7 Sentences Energized by Elegant Variation

7 Sentences Energized by Elegant Variation 7 Sentences Energized by Elegant Variation 7 Sentences Energized by Elegant Variation By Mark Nichol In one of the most recent tugs-of-war between qualitative practice and quantitative practicality, search engine optimization has been eroding the exalted status of time-honored elegant variation, the convention of avoiding wearying repetition of words throughout a sentence or a passage. One of the principles of SEO, the suite of strategies for shaping online content to enhance its searchability, is that keywords, when repeated, strengthen the likelihood that a search will call up a particular piece of content. But let’s not allow that admittedly valid goal to be so scrupulously employed as to deaden the language. Here are some repetition-riddled sentences followed by elegant fixes: 1. â€Å"Finding a job at 55 is much harder than finding a job in your 40s.† Sentences like this aren’t wrong; they’re just a bit flat, and it doesn’t take much to pep them up a bit: â€Å"Finding a job at 55 is much harder than landing one in your 40s.† 2. â€Å"There’s a preponderance of knowledge workers working as contract workers.† Save some work with synonyms: â€Å"There’s a preponderance of knowledge workers employed as contractors.† 3. â€Å"The company is launching a new shelter magazine aimed at women in their 30s, while American Media is developing a shelter magazine for women in their 20s and 30s.† Two pairs of duplicate usage spiff up this sentence: â€Å"The company is launching a new shelter magazine aimed at thirtysomething women, while American Media is developing a home-themed title for those in their 20s and 30s.† 4. â€Å"New Jersey’s cops stopped doing consent searches, in which a cop asks a driver for permission to search the driver’s vehicle.† That sentence sports a tired trifecta. Not only is repetition of cop a cop-out, but it doesn’t take much effort to search for another word for search and summon the drive to replace a repeat of drive: â€Å"New Jersey’s cops stopped doing consent searches, in which a police officer asks a driver for permission to look around in the motorist’s vehicle.† 5. â€Å"He said he was afraid to listen to President Bush’s speech because he was â€Å"afraid Bush would announce he was going to repeal the Fourteenth Amendment.† I’m afraid that the reappearance of afraid is diminished by its previous use: â€Å"He said he was reluctant to listen to President Bush’s speech because he was â€Å"afraid Bush would announce he was going to repeal the Fourteenth Amendment.† 6. â€Å"Administrators requested waivers for regular students, special-education students, adult students, and students in continuation schools.† Send this writer back to school to come up with some other words for students: â€Å"Administrators requested waivers for regular students, special-education pupils, adult learners, and kids in continuation schools. 7. â€Å"When Brubeck chauffeured Milhaud, who didn’t drive, to the 1947 premiere, the composer drove the young musician to, as he said, ‘be true to your instincts’ and ‘sound like who you really are.’† Oh, my. The writer deftly employed chauffeured to achieve elegant variation in the literal sense of operating a car but then crashed farther down the road. Using two meanings of the same word (or even separate tense inflections) is a collision of comprehension: â€Å"When Brubeck chauffeured Milhaud, who didn’t drive, to the 1947 premiere, the composer pushed the young musician to, as he said, ‘be true to your instincts’ and ‘sound like who you really are.’† Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Writing Basics category, check our popular posts, or choose a related post below:Inquire vs EnquirePrecedent vs. PrecedencePunctuation Is Powerful

Tent Poles and Tentpoles

Tent Poles and Tentpoles Tent Poles and Tentpoles Tent Poles and Tentpoles By Maeve Maddox A reader wonders about a Hollywood term new to him: Have been seeing Hollywood recently using the expression tent poles, but its not clear what theyre trying to express. Can you enlighten us? Literally, a â€Å"tent pole† is a long stick that holds up a tent roof. A good rule of thumb is to fold the tent about the same length as the  tent poles before you roll it up.   A palatka is a hut with a  tent-pole  all the way to the top. I have seen tentpole used figuratively to refer to a tall person, the way Hermia uses maypole in her harangue against tall Helena: How low am I, thou painted maypole? Speak. How low am I? I am not yet so low But that my nails can reach unto thine eyes. The OED offers an example of tent-pole used as an epithet in the list of compound words in the entry for tent: His ugly, unmarriageable tent-pole of a daughter. Tentpole in the context of entertainment was new to me. The OED does not include a definition for this use, but Merriam-Webster does: tentpole noun: a big-budget movie whose earnings are expected to compensate the studio for its less profitable movies. In some contexts, a tentpole movie is one that will make money with tie-in merchandise. In television programming, a new, untried show is scheduled to follow a popular show- the tentpole- in an effort to keep viewers watching. Tentpole movies are usually equated with high-budget blockbusters: Universal Pictures has done away with the tentpole blockbusterthis year, at least Paul Greengrass has defended Hollywoods high stakes tent pole movie strategy, saying that big budget blockbusters are essential for the movie business. For the last five years or so, the dominant studio strategy for combatting lower attendance and movies’ declining entertainment market share has been a focus on bigger movies – the â€Å"tentpoles†, in industry parlance, â€Å"four-quadrant† movies that appeal to every stereotypical member of the stereotypical family, targeting the largest possible audience. An article in Forbes, however, speculates that less expensive films may be able to function as tentpoles: We may have reached the point where cheap comedies are the new tentpoles.- â€Å"Neighbors May Represent The Future Of Tentpoles,† Forbes In Hollywood jargon, a tentpole is a movie of any kind that can be expected to garner earnings beyond initial ticket sales, usually in the form of sequels and the licensing of related merchandise. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Expressions category, check our popular posts, or choose a related post below:50 Idioms About TalkingDisappointed + PrepositionConfusion of Subjective and Objective Pronouns

Otitis Media Research Paper Example | Topics and Well Written Essays - 500 words

Otitis Media - Research Paper Example The symptom includes a perforated eardrum with drainage of pus (purulent material) or the bulging of eardrum accompanied by pain. It is also likely that the patient also suffers from fever. On the other hand persistent inflammation in the middle ear is called Chronic Otitis media which lasts for at least a month. The difference from acute ear infection is that acute otitis media stays only for few weeks. In the case of chronic otitis media, an acute infection is followed by the effusion of fluid behind the ear drum in the tympanic membrane that can last for about three months. Chronic otitis media is likely to develop negative pressure at the back of the eardrum due to prolonged effusion. It can also cause continuing damage to the eardrum and middle ear and may continue drainage in the eardrum through the hole in the middle. Chronic otitis media usually begins without pain and fever. Popping and ear pressure can last for months leading to a mild loss of hearing (Otitis Media 2011). T reatment of Otitis Media On diagnosing a person with Otitis Media, treatment is planned by considering factors such as the age of the patient, risk factors involved with the resistant bacteria, hearing status and immunization status.

Ethogram project Assignment Example | Topics and Well Written Essays - 1000 words

Ethogram project - Assignment Example the warthog despite the presence of other animals such as the buffalo (Bubalus, Syncerus, Bos 13), giraffe (Giraffa camelopardalis), and the antelopes (Antilocapra americana) in the areas where the warthogs were grazing. Early that morning (10.00AM), the adult warthogs (Phacochoerus africanus) cleaned the skin of their offspring using their teeth. Some warthogs were also moving from place to place. At noon (12.00PM), the sun became very hot making the warthogs graze while kneeling and other warthogs moving from one point to another in search of shelter as well as grass. In the afternoon (2.00PM), the temperature was extremely hot making majority of the warthogs to sleep and a few to spend their time cleaning the fur of others via use of their teeth. Some warthogs that were active however ran in one a large group from one place to another when they saw us driving across where they were grazing. While running, they occasionally stopped and looked at us. The choice of this hypothesis is in tandem with the assumption that warthogs move in groups in order to locate food resources. Although male warthogs often love solitary life; they move alone from one place to another, majority of the people believe that warthogs move in groups so as to minimize the rate of their predation by predators. The testing of this hypothesis will enable one understand the lifestyle of warthogs as well as the factors that contribute to their movement in groups. The causal question and the hypothesis for this study will expound on the ultimate cause of warthogs social behavior. The social behavior of the warthogs is likely to have evolved with time because of decrease in food resources as well as increase in the rate of predation. Test for the hypothesis: Information regarding the population of the warthogs in the San Diego zoo will be collected in four different times in a year and their number tabulated for future reference. The information to be documented will include the groups of

Reaction time Essay Example for Free

Reaction time Essay How fast a response can be made once he need has been recognised. By improving my reaction time I will be able to move my racket into the correct position to return my opponents shots much quicker. I would also be able to move my body into the correct position on the correct much quicker which would stop the need for over stretching for the shuttle which sometimes causes me slight injuries. This would make my play much more successful within both doubles and singles. After examining each health and skill related component of fitness and evaluating how well I did in the fitness tests I have decided to center my exercise plan round improving my muscular endurance and cardio-vascular fitness. I have chosen these because I believe that before I improve any skill related component of fitness I must have solid health related components of fitness. This is because usually health related components are directly linked with how easily a person is able to develop skilled components. For example without good muscular strength a person cannot be powerful. Muscular endurance and cardio-vascular fitness are the two that need improving foremost as I already quite a good player and therefore come up against many players which are equally matched to myself, therefore the duration of games is usually quite long and endurance is important. Relevant fitness tests to support my aims. Multi stage fitness test = this is a bleep test which participants run between two points which are 20m apart, the bleeps tell the person when to start running and when they should reach the other point. As the levels increase the beeps get closer together. This test will determine how good my muscular endurance is and whether I can run at increasing speeds with increasing tiredness. As one of my main aims is to improve my muscular endurance this test is vital to highlight any improvement made by implementing my personal exercise plan. I could not carry on after level eight; I felt this was quite good but not excellent. I would like to, with the help of my personal exercise plan, be able to achieve level 10. Pull ups = this test just involves how many times I can lift my entire body weight to lift my head above the bar. This is a relevant test as it measures the strength of my arms which is very important in the game of badminton. The strong my arms the more power I can put into my shots and the further and faster the shuttle can travel. I managed just three pull ups. This result is just below average. Improving my muscular strength would be an advantage however this is not one of my main aims of my personal exercise plan. Reaction time = this test involves putting a ruler against a wall and getting another person to hold it. I would then put my strong hand at the 50cm mark. My friend would then drop the ruler and I would have to catch it. The test of my reaction time is how far down the ruler I catch it. In badminton reaction time is also very important as reacting to the shuttles direction quickly is vital. Reaction time is very difficult to improve however nationally I scored excellent so this isnt a major concern for improvement. Illinois Agility Test = this test is rather complicated but a great test of agility. It involves lying on the floor until the timer starts, once it has started I must stand up and run following the arrows on the diagram, each circle is a cone. This test accesses the ability to change direction at speed and the transference of weight at speed. The game of badminton can be very fast and therefore changing direction at speed can be essential. The test took me 43seconds; this is also just above average. Balance = this test involves a static balance which is timed. This is to see how long I can balance on one leg with my eyes closed. Balance in badminton is important as when stretching to reach the shuttle I need to keep my balance so not to fall. I managed to stay balanced for 20seconds this being nationally very good.

Pablo Picasso :: Essays Papers

Pablo Picasso Picasso was born on October 25, 1881, in Malaga, Spain, son of an artist, Jose Ruiz, and Maria Picasso. Rather than adopt the common name Ruiz, the young Picasso took the rarer name of his mother. An artistic prodigy, Picasso, at the age of 14, completed the one-month qualifying examination of the Academy of Fine Arts in Barcelona in one day. From there he went to the Academy of San Fernando in Madrid, returning in 1900 to Barcelona. The years of 1901 to 1904 were known as the "blue period" because of the blue tonality of Picasso's paintings. During this period, he would spend his days in Paris studying the masterworks at the Louvre and his nights enjoying the company of fellow artists at cabarets. 1905 and 1906 marked a radical change in color and mood for Picasso. He became fascinated with the acrobats, clowns and wandering families of the circus world. He started to paint in subtle pinks and grays, often highlighted with brighter tones. This was known as his "rose period." In 1907, Picasso painted "Les Demoiselles d'Avignon," considered the watershed picture of the twentieth century, and met Georges Braque, the other leading artist of the Cubist movement. Cubism was equally the creation of Picasso and Braque and from 1911 to 1913, the two men were in frequent contact. In 1917, Picasso did the set and costume design for Serge Diaghilev's ballet "Parade." For Picasso the 1920's were years of rich artistic exploration and great productivity. Picasso continued to design theater sets and painted in Cubist modes. From 1929 to 1931, he pioneered wrought iron sculpture with his old friend Julio Gonzalez. In the early 1930's, Picasso did a large quantity of graphic illustrations. In late April of 1937, the world learned the shocking news of the saturation bombing of the civilian target of Guernica, Spain by the Nazi Luftwaffe. Picasso responded with his great anti-war painting, "Guernica." During World War II, Picasso lived in Paris, where he turned his energy to the art of ceramics. From 1947 to 1950, he pursued new methods of lithography.

“Praise Song for My Mother” Grace Nichols and “Harmonium” Simon Armitage Essay

Nichols has written a personal love poem to her mother which expresses a deep respect and admiration for her. In Armitages poem however, the tone is very different as the poet reflects upon the lack of communication between him and his father and recalls a moment when an opportunity to speak about the serious subject of death was missed. Although both poems are modern, they have quite different structures. Nichols poem uses a simple three line stanza which she repeats until the end of the poem. Each stanza begins with You were, this adds a tone of gentle sadness to the poem as she is looking back now that her childhood is gone. This repetition also helps to make the poem feel more like a song. Nichols uses repetition again when she describes her mother as replenishing replenishing here she is emphasising just how much and how often her mother gave to her, not just food, but also things such as protection as in the flame trees spread. Armitage also uses repetition when he is describin g how the instrument has become worn out through use, and leather-soled shoes, had pedalled and pedalled. The final stanza of Nichols poem is a single line and this makes the message at the end of the poem stand out. Go to your wider futures, you said it feels like it is the last thing her mother said to her as a child and the poem ends with her parting from her mother. The structure of Armitages poem is less regular. Although he uses stanzas, they are different lengths and the constant use of enjambment gives the poem a natural, conversational feel. The use of colloquial language such as bundles off to the skip adds to this very natural, everyday tone of the poem. In both poems we are presented with adults looking back on their relationship with a parent. Both poems are autobiographical and this helps to make the poems feel more personal. Nichols writes in a positive tone about her mother describing her metaphorically as water. By doing this she is suggesting that her mother was essential and even implying that she gave her life. By describing her as fathoming this implies that she knew her mother could work her out, get inside her mind and know her completely. She also describes her metaphorically as moons eye to me. The image this creates is of her mother  watching over her, as the moon at night watches over the world. It is a comforting image as night time for children especially can be a frightening time. Nichols is clearly expressing a deep love and respect for her mother, whereas in Armitages poem we are presented more with a tone of regret and distance between child and parent. He too thinks of his parent metaphorically. The Farrand Chapelette is personified and we are led to make a connection between this aged and worn instrument and his father. It has lost its tongue and its keys are described as yellowed†¦fingernails. The instrument, like his father, has come near to the end of its life and his father makes the comment that he is near to death. He makes the comment that the next box Armitage will take from the church will carry the dead weight of his father. At this point we are presented with the tone of regret in the poem as Armitage remembers saying some shallow or sorry phrase and not actually talking to his father about such a real and serious matter. The poem ends on this sad tone and although there is a sense of sadness at the end of Nichols poem, her sadness is actually about understanding how well her mother prepared her for life, whilst Armitages sadness is to do with the lack of communication between him and his father. It is also noticeable that he describes his father in quite negative terms compared to the way Nichols describes her mother. For Armitage his father is in his own blue cloud of tobacco smoke, suggesting in itself a kind of separation between the two as he cant even see his father clearly. Also, by the indirect comparison to a worn out instrument, it suggests Armitage perhaps doesnt feel the glowing respect for his parent that Nichols does. Perhaps it is more typical for a daughter to be closer to her mother than a son is to his father this is one difference the two poems presents to us. In conclusion, both poems present us with very different ideas about the feelings between parents and their children. Nichols poem is very much a love poem to her mother, full of admiration and thanks, whereas Armitages poem captures the pain and sadness of a son who does not feel able to communicate with his father.

The Fall of the House of Usher

Madeline of the House of Usher Role-playing games are a great past time for literature enthusiasts. A player sits down, creates a character with quirks and a personality, usually special abilities, and meets with other people who have done the same. They sit at tables, in couches, on porches all around the world. They sit down to hear and participate in a story, a story told by the storyteller. The storyteller creates a scenario, a background, extra characters (NPCs), and certain rules. Once the story begins, control is a relative term.The storyteller knows the story, but the characters are free to move about and unknowingly change the story as they go. In Edgar Allan Poe’s short story, â€Å"The Fall of the House of Usher,† the storyteller and characters interact in a very strange way. The storyteller tries to maintain control and the characters try to free themselves. It is a struggle against two aspects, the oppressor and the oppressed, masculine and feminine. Madeli ne Usher, the sole female character in the story, is kept in the background, but holds her own by being the main drive for much of the plot.Roderick Usher, the male descendant of the Usher household, has qualities of the feminine, but introduces a powerfully masculine identity into the house. The line of triumph of the oppressed feminine over the oppressive masculine is blurry and leaves much to be desired. The first key to the house as a story and backdrop is the connection often attributed to Roderick and the house. The idea that the house deteriorates with the last wielder of the Usher name has been argued before. Roderick’s slow descent into madness is marked by cracks in the foundation of the house.This theory holds good merit from textual evidence. The story itself follows that line; Roderick describes the house as having â€Å"an effect which the physique of the gray walls and turrets, and of the dim tarn into which they all looked down, had, at length, brought about upon the morale of his existence† (119). But this is just one influence the characters have over the plot and vice versa. This view of the house and the connection to the family is shaded by a masculine identity. Surely the last male heir of the Usher house must be the cause for the decay, regardless of the feminine Usher remaining.It is easy to label Madeline Usher as a weak character. Not only is her lack of presence in the story noted, but her physical descriptions are that of a weak girl. Roderick explains to the narrator that she suffers from an unknown disease, â€Å"[a] settled apathy, a gradual wasting away of the person, and frequent although transient affections of a partially cataleptical character†¦Ã¢â‚¬ (119). Madeline suffers from an unknown illness and is kept indoors in case she becomes the victim of her own frailty.The narrator sees her only briefly before her burial later in the story, and soon after her appearance, she is confined to her bed. The char acter of Madeline Usher is subjugated. She is kept in the background. Her family line is given to Roderick, her twin brother, as was the custom at the time. Within the story, she could be representative of other women in the nineteenth century: left in the home with no rights. Madeline can also represent one of the more important aspects of the feminine as a whole, the idea of death and rebirth in her premature burial and subsequent escape from her tomb.Beverly Voloshin makes note of another point of Madeline’s femininity through color association. â€Å"Madeline matches her brother’s pallor, but her special mark is red†¦blood red being the token of both life and death† (14). Not only is she often introduced with the color red, a generally accepted color for the feminine, but her actions in the story speak directly to the idea brought about by that color. Madeline is, essentially, the feminine half of the Usher family. Roderick Usher, Madeline’s twin and the masculine half of the Usher family, is the initial, obvious oppressor.As Leila May explains as historical background in her essay, â€Å"’Sympathies of a Scarcely Intelligible Nature': The Brother-Sister Bond in Poe's ‘Fall of the House of Usher’,† the social and political authority over the household was given to the men (389). As far as the outside world is concerned, Roderick is the head of the household, putting him in a legal and social position over his sister. Diane Hoevler makes some very sound arguments for the idea of Roderick as an oppressor in her essay â€Å"The Hidden God and the Abjected Woman in ‘The Fall of the House of Usher’. She points out Poe’s own frustration with women and the idea that Roderick strives for a world, a â€Å"purely masculine universe, a fortress where males engage in discourse without the intrusion of the female in any form –living or dead: ‘Us’ versus ‘her†™: ‘Us/her’† (388). Legally, Roderick is the superior half of the last vestiges of the Usher family. It was Roderick, after all, who invited the male narrator to the house. The narrator explains that the two had been friends before and Roderick had recently sent a letter insisting that he come to the house (Poe 114).It is Roderick’s decision in the story to entomb his deceased sister in the vaults underneath the house before her burial. This burial can be viewed as an attempt by the masculine identity to rid itself of the female identity, Roderick making a final struggle against his sister. However, as Cynthia Jordan argues, â€Å"he is but a character in the story himself, and his actions are at least in part the product of his narrator’s construction† (6). The idea of plot control being in the narrator’s hands puts the narrator in the sole position of masculine oppressor and not just over Madeline Usher.The narrator in â€Å"The Fa ll of the House of Usher† views, or at least tries to explain, everything from a distanced point-of-view. His logical take on what happens at the house paints a picture with traditionally masculine tones. He also is focused on the masculine half of the Usher twins. His focus is so centered on Roderick that he would as soon dismiss Madeline from his story entirely. Jordan notes this striving towards sole masculinity influence in her essay â€Å"Poe’s Re-Vision†¦Ã¢â‚¬ : â€Å"The narrator’s first encounter with Madeline confirms the conflict between the male storyteller and the lady of the house† (7).His first encounter with Madeline is almost half way through the story. He describes her briefly, almost as a wraith, when Roderick mentions her. â€Å"I regarded her with an utter astonishment not unmingled with dread; and yet I found it impossible to account for such feelings† (Poe 119). His reaction to the feminine aspect of the Usher household is obviously negative, describing his emotions of shock and fear in the face of Roderick’s sister. After this brief mention, he leaves her out of the story once again, citing that she succumbed to her bed after his almost encounter and that he would not see her again alive (120).Jordan notes that this absence of Madeline is an attempt on the narrator’s part to keep Madeline out of the story: â€Å"the narrator uses language covertly to relegate Madeline to a passive position in relation to himself† (7). Roderick, in this case is not the masculine oppressor; the narrator is. The irony of the situation, though, is that in trying to suppress Madeline, the female twin and the object that the narrator prescribes to femininity, he lets that feminine essence flourish. By the end of the story, the narrator is forced to face that he cannot create a solely masculine story.As Raymond Benoit, a voice in Explicator’s long series of essays on â€Å"Usher,† point s out, the narrator is forced to face the feminine through the reading of â€Å"Mad Trist† at the end of the story: â€Å"a mad story that parallels what is occurring in the house and reflects and even enables the awakening of the feminine side thought to have been laid to rest in the philosophy and literature of the Enlightenment and by Roderick/narrator† (80). The narrator cannot ignore the strong feminine influence in the house, much as he tries.Perhaps this is because the source of the feminine influence is sitting beside him. Throughout the story, Roderick appears as a romantic and an artist. He reads romance and gothic novels and is emotional to the point of hysteria at times. Beverly Voloshin enters her theory in the series shared with Benoit and others on â€Å"The Fall of the House of Usher† in Explicator. Her theory follows the lines of Roderick being the feminine half of the Usher twins. â€Å"Roderick is associated with the abstract, atemporal, and ideal† (14). These attributes are generally feminine in nature, gentle and imaginative.In a usually feminine role, Roderick’s actions are often reactions to other characters, showing subordination. His madness is spurred by the supposed death of Madeline, an irrational and emotional reaction to an action of another character. Roderick’s death, often attributed with the ultimate fall of the house itself, is a reaction to the return and death of Madeline. His death is a reaction to the death of a feminine character, which gives power to the feminine over the masculine. Poe is known to have sickly seraph types in his stories, but these seemingly weak female characters speak to his fondness for women.Poe’s life was filled with women who were taken away by illness, making them physically weak: his mother, his cousin and wife. But the women in Poe’s life were often the source of his strength, making them spiritually and often mentally strong. The experien ce of physically weak, spiritually strong women in his life greatly influenced his portrayal of women in his stories and poetry; Anabelle Lee comes to mind. Similarly, Madeline follows the guidelines for Poe’s memory of women. In a strange way, Poe often put these women on pedestals.Madeline’s presence is very rarely in the foreground of Poe’s short story, but the times when she does appear, it is her appearance that changes the mood of the scene. Madeline owns every scene in which she appears. Her actions are catalysts. The character is weak, but Poe puts her in a position of power beyond character; Poe gives Madeline a position of power over the plot. While the ultimate portrayal of Madeline might be a slap in the face against feminists, her role in the story is large enough to create a strong female influence.Poe follows his own guidelines in the character of Madeline Usher. She fits his ideal for true beauty. John H. Timmerman helps lead the way towards view ing Madeline in this light by explaining Poe’s reasoning. He explains Poe’s drive towards creating beauty in his writing, a beauty that he believed could only be achieved through sadness (232). Because of this connection and his past with women, Poe comes to the conclusion that â€Å"the most sad thing, and therefore the most beautiful, is the death of a beautiful woman† (232).Madeline, though pale and sickly, is one of these beautiful women. Her death, then, is a thing of beauty in Poe’s eyes. The concept is not a very enthusiastic one, nor is it useful in citing Poe as an advocate for women, but that he put emphasis on women is a step in the right direction. From his idea that a beautiful woman’s death is indeed the most beautiful occurrence in nature, he spurned the male characters in his stories to help reclaim the feminine within his stories. The male counterparts to these tragic women are the main argument for Cythia Jordan.In her essay †Å"Poe's Re-Vision: The Recovery of the Second Story,† Jordan argues that Roderick Usher and C. Auguste Dupin are male characters who attempt to bring to light the feminine or â€Å"second† story. While the narrator has ultimate control over the plot of â€Å"The Fall of the House of Usher,† Jordan points out times when Roderick tries to wrestle that control from him and reassert Madeline as a prominent figure in the story. The final scene of â€Å"Usher† is where Roderick gets that victory, â€Å"Madman! I tell you that she now stands without the door! † (130).Jordan explains that this marks a moment in which Roderick takes control of the narrative long enough to call the narrator out on his oppression and to bring Madeline out into the spotlight (11). Roderick proves again that he is not the male oppressor but is instead a supporter if not aspect of the feminine. The question becomes, then, why would Roderick want to bring Madeline to the forefront ? The sole reason being that she is his twin is likely not enough. The idea of them being two aspects of the same being, or two sides of the same face is more concrete.But consider that Roderick is an artist, not only placing him in a feminine role, which would be cause enough to help the feminine thrive, but as an artist he must meet that ultimate goal that Poe put forth for himself: to create beauty. If Poe’s characters follow his own guidelines, then, Roderick’s only way to express that which is most beautiful in the world is to bring his beautiful sister’s death to the forefront of the story. Thus, in Roderick’s moment of control over the plot, in revealing the â€Å"second story† of Madeline, he follows those rules of an artist so avidly produced by his own author.The end result is not just Poe’s ideal of beauty, it also gives voice to the silenced feminine within the story –both Madeline’s and possibly Roderick’s o wn. The connection between Madeline and Roderick as twins is an interesting part of their mixed and almost non-existent gender roles. It has been suggested that their relationship is an incestuous affair, bringing together that mixed-gendered ambiguity into an even more scrambled position. Voloshin and others regard the twin connection, Voloshin looking specifically at the dichotomies apparent within that connection. †¦[T]he Usher twins also represent the duality of culture and nature, or more precisely, that they correspond to many cultural constructions of masculine and feminine, which divide the genders along the axis of culture and nature† (14). The fact that Poe decided to use twins pushes the idea that such dichotomies exist. Roderick, similar to Madeline, is afflicted with an ailment, one that is â€Å"a constitutional and a family evil, and one for which he despaired to find a remedy –a mere nervous affection† (118). This nervous condition is display ed throughout the story in his outbursts and personality shifts.It is suggested that the ailment, being a family curse, is close to if not the same as Madeline’s. Madeline, however, shows strength in that she did not succumb to the illness before the narrator arrives. Madeline is given credit for being the stronger of the two, a masculine trait. The dichotomy does not fit what society would expect from gender roles. The male is the feminine and the female is the masculine. It has been suggested that Roderick and Madeline are the same person, or aspects of the same person. Hoeveler plays with this idea in her essay on the â€Å"Abjected Woman. She discusses the idea that Madeline is in fact the feminine half of Roderick that has escaped to become an alter-ego (391). Not only would physical evidence within the text dispute that idea –the fact that the narrator sees Madeline during a conversation with Roderick –but why, then, would Roderick assume so many feminine traits of his own? And why would Madeline seem to uphold those traits generally accepted as masculine? The rest of the essay is another key: the idea of dualities in religion, the goddess and the god. The duality returns to the twin idea, and the twin concept requires a semblance of balance.If Roderick is the feminine role, Madeline must step in to play the role of the masculine. Traditionally, in feminist readings, the masculine identity can be discovered by its subjugation and subordination of the feminine identity. Madeline is buried in the vault, making her symbolically subordinated, but in the end, it is she who buries Roderick: â€Å"†¦with a low moaning cry, fell heavily upon the person of her brother, and in her violent and now final death-agonies, bore him to the floor a corpse, and a victim to the terrors he had anticipated† (Poe 131).The first item of note is the fact that Roderick’s name is not mentioned once in his death scene. Roderick is placed in the passive part of the sentence, â€Å"upon the person of her brother,† rather than given an active death. His name is not mentioned, instead he is listed as the brother of Madeline. He is also noted as being a victim, a position often associated with the feminine. Here, Roderick is not only stripped of identity of his own, but is made the passive victim of a violent force against him. The idea of Madeline as a violent or at least controlling force over Roderick is used in the somewhat popular vampire theory.Lyle Kendall discusses this theory and cites examples from the text to help prove it. He suggests that Roderick asks the narrator to come to the house to aid him in the destruction of his oppressor, the vampire, Madeline (451). J. O. Bailey goes into more depth, citing the history and mythology behind the vampire theory. He, however, notes that both of the twins seem to exhibit traits of one who has been attacked by a vampire, but that Madeline was the one whose body is inhabited by a vampiric entity (Bailey 458).Vampires in stories have been male and female –there is no prescription for the sex of these mythological creatures. The idea of the vampire, though, of one who comes and sucks the life out of others fits the mold for a control aspect. The masculine identity is the controlling identity, and if Madeline is indeed a vampire, then she becomes that controlling identity; Madeline becomes the oppressor and Roderick the oppressed. Another supposedly masculine trait is the sense of structure and order.Robinson brings the dichotomy of order/disorder into play in his formalist reading of the short story in his essay â€Å"Order and Sentience in ‘The Fall of the House of Usher’. † Robinson writes, â€Å"[t]he progress of the story sees Usher, his house, and his sister Madeline changing from an organized to a disorganized state, until finally all sink together† (69). Robinson also brings to light the notion that Madel ine’s physical senses dim through the story while Usher’s heighten (75). Roderick becomes more sensitive where his sister becomes less so.Their traits become intermingled, masculine and feminine twisting their positions to the opposite sex until finally it all comes back together into a union. The final union between the masculine and the feminine is the destruction of the house, according to Robinson, when the house and the story fall into a state of disorganization. The final scene in â€Å"The Fall of the House of Usher† seems to be a culmination of all that is feminine within the work. Roderick sits and listens to his favorite romantic story, â€Å"Mad Trist,† which brings the feminine back into the plot.During this reading, Roderick comes into a position to speak against the narrator, for the narrator, when he calls him a â€Å"madman,† and reveals Madeline standing outside the door. When Madeline appears for her final scene, her coup de grace , she is in her burial shroud with blood on her, a symbol of rebirth. The walking symbol of the feminine falls upon Usher, who without a fight, falls to the ground, and the two die. The narrator flees the fall of the house of Usher, and watches as the house behind him is mysteriously destroyed.The story comes together, finally, with a seeming grand finale of femininity. Symbols, romanticism, disorganization, all of those ideals that have been attributed to feminism culminate. But looking back once again on Roderick’s death, there is the passivity. Madeline, in the midst of this fantastic moment of feminine symbolism, takes on the role of a masculine identity, pressing Roderick beneath her and putting him into a passive state. Are the symbols enough for this story to triumph over masculine influence?Or has the narrator put his foot down on the final scene to ensure that some semblance of masculine oppressiveness remained in the story? Regardless of masculine or feminine traits , at the end of the story, as the world of the narrator collapses into romantic idealism, it is the woman, the female half of the Usher family, that finally oppresses the man. Madeline triumphs, but only when put into a masculine gender role. Leo Spitzer, author of â€Å"A Reinterpretation of ‘The Fall of the House of Usher’,† also notes the near necessity for the two to die as one.He first shines light on the importance of Madeline, citing her as a deuteragonist and pointing out the eerie timing of her appearances, and he goes on to say that â€Å"Roderick and Madeline, twins chained to each other by incestuous love, suffering separately but dying together, represent the male and the female principle in that decaying family whose members, by the law of sterility and destruction which rules them, must exterminate each other† (352). They do destroy one another at the end, leaving the narrator to escape.And, as Jordan points out, the narrator gets the last w ord, â€Å"for his final act of ‘sentencing’ is to dispatch Madeline and her too-familiar twin into the ‘silent tarn,’ out of mind and out of language one last time† (12). Despite this triumphant climax for Madeline and Roderick, the narrator clings tightly to his story. The narrator, or storyteller, in â€Å"The Fall of the House of Usher† fights for control over the characters within the story, both female and feminine. He takes on, ultimately, the role of masculinity.Whether, within the house, Madeline was oppressed or Roderick was matters very little –their aspects were in sync with on another and bound to come together eventually. But their ultimate victory and freedom from the masculine narrator is achieved only in their deaths, and the storyteller condemns the last vestiges of the feminine. In this story at least, the victory of femininity is short-lived and ultimately futile. Works Cited Bailey, J. O. â€Å"What Happens in â₠¬Ëœthe Fall of the House of Usher'? † American Literature: A Journal of Literary History, Criticism, and Bibliography 35. (1964): 445-66. Benoit, Raymond. â€Å"Poe's ‘the Fall of the House of Usher'. † Explicator 58. 2 (2000): 79-81. Hoeveler, Diane Long. â€Å"The Hidden God and the Abjected Woman in the Fall of the House of Usher. † Studies in Short Fiction 29. 3 (1992): 385-95. Jordan, Cynthia S. â€Å"Poe's Re-Vision: The Recovery of the Second Story. † American Literature: A Journal of Literary History, Criticism, and Bibliography 59. 1 (1987): 1-19. Kendall, Lyle H. ,Jr. â€Å"The Vampire Motif in ‘the Fall of the House of Usher'. † College English 24. 6 (1963): 450-3. May, Leila S. ‘Sympathies of a Scarcely Intelligible Nature': The Brother-Sister Bond in Poe's ‘Fall of the House of Usher'. † Studies in Short Fiction 30. 3 (1993): 387-96. Robinson, E. Arthur. â€Å"Order and Sentience in â€Å"the Fall of the House of Usher†. † PMLA 76. 1 (1961): 68-81. . Spitzer, Leo. â€Å"A Reinterpretation of â€Å"the Fall of the House of Usher†. † Comparative Literature 4. 4 (1952): 351-63. . Timmerman, John H. â€Å"House of Mirrors: Edgar Allan Poe's ‘the Fall of the House of Usher'. † Papers on Language and Literature: A Journal for Scholars and Critics of Language and Literature 39. (2003): 227-44. Voloshin, Beverly R. â€Å"Poe's ‘the Fall of the House of Usher'. † Explicator 46. 3 (1988): 13-5. Works Referenced Obuchowski, Peter. â€Å"Unity of Effect in Poe's ‘the Fall of the House of Usher'. † Studies in Short Fiction 12 (1975): 407-12. . Peeples, Scott. â€Å"Poe's ‘Constructiveness' and ‘the Fall of the House of Usher'. † The Cambridge Companion to Edgar Allan Poe. Ed. Kevin J. Hayes. Cambridge, England: Cambridge UP, 2002. 178-190. Stein, William Bysshe. â€Å"The Twin Motif in ‘the Fall of the Hou se of Usher'. † Modern Language Notes 75. 2 (1960): 109-11. .

What Ever Happenend To Justice essays

What Ever Happenend To Justice essays This short storie is about a 43 year old woman is single and raisin her two grandchildren, there ages now are 9 and 11 years old. we'll when this woman first took her two grand children in her custody they were 3 and 5 years old. The mother of the children just got up one day and left them in her mother's care and never came back. Well one day the mother of the two children suddenly pop's up out of nowhere and takes it upon herself to take the children out of school,and kidnaps them. When the grandmother gets the call she is very frantic,and crying and so she turns to the justice system for there help,just to find out that there is nothing that can be done. The grandmother explains to the police that she has sole custody of her two grandchildren and that she has raised them from a very small age because there mother just left them so that she could go out and party all of the time and of course she was also on drugs? Now this poor woman has turned for help from the justice system and now the system is saying because she is the mother of the children she has rights to them. No! justice is not fair this woman has cared, and loved,and nourish these two children and now she is all alone and sad with a broken heart. Now! whateverhappened to justice. ...

Direct-Object Pronouns in Spanish

Direct-Object Pronouns in Spanish In Spanish as in English, a direct object is a noun or pronoun that is directly acted upon by a verb. In a sentence such as I see Sam, Sam is the direct object of see because Sam is who is seen. But in a sentence such as I am writing Sam a letter, Sam is the indirect objects. The item being written is letter, so it is the direct object. Sam is the indirect object as one who is affected by the verbs action on the direct object. A difference with Spanish, however, is that the set of pronouns that can be direct objects differs slightly from those that can be indirect objects. The 8 Direct-Object Pronouns of Spanish Here are the direct-object pronouns along with the most common English translations and examples of their uses: me - me - Juan puede verme. (John can see me.)te - you (singular familiar) - No te conoce. (He doesnt know you.)lo - you (singular masculine formal), him, it - No puedo verlo. (I cant see you, or I cant see him, or I cant see it.)la - you (singular feminine formal), her, it - No puedo verla. (I cant see you, or I cant see her, or I cant see it.)nos - us - Nos conocen. (They know us.)os - you (plural familiar) - Os ayudarà ©. (I will help you.)los - you (plural formal, masculine or mixed masculine and feminine), them (masculine or mixed masculine and feminine) - Los oigo. (I hear you, or I hear them.)las - you (plural feminine formal), them (feminine) - Las oigo. (I hear you, or I hear them.) The differences between these pronouns and the indirect objects are found in the third person. The indirect third-person pronouns are le and les. Note that lo, la, los, and las can refer to either people or things. If they are referring to things, be sure to use the same gender as the name of the object being referred to. Example: Where the noun is masculine: Tengo dos boletos.  ¿Los quieres? (I have two tickets. Do you want them?)Where the noun is feminine: Tengo dos rosas.  ¿Las quieres? (I have two roses. Do you want them?) If you dont know the gender of the direct object, you should use lo or los: No sà © lo que es porque no lo vi. (I dont know what it is because I did not see it.) Word Order and Direct-Object Pronouns As you can see from the above examples, the location of a direct-object pronoun can vary. In most cases, it can be placed before the verb. Alternatively, it can be attached to an infinitive (the form of the verb that ends in -ar, -er or -ir) or a present participle (the form of the verb that ends in -ndo, often the equivalent of English verbs that end in -ing). Each sentence in the following pairs has the same meaning: No lo puedo ver, and no puedo verlo (I cant see him).Te estoy ayudando, and estoy ayudndote (I am helping you). Note that when the direct object is added to a present participle, it is necessary to add a written accent to the last syllable of the stem so that the stress is on the proper syllable. Direct-object pronouns follow affirmative commands (telling someone to do something) but precede negative commands (telling someone not to do something): està ºdialo (study it), but no lo estudies (dont study it). Note again that an accent needs to be added when adding the object to the end of positive commands. Le as a Direct Object In some parts of Spain, le can substitute for lo as a direct object when it means him but not it. Less commonly in some areas, les can substitute for los when referring to people. You can learn more about this phenomenon in the lesson on leà ­smo. Sample Sentences Showing Use of Direct Objects Direct objects are shown in boldface: Me interesa comprarlo, pero ms tarde. (I am interested in buying it, but much later. The me in this sentence is an indirect object.)Tu nariz est torcida porque tu madre la rompià ³ cuando eras nià ±o. (Your nose is bent because your mother broke it when you were a boy. La is used here because it refers to nariz, which is feminine.)Puedes vernos en el episodio 14. Nos puedes ver en el episodio 14. (You can see us in Episode 14. Both of these sentences mean the same thing, as the direct object can either come before the verbs or attached to the infinitive.)Te quiero mucho. (I love you a lot.) Key Takeaways A direct object is a noun or pronoun that is acted on directly by a verb.In Spanish, direct- and indirect-object pronouns can differ in the third person, unlike in English.When the direct object of a verb is the equivalent of it, in Spanish you need to vary the gender of the pronoun according to the gender of the noun being referred to.

The No Child Left Behind Act of 2001 (NCLB) Essay

The No Child Left Behind Act of 2001 (NCLB) - Essay Example Student achievement in the most fundamental academic skills continued to decline, especially in low-income school districts. Therefore, the ESEA was designed to serve as a funding source for elementary and secondary education in the United States was designed to provide funding for better educational resources, allocate funding for public schools with a need for additional financial support and provide government-sponsored grants that would enhance the quality of state departments of education. Over the decades since the inception of ESEA, it was determined that revision of the ESEA was required to meet the needs of contemporary students in America. This need led to the implementation of the Improving America’s Schools Act of 1994 in the Clinton administration and the No Child Left Behind Act (NCLB) of 2001 which both enhanced the Elementary and Secondary Education Act to make educational reform more relevant for modern academic needs. However, there is still a need for further educational reform that surpasses the relevancy of the NCLB as there are measurable deficiencies related to this Act. This essay explores the issues associated with NCLB which mandate further revisions to this Act in order to fully address the problems in today’s public school districts. The No Child Left Behind Act of 2001, whilst a valuable piece of legislation to ensure higher quality of education, fails to address certain issues in today’s society. This revision to the ESEA does not properly address the goal of promoting bilingualism. In many of today’s public schools, there is a measurable shortage of educators with the proficiency and training to provide bilingual learning for children in elementary and secondary schools. It is estimated that there are nearly 5.1 million students in need of English-as-a-second-language instruction throughout the United States (Cuellar, De la Colina and Battle, 2007). With growth in migrant children now enrolled in public schools

Policing Research Paper Example | Topics and Well Written Essays - 1000 words

Policing - Research Paper Example Policing How to Become a Police Officer in New York City New York has the second biggest police force in the United States with a total number of police officers in the department estimated to be about 5,000 (Skogan, 2006). The labor department foresees that there are going to be about 1,700 vacancies in the New York police department until 2018 (Skogan, 2006). Some of the positions available for interested candidates include aviation, highway patrol, criminal investigations, crime scene analysts as well as drug enforcement (Skogan, 2006). Educational requirements for candidates applying for positions in the police department in New York are a little bit higher as compared to other states. Candidates are required to have at least 60 credit units from college and a GPA of 2.0. The candidates are also required to be US citizens of about 21 years of age (Sherman & Eck, 2002). They must be New York residents with valid driving licenses and great vision of 20/100. Corrected vision with sp ectacle glasses has to be 20/20 for candidates to qualify. Apart from these qualifications, candidates are also taken through background investigations and tests as well as drug and substance abuse tests (Gaines & LeRoy Miller, 2006). The candidates are also obligated to take written Service Exam from the Department of Citywide Administrative Services (DCAS). This examination helps the department to pick highly qualified candidates to serve in the police force. Other examination tests taken include the written psychological test. Candidates will also be taken through very rigorous oral interviews and job standardized test to determine how the candidates can perform at various police tasks. Qualifying candidates will undergo police training at the New York Police Training Academy for about 28 weeks, after which they will go through field training for 10 more weeks before they can start serving the police department (Sherman & Eck, 2002). Management Structure of the New York Police De partment The New York Police Department is structured into various bureaus and units that help maintain peace and order in the State. The head of the department is the New City York Police Commissioner. The commissioner appoints deputies and assistants to help him run the department. In total, the New York Police Department is divided into eight different bureaus, among which six act as enforcement bureaus (Gaines & LeRoy Miller, 2006). The head of each bureau is known as the Bureau Chief, for instance the Chief of Patrol or Chief of Internal affairs. Each bureau is subdivided into various units, divisions and sections, each dealing with a specific issue (Gaines & LeRoy Miller, 2006). The department also has some specialized units that do not fall under any bureau, for instance the Operations Unit. These specialized units report directly to the Police Commissioner (Braga, Kennedy, Waring, & Piehl, 2001). The Police Commissioner, who is the head of the department, is a civilian polic e officer appointed by the Mayor of New York City (Braga et al., 2001). The police staff of the department comprises both civilian and uniformed police. Uniformed police officers in the department are charged with the responsibility of investigating crimes and performing law enforcement operations in the state. On the other hand, the civilian police o