB, patient could not remember cause or time of death and chart did not contain any information. Information about the mother and father could not be obtained by the patient or the c hart. Information about siblings could not be obtained by the patient or the chart. Patient states that he has one son who has back pain and is overweight. No other information could be provided by the patient or the chart. Patient states that he has no grandchildren Married twice and both deceased, cause unknown by patient and not stated in chart. Family members will need to be contacted to obtain more information on history of cancer, hypertension, heart disease, diabetes mellitus, or psychological illnesses. Social:

The differences between xbox 360 and playstation 3 Essay

The differences between xbox 360 and playstation 3 - Essay Example PS3 has the ability to output a higher resolution signal than Xbox 360 as gaming has become a norm and a much favored option on PS3 than on the Microsoft model. PS3 offers two HD outputs as it helps enormously in multitasking. As far as the memory is concerned, Xbox 360 has around 20GB which is close to 5000 songs on an iPod. While PS3 users need to buy a hard drive at the pay point. When it comes to music, both PS3 and Xbox 360 offer surround sound with Dolby 5.1. Sony PS3 has the feature of supporting seven different controllers, being quite different from Xbox 360’s range. The other differences between Xbox 360 and PS3 include the fact that PS3 has the capacity to support far more players in the room than Xbox 360 which could support only four at a time. Both the machines support Internet access and playing online is a worthwhile option. The graphics of Xbox 360 are better when one compares them to PS3 since the lighting seems more realistic in Xbox 360. Also brightness within Xbox 360 gives a sense of realism more than the PS3 machine. The power differences between the two machines seem to suggest that PS3 has more power on paper than in essence. The technical differences between Xbox 360 and PS3 come down to the graphics and resolution differences, where the advanced one takes the lead over the other. However these differences have meant time and again that users from territorial locations have seemed to enjoy one over the other ever since these machines came into the respective