How Is the SAT Scored Scoring Charts

How Is the SAT Scored Scoring Charts SAT / ACT Prep Online Guides and Tips One question that often comes up as you begin studying for the SAT is this: how on earth is this thing scored? Or more specifically, how are the raw scores you earn from each section turned into those neat numbers between 200 and 800 you see on the score report? This article breaks down how the SAT is scored, section by section. You will learn how your raw score becomes a scaled score and how you can use that information to your advantage. After all, a strong understanding of the exam can give you an edge on the SAT. Overview The SAT has two big sections – Evidence-Based Reading and Writing (EBRW), and Math. You can earn a scaled score of between 200 and 800 points on each section, for a total of 1600 possible points on the Redesigned SAT. (If you're looking for information about the old SAT, which was last offered in January 2016 and scored out of 2400, you can learn here how to calculate your SAT score and how to interpret your SAT results.) The scaled score of between 200 and 800 is converted from the raw score you earn on each section. Your raw score is simply the number of questions you answered correctly. Skipped or wrong questions do not add or subtract from your raw score. So how do those raw scores become scaled scores? It happens through a process that College Board calls equating: â€Å"Equating ensures that the different forms of the test or the level of ability of the students with whom you are tested do not affect your score. Equating makes it possible to make comparisons among test takers who take different editions of the test across different administrations.† In other words, equating is not curving your score relative to other test takers on the day you take the test. Equating controls for slight variations in different SAT dates to ensure that scaled scores represent the same level of ability across different test dates. For example, a 600 on SAT Math in March has to represent the same ability level as a 600 on SAT Math in May. So if the May test turns out to be more difficult for students, the raw-score to scaled-score calculation will be adjusted so that a slightly lower raw score still nets a 600 scaled score. Since the equating formula changes from test to test to keep the scores equal, there is no way to know for sure how a certain raw score will translate to a scaled score. However, the College Board releases raw score to scaled score ranges to give you an idea of what level of raw score you need to get to certain scaled score numbers. While there are not confirmed score range tables available yet, we can use the raw to scaled score tables included in College Board’s free SAT practice tests for a sense of how raw scores become scaled scores on the Redesigned SAT. You'll notice as you look at the tables that they differ slightly: for example, a raw score of 57 gets you a perfect 800 on Test 4 but not Test 1. This is because, as we discussed above, each test is equated so that despite slight differences in difficulty, an 800 on one test means the same as an 800 on another test. In this case, the Math section on Test 4 is slightly harder, so you can only miss one point and still get an 800. And don’t worry – we will explain scoring for each section in depth so you’ll know exactly how to use these tables. Test 1 Score Conversion Table Via College Board's Scoring Your Practice Test 1. Test 4 Score Conversion Table Via College Board's Scoring Your Practice Test 4. Next, we will break down the mechanics of scoring section-to-section, to help you best prepare for each part of the test. Calculating Your Math Section Score Finding your score on SAT Math is relatively straightforward. I'll walk you step-by-step through finding your raw score to calculating your final scaled score between 200 and 800. Figure out your raw score on each of the two math sections (No Calculator and Calculator). This is just the total amount of questions you answered correctly. The No Calculator section has 20 possible points, while the Calculator section has 38 possible points. Blank or wrong questions do not count for or against you. For the Grid-In answers, where you fill in the answer rather than choosing A, B, C, or D, remember that there can be a few different ways to write the same answer (for example, 3/5 could also be written as 0.6). As an example, let's say I take Practice Test 1. After checking my answers, I count 15 correct answers on the No Calculator Section, and 25 correct answers on the Calculator section. I ignore wrong or blank answers as I count, since there is no longer a deduction for wrong answers. Add your No-Calculator raw score to your Calculator raw score. This is your final Math raw score. The highest possible raw score is 58. To continue my example, I would add 15 (my raw score on the No Calculator section) to 25 (my raw score on the Calculator section) for a final Math raw score of 40. Using the table for your practice test, find the scaled score of 200-800 your raw score matches to. Since I took Practice Test 1, I use Table 1 and find that a raw score of 40 translates to a scaled score of 610. Via College Board's Scoring Your Practice Test 1. What if you're not using one of College Board's practice tests? If you’re scoring questions from a practice test without a raw score to scaled score table, or you just want to know how many raw points you would need for a certain score, look at both tables to come up with an estimate. For example, when I look at Table 4, I see that a raw score of 40 on that test would have gotten me a 670! Based on that, I know if I get a raw score of 40 on Math, I can bet on a final score in the low- to mid-600s. We'll talk more about how to come up with raw score goals later in the post! Calculating Your Evidence-Based Reading and Writing Score Finding your EBRW scaled score is a bit trickier than finding your Math score, since you have to combine your performance on the Reading and Writing sections. Let's take a look. Find your raw score on the Reading section. This is just the total amount of questions you answered correctly. Blank or wrong questions do not count for or against you. The highest raw score possible is 52. To continue with my example, let's stay with Practice Test 1. Let's say I correct the Reading section and find that I got 39 questions right. That gives me a Reading raw score of 39. Find your raw score on the Writing section. This is just the total amount of questions you answered correctly. Blank or wrong questions do not count for or against you. The highest raw score possible is 44. Let's say I correct the Writing section and see that I got 35 questions correct. My Writing raw score is 35. Find your Reading â€Å"scaled score† on the table. This is a number between 10 and 40. Using Table 1, I look up my Reading raw score of 40, and see that it translates to a scaled score of 32. Find your Writing â€Å"scaled score† on the table. This is a number between 10 and 40. Using Table 1, I look up my Writing raw score of 35 and see that it also translates to 32. Via College Board's Scoring Your Practice Test 1. Add your Reading and Writing scaled scores together. You’ll get a number between 20 and 80. Since I got a 32 scaled score on both Reading and Writing, I add them together: 32 + 32 = 64. Multiply your scaled score by 10. This is your final scaled score between 200 and 800. I multiply 64 by 10 to get 640. This is my final Evidence-Based Reading and Writing score. Finally, I can calculate my total SAT composite score, since I know my Math score (610) and my EBRW score (640). I simply add them together to get the composite: 610 + 640 = 1250. Not too shabby! Subscores But wait, there's more! The Redesigned SAT also gives you a number of subscores: two that rate your ability in different subjects (History/Social Studies and Science), and seven that break down the Math, Reading, and Writing sections into more specific (and creatively-named!) skills, for example, "Heart of Algebra." You can read in-depth about the Subscores on the Redesigned SAT website. We’ll explain here how to calculate these various subscores – and also talk a bit about why they’re not as important as your main section scores. Cross-Tess Scores: Analysis in History/Social Studies and Analysis in Science To calculate your cross-test scores, you need to have access to a detailed answer key that marks which questions fall under which cross-score categories, since they will come from all different sections of the test. If you take the College Board's free practice tests (linked above), then you can use their answer keys, which are quite detailed. Find the questions marked as History/Social Studies and Science in the answer key. Next, find your raw score for each category – simply total up how many questions you got right. This can be a bit tedious, since you have to count up questions from different sections. College Board's answer keys come with a table to help you do this. Via College Board's Scoring Your Practice Test 1. Finally, use their table to calculate your final scaled score, between 10 and 40, for each subject area, History/Social Science and Science, based on the raw scores you found. Unlike EBRW, you do not combine these two scores and multiply them for a final scaled score between 200 and 800. They simply stand alone as indicators of your Science and Social Science skills. Via College Board's Scoring Your Practice Test 1. Subject-Specific Subscores You can also calculate subscores for seven other areas: Expression of Ideas, Standard English Conventions, Heart of Algebra, Problem Solving and Data Analysis, Passport to Advanced Math, Words in Context, and Command of Evidence. These subscores give you more fine-grained information about your performance within Math and EBRW. You find these subscores using the same process: find the questions marked as belonging to those categories, total up your raw score for each category, and then use the conversion table to find your scaled scores. It can definitely be tedious to calculate all of these on your own, since there are seven categories, but it can be worth it to learn more about your strengths and weaknesses as a test-taker, as we will discuss below. An example of how to find the relevant questions to calculate a subscore. Via College Board's Scoring Your Practice Test 1. The final conversion table for finding your subscores. Via College Board's Scoring Your Practice Test 1. How Much Do My Subscores Matter? In terms of how your SAT score is perceived, the subscores aren’t very important. Colleges are looking most closely at your composite score, and then at the two main section scores (EBRW and Math). They may look at your subscores for more info or context about your performance, but they’re not nearly as important. Especially since these subscore categories are new with the Redesigned SAT, and colleges aren’t really used to taking all of these different subscores into account, they are more likely to rely on just the basic composite (1600) and main section scores (out of 800) to compare your scores with other applicants. However, these subscores can be very helpful for you. Why? They can give you major clues as to where to focus your prep. For example, say that when you calculate your math subscores and notice that you missed over half of the â€Å"Passport to Advanced Math† questions, despite getting the other questions mostly correct. That’s a big hint that you are struggling with some higher-level math concepts, and you should study them carefully before retaking the test. So even though it's tedious, if you're not getting the scores you want on practice exams, take the time to calculate your subscores both the cross-subject scores and the section subscores to figure out where you're going wrong and to focus your studying more carefully. What About the Essay? Unlike the old SAT, on the new SAT, your essay score is totally separate and not combined with your final composite score in any way. (You could technically score a perfect 1600 even with a subpar essay – not that we recommend blowing the essay off, as we will discuss below!). As forhow your essay is graded, it will receive three scores between 2 and 8: one score for Reading, one for Analysis, and one for Writing. A 2 is the lowest score for any category, while 8 is the highest. Reading will judge how well you read through and understood the passage the essay is about and how well you demonstrate that understanding in your essay. Analysis will judge how well you analyze the passage in relation to the prompt and how solid (or not) your argument is. Writing will judge how strong your essay is from a construction standpoint: in other words, is it logical? Does it flow well? Do you use good grammar and spelling? Two readers (as in, two flesh and blood people!) will read your essay, and give the Reading, Analysis, and Writing parts of your essay a score from 1 to 4. Those scores will then be added together for the three final scores of between 2 and 8. You can read a complete SAT essay rubric in case you’re curious about how exactly the essay will be graded. How To Use This Information So, now that you’re an expert on how the SAT is scored, how can you use this information to your advantage? We have identified four key ways in which understanding SAT scores can help you make a smart study plan and improve your score. #1: Develop Targeted Raw Scores You can use College Board’s raw-to-scaled score tables to help develop a target raw score for each section. For example, if you want to crack 700 on Math, you should aim for at least a 45, though 50 is the safest bet. If you want to get to at least a 700 on EBRW, since it combines Reading and Writing, you can play around a bit with your raw score goals. For example, you could aim to get a scaled score of 35 on each section, for a total of 70. In this case, you would go for 45 raw points on Reading and 39 raw points on Writing. But say you are really confident about the Writing section but less confident on Reading. You could go for a perfect 40 on Writing and aim for 30 on Reading and still get a 70, a.k.a. 700, overall. In that case, you would aim for all 44 raw points on Writing and 36 raw points on reading. So no matter what your score goals are, using the tables to find the raw scores you need helps make your studying more concrete and manageable. Knowing how many raw points you need gives you a much better sense of how to approach each section. (By the way, if you're wondering what SAT score you should aim for you should read our guide to what a good SAT score is.) #2: Guess Aggressively Since the Redesigned SAT doesn’t have a guessing penalty, make sure to answer every single question on every single section – even if it means filling in random bubbles if you run out of time at the end of the test. At best, you’ll pick up an extra raw point or two, at worst, you won’t gain any. But you will not be hurt at all by guessing, so it’s worth the shot! Remember: if you're leaving blank bubbles on your SAT answer sheet, you're basically throwing away free raw points. #3: Don't Sweat the Essay... But Don't Brush It Off, Either Since the essay doesn’t factor into your final composite score, don’t devote too much of your SAT study time on it. Having the highest composite score possible is important both for admission to selective schools and for getting merit scholarships. However, you shouldn’t swing the other way and completely bomb the essay. Colleges will be able to read your essay when your SAT scores are sent, so you want it to represent your sincerest effort. Especially since colleges have the essay as an example of your writing, you want it to be good quality so that your carefully edited essays don't look like they were written by someone else. Bottom line: your overall composite score is much more important than the essay, and as long as your essay score isn’t drastically different than your composite, you’ll be fine. #4: Do Sweat the Math Section Since Math is exactly half of your composite score, it’s more important than ever to study hard for it. Unlike the old SAT, on which Math was just 1/3 of your total composite, on the Redesigned SAT, it can absolutely make or break your score. To take an example, let's look at two hypothetical students. Student A does perfectly on Reading and Writing, scoring a perfect 40 on each section for a composite of 800. However, he stumbles a bit on Math, getting a composite of 600. Student A's final composite is 1400. Student B, meanwhile, does perfectly on Math, with a score of 800, and Reading, with a scaled score of 40. However, she stumbles a bit on writing and only gets a scaled score of 30. Her final EBRW scaled score is a 70 (40 + 30), meaning that she ends up with an EBRW composite of 700. So Student B's final composite score is a 1500, significantly higher! The message here isn't to neglect studying for Reading and Writing. It is still important to do very well on both sections for a strong EBRW score. However, you can see that out of the three sections, Math carries the most weight, so it's very important to do well on Math for a strong final composite score. What's Next? Did the last section freak you out? If you don't consider yourself a math person, don't panic! We have the ultimate guide for SAT Math including practice problems and key strategies to help you do well. By the way, we believe anyone can be a math person! To find out how, check out this article on getting perfect grades in high school from our resident Harvard alum. Not only does this guide have great advice for improving your grades, it also explains the concept of a "growth mindset" and why having this mindset is key to doing well, even in subjects you think you're not good at. Get the complete lowdown on the Redesigned SAT with our complete guide to the New SAT. In this post we break down new question types, new strategies, and new challenges that you may face on the SAT beginning in March 2016. What SAT score should you aim for?We take you step by step through figuring out your SAT target score. This is a crucial step to be able to figure out the raw scores you need for each section and to make a comprehensive study plan. Want to improve your SAT score by 160points?Click below to download our free guide to the top 5 strategies you need to keep in mind to have a shot:

Everything You Need to Know About The Great Gatsby Setting

Everything You Need to Know About The Great Gatsby Setting SAT / ACT Prep Online Guides and Tips One reason that The Great Gatsby has now become a byword for the East Coast of the Roaring 20s - the decadently extravagant post-WWI era - is that Fitzgerald was amazing at creating memorable settings. Whether it's the sprawling luxury of Gatsby's mansion, the drunken chaos of Myrtle's apartment, or the suffocating airlessness of a suite at the Plaza Hotel, The Great Gatsbyfeatures settings that perfectly encapsulate character, mood, atmosphere, and emotions. In this article, I'll go through all of the Great Gatsby settings, explain what role settings play in a novel, show how these settings compare with one another, and explore what symbolic meaning they have. Article Roadmap Why Is Setting Important All the Settings in The Great Gatsby Great Gatsby Time Period Setting 1922 Summertime Comparing and Contrasting PairedGreat GatsbyLocations Midwest versus East Coast Manhattan versus Long Island East Egg versus West Egg Gatsby's mansion versus Daisy and Tom's mansion The Valley of Ashes: Setting and Symbol How to Write About Setting Why Is Setting Important? The literary term "setting" means the time and place of anovel's events. If the characters are the "who," then the setting is the "where" and "when." This "where and when" can be very general - for example, "20th century Earth." Alternately, the setting can beeach of the manydifferent places where any of the novel’s actions occur, no matter how small. For instance, you could a imagine a domestic drama where different rooms in the same house work as different settings. Usually, novels feature several different settings, and authors use descriptive language to explain what these times and places look, smell, sound, and maybe even feel like. Using these descriptions, we can learn a lot! Settings help readers fully understand characters. Character backgrounds, motivations, and the pressures they feel from their environment and surrounding society, are often coded into the places where they are.For example, a 20-year-old woman in a novel set in Victorian England would be under enormous pressure to get married and have kids (this desperation isthe plot of Edith Wharton's The House of Mirth). Meanwhile, the same woman in a novel set in today’s NYC is going to be more worried about getting a job (the main drama in The Devil Wears Prada). Settings develop or affect plot. Actions that are commonplacein one setting would be impossible in another. Often this has to do with what is and isn't considered acceptable behavior. Other times, it has to do with the technology, transportation, or means of communication that are available in a particular time. Many bad decisions in G. R. R. Martin'sSong of Ice and Fire happen because it takes weeks or monthsto get a piece of information from one castle to another - the quasi-medieval setting dictates this part of the plot. Settings contribute to mood,tone, and atmosphere. Many novels use setting as a way of developing a particular mood. For instance, the magical yet desolate and creepy setting of the moors inWuthering Heights creates the prevailing air of menace, imprisonment, and terror that infects that novel. Contrast this with the cozy setting ofLittle Women, where the March house represents the loving, close-knit, family atmosphere of the novel as a whole. Settings are used for symbolic or thematic purposes. Sometimes a particular setting is linked to one of the novel's themes, functions as a symbol, or if used to make moral, ethical, or aesthetic judgments. For example, in The Great Gatsby, the Valley of Ashes – an industrial neighborhood in Queens – symbolizes the desperate circumstances of those who are victims of the capitalist system the novel describes. There's a reason horror movies aren't typically set in sunny green meadows. All the Settings In The Great Gatsby Before analyzing theGreat Gatsby settings, I'm going to briefly explain and describe all the different settings that the novel uses. Time Setting The Great Gatsby takes place during the summer of 1922. The 1920s are a period that is sometimes called the Roaring 20s or the Jazz Age. Location Settings The Great Gatsby takes place in the United States. Most of the characters come from the Midwest to the East Coast. In the novel, the East Coast setting is divided into three distinct places: Manhattan, Long Island, and an industrial part of Queens that the novel calls either the Valley of Ashes or just the ashheaps. In Manhattan, we see two main settings: Tom and Myrtle's apartment uptown in Harlem, and asuite in the very posh Plaza Hotel next to Central Park. Gatsby's Long Island is broken down into two incredibly wealthy towns that face each other across a bay: West Egg, less fashionable and home to new money people,and East Egg, where older and more established families live. We see two WestEgg settings: Jay Gatsby's sprawling, extravagant mansion, and Nick Carraway's small rented house next door. In East Egg lies Tom and Daisy Buchanan's red and white Georgian mansion. In the novel's version of Queens, the main setting is George Wilson's garage and the road that runs next to it, connecting Long Island and Manhattan. Oheka Castle, one of the real life mansions that aresaid to have inspired Fitzgerald. Quick Note on Our Citations Our citation format in this guide is (chapter.paragraph). We're using this system since there are many editions of Gatsby, so using page numbers would only work for students with our copy of the book. To find a quotation we cite via chapter and paragraph in your book, you can either eyeball it (Paragraph 1-50: beginning of chapter; 50-100: middle of chapter; 100-on: end of chapter), or use the search function if you're using an online or eReader version of the text. Great Gatsby Time Period Setting What makes the Roaring 20’s different from other periods in history, and why does all the action take place in the summer time? 1922 The novel takes place during a period of enormous change and transition for the U.S. 1919 brought the end of World War I, a war marked byits massive death toll and the horrors of trench warfare which countered the image of soldiering as glorious and heroic. The young men who fought inthe war were dubbed The Lost Generation: the devastated and aimless survivors and the needlessly slaughtered dead. The post-war period in Americawas later dubbed theRoaring 20s because ofthecountry's rapidly growing economy and the greater influence abroad that came as a result of American involvement in the war. Many of the things this time period is famous forconnect with eventsin the novel. Prohibition went into effect in 1920, making almost all recreation alcohol illegal. This means thatany time you see people drinking alcohol in the novel, they are breaking the law. Moreover,Gatsby’s enormous wealth comes from him being a bootlegger - someone who illegally sells alcohol Women got the right to vote in 1919, and the Equal Rights Amendment wasfirst introduced in Congress in 1923. InThe Great Gatsby, the power and agency of women come up often. The three women in the novel make choices about their independence; Daisy and Myrtle find it hard to escape dysfunctional marriages, though they try through affairs; Jordan is able to lead a more independent life. The production and ownership of cars skyrocketedafter Ford popularized the efficient mass production of cars by assembly line. In the 1920, 1 out of 4 Americans owned a car. In the novel, cars are associated with danger and recklessness, as people are constantly either talking about car accidents or getting into them.And of course, the climax of the novel is when Daisy runs over and kills Myrtle. Summer The Great Gatsby pointedly takes place during the summer,as opposed to any other season. I say pointedly because the novel goes out of its way to assign meaning to summertime and to contrast it with the rest of the year - and often even with itself. For example, summer is somehow both healthfully airy and horribly suffocating. Nick initially relishes the Long Island summer, shirking his work because there is "so much fine health to be pulled down out of the young breath-giving air" (1.12). But in the tense confrontation in the Plaza Hotel, where Tom, Gatsby, and Daisy have a life-changing fight, the oppressive and unbearable summer heat means the room has basically no breathable air at all: The room was large and stifling, and, though it was already four o'clock, opening the windows admitted only a gust of hot shrubbery from the Park... "Open another window," commanded Daisy, without turning around. "There aren't any more." "Well, we'd better telephone for an axe- - " "The thing to do is to forget about the heat," said Tom impatiently. "You make it ten times worse by crabbing about it." ...the compressed heat exploded into sound and we were listening to the portentous chords of Mendelssohn's Wedding March from the ballroom below. "Imagine marrying anybody in this heat!" cried Jordan dismally. (7.174-190) Similarly, it's up for debate whether the summer brings with it life - the way we typically associate new foliage with a sense of rebirth - or not. On the one hand, Nick starts out with a traditional view of the summertime: And so with the sunshine and the great bursts of leaves growing on the trees-just as things grow in fast movies-I had that familiar conviction that life was beginning over again with the summer. (1.) But soon, Jordan compares summer unfavorably to the potentially positive change that fall brings when she says. Life starts all over again when it gets crisp in the fall. (7.75) This desire to have life start over again is crucial, since this novel is so interested in how the wish for forward momentum fights against the way the past anchors us and pulls us back. Despite his initial positive feelings about the summer on the East Coast, Nick eventually reverts to his roots in the Midwest. He contrasts the disappointing summer he spends on Long Island withthe season he associates with Midwestern wholesomeness and goodness - winter: That's my middle west- not the wheat or the prairies or the lost Swede towns but the thrilling, returning trains of my youth and the street lamps and sleigh bells in the frosty dark and the shadows of holly wreaths thrown by lighted windows on the snow. I am part of that, a little solemn with the feel of those long winters, a little complacent from growing up in the Carraway house in a city where dwellings are still called through decades by a family's name. I see now that this has been a story of the West, after all- Tom and Gatsby, Daisy and Jordan and I, were all Westerners, and perhaps we possessed some deficiency in common which made us subtly unadaptable to Eastern life. (9.125) I don't know about you, but I'll take this version of summer any day. Comparing and Contrasting PairedGreat GatsbyLocations Now let'stackle theGreat Gatsby settingsthatfunction as foils to one another. We can analyze them by comparing and contrasting them to each other. Midwest vs. East Coast Considering Nick eventually decides that whathe has written is really the story of Midwesterners failing to make it on the East Coast, these might be the two most significant settings in the novel. Still, before we dive in, it's important to remember that this Midwest is Nick's version of the Midwest, which is often undercut (for instance,a lot of Gatsby's criminal business comesas phone calls frombig Midwestern cities like Detroit). Nick describesthe Midwest as the center of all things moral and wholesome.It's a place where everyone is friendly, happy, innocent, and so much "in it together," that when he is describing his memories of the Midwest, Nick doesn't use the pronoun "I," but instead starts writing in the first floors person plural "we": One of my most vivid memories is of coming back west from prep school and later from college at Christmas time...I remember the fur coats of the girls returning from Miss This or That's and the chatter of frozen breath and the hands waving overhead as we caught sight of old acquaintances and the matchings of invitations: "Are you going to the Ordways'? the Herseys'? the Schultzes'?" and the long green tickets clasped tight in our gloved hands. And last the murky yellow cars of the Chicago Milwaukee and St. Paul Railroad looking cheerful as Christmas itself on the tracks beside the gate. When we pulled out into the winter night and the real snow, our snow, began to stretch out beside us and twinkle against the windows, and the dim lights of small Wisconsin stations moved by, a sharp wild brace came suddenly into the air. We drew in deep breaths of it as we walked back from dinner through the cold vestibules, unutterably aware of our identity with this country for one strange hour before we melted indistinguishably into it again. (9.123-124) In contrast, the East Coast is a place where everyone is so out for themselves, that after Gatsby dies none of the people whom he spent an entire summer entertaining can even be bothered enough to come to his funeral. In the beginning, this Midwestern quality of goodness strikes Nickas boring, which is why he decides to go East to New York: Instead of being the warm center of the world the middle-west now seemed like the ragged edge of the universe- so I decided to go east and learn the bond business. (1.6) But after his experiences during the summer, Nick comes to see the East as a kind of nightmare of debauchery, violence, and a disregard for human life: Even when the East excited me most, even when I was most keenly aware of its superiority to the bored, sprawling, swollen towns beyond the Ohio, with their interminable inquisitions which spared only the children and the very old- even then it had always for me a quality of distortion. West Egg especially still figures in my more fantastic dreams. I see it as a night scene by El Greco: a hundred houses, at once conventional and grotesque, crouching under a sullen, overhanging sky and a lustreless moon. In the foreground four solemn men in dress suits are walking along the sidewalk with a stretcher on which lies a drunken woman in a white evening dress. Her hand, which dangles over the side, sparkles cold with jewels. Gravely the men turn in at a house- the wrong house. But no one knows the woman's name, and no one cares. After Gatsby's death the East was haunted for me like that, distorted beyond my eyes' power of correction. (9.126-127) Manhattan vs. Long Island The action in The Great Gatsby is about evenly split between Manhattan and Long Island. Overall, Manhattan is the place where characters go to show off their disregard for society’s rules and lawful behavior. It's the easiest place to accommodate sexual indiscretions and shady business dealings: In Chapter 2, Tom takes Nick there to meet his mistress, Myrtle, and go to a party at their apartment, where Tom has sex with her while Nick waits, and where Tom ends the evening by punching Myrtle in the face. Gatsby takes Nick to Manhattan in Chapter 4 to have lunch with Meyer Wolfshiem, the gangster who fixed the World Series and who is Gatsby’s business partner. Finally,Gatsby, Nick, Daisy, Jordan, and Tom to go Manhattan in the explosive Chapter 7 showdown where Daisy chooses Tom over Gatsby. Partly this is because Manhattan is portrayed as a melting pot where a diversity of social classes, races, and backgrounds is par for the course, and where unusual people don't really stand out. For example, check out this passage where Nick and Gatsby are driving into the city: The city seen from the Queensboro Bridge is always the city seen for the first time, in its first wild promise of all the mystery and the beauty in the world. A dead man passed us in a hearse heaped with blooms, followed by two carriages with drawn blinds and by more cheerful carriages for friends. The friends looked out at us with the tragic eyes and short upper lips of south-eastern Europe, and I was glad that the sight of Gatsby's splendid car was included in their somber holiday. As we crossed Blackwell's Island a limousine passed us, driven by a white chauffeur, in which sat three modish Negroes, two bucks and a girl. I laughed aloud as the yolks of their eyeballs rolled toward us in haughty rivalry. "Anything can happen now that we've slid over this bridge," I thought; "anything at all. . . ." Even Gatsby could happen, without any particular wonder. (4.55-58) There are wealthy African-Americans, European immigrants, the living and the dead, all mixed together without a problem. The city is awash in possibility, the "wild promise" that anything could happen there - "even Gatsby." Also, misdeeds are easy to get away with in Manhattan because its size affords everyone enormous anonymity, which Nick loves: I began to like New York, the racy, adventurous feel of it at night and the satisfaction that the constant flicker of men and women and machines gives to the restless eye. I liked to walk up Fifth Avenue and pick out romantic women from the crowd and imagine that in a few minutes I was going to enter into their lives, and no one would ever know or disapprove. (3.157) On the other hand,Long Island is a much smaller, more insular community. Instead of shrugging off anonymous misbehavior, the people on Long Island care deeply about who their neighbors are and what theyare doing. It's harder to conduct affairs, shady business, or whatever else there without incurring the moral opprobrium of everyone else. While Gatsby is unremarkable in Manhattan, in West Egg he becomes the focal point of unending rumors. People say he is related to Kaiser Willhelm (the ruler of Germany during WWI, and thus America's main enemy), that he is a German spy, and any number of other things: Gatsby's notoriety, spread about by the hundreds who had accepted his hospitality and so become authorities on his past, had increased all summer until he fell just short of being news. Contemporary legends such as the "underground pipe-line to Canada" attached themselves to him, and there was one persistent story that he didn't live in a house at all, but in a boat that looked like a house and was moved secretly up and down the Long Island shore. (6.5) Similarly, Tom's affair with Myrtle benefits from its city setting, asTomfeels free to cheat on his wife in public: "he turned up in popular restaurants with her and, leaving her at a table, sauntered about, chatting with whomsoever he knew" (2.4). Meanwhile, when Daisy and Gatsby start their affair, Gatsby has to fire his entire household staff because he is worried that his servants will tell everyone what they've seen: Gatsby had dismissed every servant in his house a week ago and replaced them with half a dozen others, who never went into West Egg Village to be bribed by the tradesmen... The grocery boy reported that the kitchen looked like a pigsty, and the general opinion in the village was that the new people weren't servants at all. Next day Gatsby called me on the phone. "Going away?" I inquired. "No, old sport." "I hear you fired all your servants." "I wanted somebody who wouldn't gossip. (7. 9-14) You can see how rumor immediately spreads and is uncontainable in the close circles of Long Island. Even despite all of Gatsby's precautions, Nick has already "heard" from someone else that Gatsby has fired all his servants. This minute observation of one's neighbors really differentiates the towns in Long Island from the big city of Manhattan. The rumor mill even brings a reporter out to interview Gatsby in Chapter 6. West Egg vs. East Egg While very rich people live in both East Egg and West Egg, the difference is the kind of rich people live in each town. East Egg is for the old money crowd - people whose wealth is inherited, and who have been the upper crust of society for generations. In contrast,West Egg is for the nouveau riche - self-made people who have become rich recently and who were originally born into working or middle-class families. This means that in generaleveryone from East Egg looks down on everyone from West Egg in order to demonstrate their superiority.(Nick is one of the exceptions: he lives in West Egg despite having the family background necessary to fit in in East Egg).At one of Gatsby’s parties, Nick hangs out with an East Egg group who don’t socialize with anyone else and who are clearly there to mock and be appalled by the other party guests: Jordan invited me to join her own party who were spread around a table on the other side of the garden...Instead of rambling this party had preserved a dignified homogeneity, and assumed to itself the function of representing the staid nobility of the countryside- East Egg condescending to West Egg, and carefully on guard against its spectroscopic gayety. (3.37) This also means that since they can’t distinguish themselves through their wealth, East Egg residents rely on their better understanding of the nuances and minutiae of manners and behavior to signal that they are so very far above their West Egg neighbors. We get the sense that every East Egg person is forever sending knowing looks at every other East Egg person every time they encounter someone from West Egg. For example, check out Gatsby’s encounter with Tom’s horseback riding friend Sloane and his woman friend, when Gatsby repeatedly puts his foot in his mouth: Mr. Sloane didn't enter into the conversation but lounged back haughtily in his chair; the woman said nothing either-until unexpectedly, after two highballs, she became cordial. "We'll all come over to your next party, Mr. Gatsby," she suggested. "What do you say?" "Certainly. I'd be delighted to have you."... "You come to supper with me," said the lady enthusiastically. "Both of you."... Gatsby looked at me questioningly. He wanted to go and he didn't see that Mr. Sloane had determined he shouldn't... "My God, I believe the man's coming," said Tom. "Doesn't he know she doesn't want him?" "She says she does want him."... Suddenly Mr. Sloane and the lady walked down the steps and mounted their horses. "Come on," said Mr. Sloane to Tom, "we're late. We've got to go." And then to me: "Tell him we couldn't wait, will you?" Tom and I shook hands, the rest of us exchanged a cool nod and they trotted quickly down the drive, disappearing under the August foliage just as Gatsby with hat and light overcoat in hand came out the front door. (6.38-59) Gatsby, the quintessential West Egg-er, can’t tell that the woman doesn’t want him to come to her party. He is even less able to see that Sloane really doesn’t want him to come. And he doesn’t seem to sense how rude they are being to him - something which Tom and Nick pickup on immediately. This social cluelessness and lack of social adroitness translate into the style with which Gatsby lives his life. He spends enormous sums of money, but with every purchase, he is always showing that he is new to the moneyed scene. Let’s see how this plays out in his house. Gatsby’s Mansion vs. Daisy and Tom’s Mansion The differences between old money and new money are reflected primarily bydifferences in style, aesthetics, and taste. Gatsby typifies the ostentatious, over-the-top conspicuous consumption of those whose wealth is new and so must be always on display: I lived at West Egg, the- well, the less fashionable of the two, though this is a most superficial tag to express the bizarre and not a little sinister contrast between them. My house was at the very tip of the egg, only fifty yards from the Sound, and squeezed between two huge places that rented for twelve or fifteen thousand a season. The one on my right was a colossal affair by any standard- it was a factual imitation of some Hà ´tel de Ville in Normandy, with a tower on one side, spanking new under a thin beard of raw ivy, and a marble swimming pool and more than forty acres of lawn and garden. It was Gatsby's mansion. (1.14) His house is a reproduction of French chateau. This is ridiculous both because this French design is out of place in America, and also because it is a visibly brand new building trying to replicate something that would be centuries old. It’s completely ludicrous, and it is telling that the only person who has the desiredresponse to this mansion is Gatsby’s father: It was a photograph of the house, cracked in the corners and dirty with many hands. He pointed out every detail to me eagerly. "Look there!" and then sought admiration from my eyes. (9.102) Gatsby’s father has the same taste as Gatsby - the appreciation of a poor person for the trappings of wealth. Meanwhile, Daisy and Tom live in a house that is also extravagant, but one that has its luxury somewhat concealed: Their house was even more elaborate than I expected, a cheerful red and white Georgian Colonial mansion overlooking the bay. The lawn started at the beach and ran toward the front door for a quarter of a mile, jumping over sun-dials and brick walks and burning gardens- finally when it reached the house drifting up the side in bright vines as though from the momentum of its run. The front was broken by a line of French windows, glowing now with reflected gold, and wide open to the warm windy afternoon (1.18) The windows were ajar and gleaming white against the fresh grass outside that seemed to grow a little way into the house. A breeze blew through the room, blew curtains in at one end and out the other like pale flags, twisting them up toward the frosted wedding cake of the ceiling- and then rippled over the wine-colored rug (1.26) The house is much more fit for its location - Georgian Colonial is an architectural style that is appropriate toAmerica (as its name suggests, it came from England during the colonial period). The description also confirms the permanenceof the Buchanans' mansion. Gatsby’s house is fighting with its surroundings (it’s off both in time period, and it seems to be having a problem with the â€Å"raw† ivy). In contrast, Daisy and Tom’s house is so much a part of the environment that the grass â€Å"seemed to grow a little way into the house,† blurring outside and inside just like the open windows that let the breeze blow through. It may not be too much to read some foreshadowing into these contrasting descriptions: Gatsby’s house is too new and not rooted enough. Meanwhile, the place where Daisy and Tom live is deeply embedded and seems unbreakable. No one's pulling this thing out of the ground anytime soon. The Valley of Ashes: Setting and Symbol The Valley of Ashesin The Great Gatsby functions both as a literal place where the climactic event of the novel happens, and is also a powerful symbol – in other words, a concrete object that stands for an abstract idea connected to the novel's themes. The Valley of Ashes is the name that Nick gives to an industrial neighborhood in Queens that the rich have to drive through on their way from the Eggs to Manhattan. This is where George Wilson has his gas station, and where Myrtle Wilson is run over and killed by Daisy. Suitably, it is a horribly bleak and drab place: About half way between West Egg and New York the motor-road hastily joins the railroad and runs beside it for a quarter of a mile, so as to shrink away from a certain desolate area of land. This is a valley of ashes- a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens where ashes take the forms of houses and chimneys and rising smoke and finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air. Occasionally a line of grey cars crawls along an invisible track, gives out a ghastly creak and comes to rest, and immediately the ash-grey men swarm up with leaden spades and stir up an impenetrable cloud which screens their obscure operations from your sight. (2.1) This is the place where those who cannot make it in the cutthroat world of East Coast capitalism end up. It is also the place propping up much of that wealth through the production coming from the factories that are polluting the spot. But the description that transforms the ash that covers everything from simply being dust to a scary substance capable of creating otherworldly plans and people signals that this Valley of Ashes has rich symbolic meaning. For a detailed analysis of how this symbol functions within the great Gatsby, check out our articles on how to approach symbols in general and on the Valley of Ashes as a symbol in particular. How to Write About The Great GatsbySetting So how do you use setting to create a compelling essay? Pick a Topic There are severalways to go about findingyour topic when tackling this kind of assignment. Here are some possibilities: Close reading. You can focus on settings themselves, digging really deeply into the description of one, two, or more places or times in the novel to explore how word choice, similes, metaphors, and any other literary devices help the reader visualize location. For example, you could trace the way the word "ash" appears in the novel, at first defining The Valley of Ashes itself is a kind of fantastical alternate reality, and then spreading outtoward the places of the privileged. You could focus on a literary device called metonymy, using a part to stand in for the whole, and explore why the novel chooses to focus on Dustin Ash as the representative aspect of this neighborhood. Connection to character. Often, setting is away to define character. If you write about this, your essay will tease out the common qualities of a character and of the place most closely associated with that character. These will either be synergistic, with one amplifying the other, or else theywill play as a contrast, undercutting the character. In our case, for instance, Gatsby's mansion speaks volumes about how he sees himself andhis money, and also about the vast gulf that separates him from the upper elite that he really wants to be part of. Conversely, Nick's pokey little house seems humble and unassuming, much like Nick wants to project himself to be. But in reality, by being located next to obscenely luxurious mansions, the house is only falsely modest, and shows off some of Nick's poorly disguised snobbery. (Read more about all the novel's characters in our overview article.) Connection to theme. Similarly, setting can help clarify a novel's theme by providing a concrete example of an abstract idea. In the great Gatsby, you could focus on the way one or more of the settings play into the failure of the American Dream, one of this novel's most salient themes. One way to do this would be to focus on the Valley of Ashes, the place where dreams come to die, both literally and figuratively. If the idea of the American dream is that through hard work anyone can become successful, then George Wilson's tragic fate, as exemplified through his garage and circumstances, serves to completely debunk this myth. Create an Argument It’s not enough to just describe one of the novel'ssettingsand explain its possible connections to either character or theme - or to compare and contrast it to another setting. Instead, you have to make sure that you’re making some kind of point about why/how the settingfunctions in the novel as a whole. How do you know if you’re making an argument and not just saying the obvious? If you can imagine someone arguing the opposite of what you’re saying, then you’ve got an argument on your hands. Once you've figured out what you want to argue, startsmall by analyzing chunks of the text where the symbol pops up, and then broadening your points out to the rest of the book. This way, your argument will be strengthened by textual evidence. What’s Next? Learn how to write about the themesthat settingsare usually linked to. Get help on other assignments by reading our guide on analyzingor comparing and contrasting characters. Brush up on the context of these settingsin our summary of The Great Gatsby. Want to improve your SAT score by 160 points or your ACT score by 4 points?We've written a guide for each test about the top 5 strategies you must be using to have a shot at improving your score. Download it for free now:

Compare Paper Essay Example | Topics and Well Written Essays - 500 words

Compare Paper - Essay Example Operant conditioning describes positive reinforcement, negative reinforcement, punishment and extinction as reinforcement options for behavior. It considers the external factors those which can be viewed as the basis for human behavior. Resource allocation theory is a direct measure of the keenness and effort of an individual to accomplish the task effectively. It is based on certain expectations from the attainment of the tasks based on the success from the past experiences. It is the desire of the individual to contribute effort for the task accomplishment. For instance, as explained by John Whitmore (2009), self motivation can be considered as an inevitable ‘winning ingredient’ if individuals have the desire to attain self-worth and identity (p. 107). As the name suggests, goal orientation perspective refers to individuals’ response to proposed goals. It implies individuals’ attempt to accomplish their wishes set as personal goals. This perspective helps to identify individual preferences through motivation.

Online clothing Business Plan Essay Example | Topics and Well Written Essays - 3250 words

Online clothing Business Plan - Essay Example House of Stella will employ the best managers to handle the various interdependent departments. It will capitalize on the internet and e-business by creating a website that will cater to the needs of the target market. It will further highlight customer service, with highly trained online customer service specialists to handle online queries and providing fashion inputs among the target market. This is the company’s key to getting personal with the client base. Since House of Stella will utilize the online business, it will tie up with other companies having the same business interests. Partnerships with media entities such TV and Magazine Publications will prove to be the driving force for the company’s success. Efforts such as this will spark interest in the market and establish word of mouth and referral among viewers and patrons alike. House of Stella will run under sole proprietorship, with its owner and Chief Operating Officer also one of the principal designers who will create different product lines for the company. Its Headquarters and Manufacturing Hub shall be located in Los Angeles, California. The aim of the company is to provide a wide array of product choices to its target market, which are primarily working women whose age ranges from 21 to 45 years old. The product lines range from the hip-casual, vogue corporate to chic glam. There will be items for all occasions, from everyday wear to formal gowns and apparel. The company will employ the services of the new and upcoming fashion designers fresh from school and just starting out their career. It will tie up with top universities to employ top student designers to undergo on-the-job trainee and apprenticeship with House of Stella, for them to collaborate on designs fit for the target market. 70% of the designers will come from this roster, while the rest will be its in house fashion designers who have already established brands and have their

Uncle Toms Cabin Essay Example for Free

Uncle Toms Cabin Essay For a democratic society with its democratic form of government system it is but an obvious choice to opt for a society that is predominantly color blind. The basis norm of a democratic society is to provide its mass with a structural form that offers equality in terms of justice and social characteristic. It is an unwanted phenomenon but it is also extremely true at the same time that racism is a curse that exists among us whether we like it or not. It could be summarized that racism is the result of having negative judgments, beliefs, and feelings towards certain identifiable groups. Harriet Beecher Stowe’s Uncle Tom’s Cabin is such a text that reveals the moral and physical injury caused due to this racism. However, it should also be noted that the aspect of this text is multifold and the author juxtaposed various elements into the reading that cannot be ignored. It can well be stated that the book is based on three major matrixes. The first one is the evil of slavery where the black community is a harmless and helpless being in the hands of their master race subjected to occasional pity at times and at the most, the second one is the faith in god or Christianity and the third one is the extremely stereotyped representation of the black community. But the problem is that every aspect is viewed from the parameters of the White man and the Black man is only the receiver, both in beating and mercy. The very first page of the text denotes the black community as a class who are only to be empathized and pitied, if not anything else. This becomes very evident during the conversation between Shelby and Haley. â€Å"Tom is †¦ steady, honest, capable, manages my whole farm like a clock†. To this remark from Shelby the statement that Haley makes is outrageous. He says, â€Å"You mean honest, as niggers go†. (Stowe, 1976) This dialogue is a clear indication of the position that the black community hold in their masters’ mind. There are only two alternatives of evaluating a black man. One is to show him pity and the other is to evaluate him as a trade commodity. The humanist feeling is completely missing in the dialogue between these two, one of whom, Shelby, is portrayed as a good and gentle man. Even to Shelby the existence of Tom is a little more than walking and talking machinery so very evident in the colonial era. This hard pill of ‘colonialism with brutality’ needed some spooning with sweetness to become a favorable aromatic digestible element for the general people of the imperial states. As a result this phrase ‘white man’s burden’ came into existence as a remedy to the enlightens of the industrial revolution and people were ready to buy this theory as this theory easily softened the guilt feeling of the educated class and apparently justified the brutal acts and decisions taken to control and cover the colonial agitations. Stowe’s Uncle Tom’s Cabin follows the same principal but in a more compassionate manner but ignoring the essence of the rights of a human completely. The aspect of Christianity appears time and again as a soothing instrument in this book. It is as if to state that in a time of cruelty and helplessness the only possible cure is religion. In this case, this particular religion is White man’s religion that the white man preaches to the black man as a comforting medium. Right from the beginning we find that there is a clandestine flow of Christianity with George Shelby defining the greatness of his religion by mentioning that â€Å"What a thing it is to be a Christian† (Stowe, 1976) Tom is completely impressed by Christianity and we find that he in turn sermonizing St. Clare and telling â€Å"look away to Jesus†. (Stowe, 1976) Even Little Eva is described in the text as â€Å"ideal Christian†. (Stowe, 1976) It is true that there is noting wrong with Christianity but the problem is that it is not the only religion in the world and the writer almost seizes to believe that Tom or any other Black man can have a faith or religion from his birth origin. It should be remembered that no religion in the world is greater than the other and in this context even African totem worshippers have the right to faith and it is no less important to them than an urban cultured white Christian. Stowe completely ignores this fact and the reason behind that is the text is written by a white person and the aspect of showing mercy is the predominant essence. It can well be stated that the author, in pursue of raising voice against racism, actually ignited more racism in the text by stereotyping the black community. Carefree characters like Sam are shown and represented as â€Å"happy darky† in the novel while young women like Emmeline, Cassy and Eliza are represented as sex objects. The elderly black women like Mammy is portrayed as loving and affectionate Topsy is typed as a black child and appears to be the representative of all black children. Even in Tom’s character we see the die hard urge to please the master or the white man and developed as the most wise and prototype character of the book. The author makes it a point to establish the statement that Tom is an ideal black personality and is the noble hero of the story. It is as if the black community has no backbone at all and they lack a huge identity crisis much like Topsy, who states about the basic existence as â€Å"I spect I growed. Dont think nobody never made me†. (Stowe, 1976) This is a very strange condition as the author intends to write against the evils of slavery and turns the novel into a perpetual justification of slavery where the readers are deem to believe that a black man is only capable of becoming a slave of a white master. In conclusion it should be stated that all the basic matrixes are aligned in the same context of a white writer who recognizes the need of showing mercy to the black community but simply forgets the fact that it is not a matter of mercy that should be accountable but right that is fundamental. In this context, Stowe, though very compassionate and sympathetic, ultimately remains at the position of the master race and thus tells us the melodrama of Tom’s suffering and the bliss of Christianity while molding the entire black community into a single stereotyped population. References: Stowe, Harriet Beecher; (1976); Uncle Toms Cabin; or, Life among the Lowly; Dunedin: Allied Publications

Magical Realism in House of the Spirits vs. Realism in Madame Bovary Es

Through the application of Realism, Gustave Flaubert demonstrates Emma’s detachment of the death of the characters in Madame Bovary, which contrasts to Isabel Allende’s demonstration of Clara’s attachment to the death of the characters in The House of the Spirits by utilizing Magical Realism. In The House of the Spirits, the characters all share a spiritual bond, which leads to emotional and spiritual connections for Clara during the death of the characters. On the contrary, in Madame Bovary, Emma Bovary depicts a realistic and natural character in society which portrays her selfishness, lack of emotions, and overall detachment towards the death of the others. Both of these connections are demonstrated through Realism and Magical Realism. The author stylistically ascribes negative personality traits prior to the death of a character. These negative characteristics portray the character as corrupt. In the text, Homais furiously mentions, â€Å"You[Justin] are on a downward path†(Flaubert 231). The textual evidence indirectly describes the flaws of Emma. The excuse of Justin committing a crime and Emma’s presence â€Å"coincidentally† in the text or purposely by Flaubert exemplifies reality. Furthermore, the blind beggar mentions, â€Å"Dream of love and of love always,† before the death of Emma (Flaubert 300). In the text, the blind beggar is singing a song, although the song implies traits of Emma. Emma always desires and dreams of love which provides the purpose for the song and demonstrates her not being satisfied with the love Charles provides for her. Additionally, Flaubert mentions, â€Å"Charles was suffocating like a youth beneath the vague love influences that filled his aching he art,† (321) which implies that he still loves Emma dearly. Th... ...onnected due to the fact that ‘I slept badly and dreamt again of Rosa† (Allende 203). The diction of â€Å"again† in the text proves that thinking of Rosa occurs multiple times and that her spirit is connected with him. Additionally, Barrabas reappears multiple times, for example: â€Å"It was the last, ignominious vestige of faithful Barrabas† (Allende 269). Although Barrabas died many centuries ago, he is encountered with Blanca and Alba. He displays the most spiritual reconnection with the characters through detail more than any of the other characters throughout the novel. Allende’s House of the Spirits demonstrate emotional connections and remembrances amongst Clara and the characters through the application of Magical Realism which contrasts to Flaubert’s Madame Bovary which demonstrates Emma’s characterization and lack of emotion towards the death of the characters.

I Wanna Be Special: Plath and Nazi Germany

Sylvia Plath is a poet who writes in a confessional style. Her poetry shows her strong opinions towards patriarchy. By examining her works and researching her past, one can see that the two prominent male figures in her past are her father and Ted Hughes, her husband. In her poetry Plath uses Nazi Germany as a metaphor for the oppressive system of patriarchy women live under, while she portrays the victim as Jews. Two examples of poems where this appears are â€Å"Lady Lazarus† and â€Å"Daddy†. Because the Holocaust is such a sensitive subject, there are two schools of thought to Plath's metaphor. One belief is that she belittles the Holocaust. The other belief is that a metaphor is simply a metaphor. Obviously, Plath has no first hand knowledge if she uses the metaphor so trivially. There are aspects of Plath's works that people may find hard to understand if they don't know about her history. To understand Plath's poetry, one has to understand Plath. Sylvia Plath writes confessional poetry. Because she writes in this confessional style, those who study her work must become familiar with her past. Confessional poetry is when poets write about their own experiences; thoughts, feelings, and experiences become the basis of the poetry. Thus the poems become an expression of poet's innermost person. Unlike other forms of poetry, confessional takes its material directly from the life of the poet. The tone of Plath's poetry is decidedly depressing. During her life, Plath became suicidal. As a child, she almost drowned, and later attempted to kill herself before actually succeeding. These experiences become strong influences on Plath's poetry. Anne Sexton was another confessional poet. She met Plath at a poetry workshop and the two became good friends. When writing poems, one would call the other to get input and suggestions, or just to talk about the happenings in their lives. However, there remains a main difference between Plath's poetry and Sexton's poetry: Anne Sexton was not originally a writer, but a housewife. When the stresses became too much for her, she went to therapy. During one of her sessions, her psychiatrist suggested that she begin writing poetry to help her get at the root of her problems. The largest problem that Plath had was with the institution of patriarchy that surrounded her. In her poetry, she expresses her negative emotions towards patriarchy. Plath was a daughter, wife, and mother through her life. These titles also came with roles that were dictated to her by the patriarchal structure. Because she was forced into all of these roles, and expected to fulfil them all, Plath resented those who forced her into these roles, and her displeasure becomes quite evident in her poetry. There are two major male figures in Plath's life; father and husband. Her father, Otto Plath, originally lived in Grabow Poland and spoke German. He moved to the United States when he was 15, and later taught at Boston University (Modern Poetry, p. 1417). Yet he died while Plath was still quite young. His daughter, Silvia Plath, became very resentful towards her father. This resentment is most strongly found in her poem â€Å"Daddy†. Plath's husband, Ted Hughes, was also a writer. However, he did not approve of the writing of his wife. He tried to discourage her from writing, to stay home and raise a family. Many today blame Hughes for the death of Plath, and believe that he is responsible for her committing suicide. Due to the experiences that she has with patriarchy, it is understandable that Plath carried resentments. These feelings were so strong that she used Nazi Germany as a metaphor for patriarchy. However, this brought about many conflicts; while some critics defended her use of the Holocaust imagery, others vehemently defended that she was in fact belittling what the Jewish people suffered through. In the poem â€Å"Daddy†, Plath openly attacks her father. â€Å"Daddy, I have had to kill you. / You died before I had time† (Daddy, 6-7). She verbally demonstrates her need to hurt and to kill him; he is the symbol of patriarchy from her early life. Plath resents the fact that he died before she could remove him from his strong patriarchical role. This resentment grew until she began to see oppression everywhere: I have always been scared of you, Wish your Luftwaffe, your gobbledygoo. And your neat moustache And your Aryan eye, bright and blue (â€Å"Daddy†, 41-44). Plath associates her fathers' German features to Nazi features. This particular comparison also strongly draws upon a militaristic image. As â€Å"Luftwaffe† means Air Force in German, she is quite obviously comparing patriarchy to military. The idea of someone with power over her terrifies Plath. Since patriarchy is seen as oppressive Nazi Germany, Plath sees herself as an oppressed Jew. A sort of walking miracle, my skin Bright as a Nazi lampshade, My right foot A paperweight, My face a featureless, fine Jew linen (â€Å"Lady Lazarus†, 4-9) A few images from the Holocaust are drawn here. Plath places herself in a situation where she is the victim. She draws on the idea of how Jewish people were skinned for lampshades as how badly men treat women. Because of the metaphor she uses, Plath's poetry has sparked some serious debate. Many critics state that the use of Nazi Germany in that metaphor is very inappropriate. By using Nazi Germany as a metaphor for patriarchy, Plath accomplishes nothing, save to belittle the Holocaust. The Holocaust is the single worst event in the history of human civilization. Its uniqueness is what set it apart from other tragic events in our history. Yet some argue that if it is inappropriate to use Nazi Germany as a metaphor, then other events, such as slavery could be excluded as well. Slavery of blacks is another tragic event that can be used as a metaphor. However, it is this writer's opinion that there is too great a difference between the slavery of blacks and the Holocaust. If one looks at statistics for the death of slaves and compare it to statistics for the death of Jewish people, one will see that the numbers are relatively similar. The difference lies in the fact that the slave totals come from many years, while Jewish total are only from five years. While slavery was still common, it was possible for a slave to escape relative harm; He (or she) could follow all the rules and be treated as well as other livestock. During the Holocaust there were no rules for Jewish people to follow. There was no such thing as a good Jew, and they were all treated worse than animals. Given the evidence of Plath's poetry, it is quite evident that she did not fully understand the atrocities of the Holocaust. Her knowledge only extended to that which most people already knew. And therefore she was not fully informed of the subject of which she trivialized. However, other critics defend Plath's use of the metaphor by reinforcing that fact that it is simply a metaphor, and is doing what it should. It is a common argument that sometimes a metaphor is simply a metaphor. The purpose of a metaphor is to compare two completely unrelated ideas, to shock the audience into looking at the intended subject in a new light. Rose, a critic of Plath, says that she uses the shocking imagery of comparing the Holocaust to patriarchy to entice strong reactions from the reader, and if one dismissed her comparison, then one can be expected to dismiss the very idea of a metaphor. To dictate what ideas can and can't be used in metaphor negates all metaphors. The Holocaust is not alone in the history of tragic events. If one argues that the Holocaust was horrible, one should also accept that there are other horrific occurrences. Mass slaughters are not an uncommon part of ancient history. During the time of Nero Caesar, Christians who would not bow down to the likeness of the Caesar were thrown into lion pits to be killed. African slaves, who did not obey every order of their masters, were beaten. European explorers who first explored the Americas, killed countless natives, and brought more over seas to become slaves. If one wishes to look at statistics, the number of people killed in the Holocaust, is almost the same as the number of women killed through patriarchal society. Sylvia Plath was a poet who wrote her poems for others to read. Her metaphor of comparing patriarchy to Nazi Germany is used to shock audiences into seeing the severity of oppression that women face. However, to achieve this shock, she lessens the impact of the Holocaust. Many defend that Plath is simply using a metaphor the way it should be used. In this writer's opinion, because Plath used the Holocaust just to shock readers, is why she is belittling it. If she wrote the way Anne Sexton did before being published – that is, for personal reasons – this writer would not have a problem. As it is, the comparison was written for all to see. By being so public in her trivialization of that happened to the Jewish people, Plath's only accomplishment is to embarrass herself with writing that isn't poor, but shows a decided lack of judgement.

Frankenstein †1931 and 1997 Essay

Horror genre, sympathy for Frankenstein’s creation and suspense Mary Wollstonecraft Shelly wrote ‘Frankenstein’ in 1818. She was only 19 at the time. She had a unique upbringing as her mother was a radical feminist and her father was a politician. She then went on to marry Percy Bysshe Shelly who was a poet and helped her to write some of her book. Shelly’s book was thought to be the first horror/science fiction novel. There have been a number of productions of Shelly’s novel on stage and in 1931 there was a black and white movie about it, directed by James Whale. Then in 1997, Kenneth Branagh did his own production of the well-known novel. Scenes showing typical horror genre, sympathy for Frankenstein’s creature and scenes that create suspense are commonly found in the two movies of Frankenstein. The directors have used different media techniques to portray the movie in the way they want it to be viewed and interpreted by their choice of music, camera angles, special effects, editing, costumes, make-up, location and settings. The use of mise-en-scene is also important because if the things in the background don’t match what’s being acted the movie becomes unbelievable. Allowances like sound, colour and a few other things have to be made for the older versions of ‘Frankenstein’ because the technology in the days it was made were very limited. By studying the birth scenes in both versions, the techniques used to create horror, drama and suspense and sympathy for the creature can be analysed. There are some similarities in both movies and some differences. First of all I’ll explain the similarities and then the differences. In the Whale and Branagh versions both use low-key lighting to create a dark and spooky feeling. This is typical of horror movies and it can also create suspense because the audience can’t tell what is around the corners. This creates suspicion, worry and uncertainty. It is also used because it connects with people’s fear of the dark. It is common to find bad weather in horror movies and this is evident in both of the ‘Frankenstein’ movies. It is used just before and at the same time of the births. Whale and Branagh have used this technique because it gives a cold feeling and it gives credibility to what is happening in the foreground because the lighting, electricity is needed to make Frankenstein’s monster come alive. The locations of the births are quite typical too. In the Whale version it’s in a castle on top of a hill. Like ‘House on haunted hill’ and it looks creepy and somewhere you would want to be. In the Branagh version it’s more like hell with cauldrons, heat and sweat. It reminds me of a witch brewing an evil poison. Both places for the birth are effective in creating a ‘horror’ atmosphere but the second choice is less obvious. Non-diegetic, parallel fast background music can be heard in the birth scene in Branagh’s version and this creates suspense because it gets peoples adrenalin going. But it is typically found in horror movies for this reason in particular. In the Whale version there is no music but this could be because of how old the movie is and it was hard to sequence the music with the scenes. In the Branagh version of ‘Frankenstein’ one of the best ways sympathy is created for the creature is by the way he is presented to the audience. He looks almost human but has scars all over his face and body. It looks like someone who has been hurt badly and we feel sorry for him. On the other hand in the Whale version though it’s harder to feel sorry for Frankenstein’s monster because he looks less human and it’s harder to connect to him emotionally. In the Whale version ‘Frankenstein’ is wearing a lab coat and his hair is gelled back. He looks more professional and like a proper doctor. This makes us feel sorry for Frankenstein’s creation because it shows that Frankenstein just sees him as an experiment and not as a human being with feelings. Whereas in the Branagh version he looks more wild and rough looking. This gives us the feeling he does care about the outcome of the monster because he has been so busy trying to make the monster alive that he has forgotten about himself and when he thinks the monster is dead he goes â€Å"No, No, No†, implying that he is saddened that it didn’t work. In Branagh’s version of ‘Frankenstein’ you feel sympathetic with the monster when he is born, as he is naked, clumsy, and unable to walk. Amniotic fluid is everywhere and we watch Frankenstein’s monster slide and slip about. He appears vulnerable, like a baby. He can’t control what he’s doing and Frankenstein has to help him. This makes us pity him. This contradicts with the Whale version as we don’t get to see the monster moving about, trying to touch or walk in the birth scene so we don’t feel for him as much as he is still covered up and still practically lifeless.

Business Strategy And Economics The WritePass Journal

Business Strategy And Economics Abstract Business Strategy And Economics ). Emphasis is put on attracting customers away from recognised or established products and services. Substantial disruption takes place as a direct result of this process, as the newly introduced products and services have the power to change the existing market on a permanent basis (Maldonado, 2014). The theory of disruptive innovation is valid because of the focus it maintains on the capacity of companies to refocus on technology advancements to optimise their performance. An example of the theory on disruptive innovation in practice can be found in the business operations of Ryanair. In the 1990s, leading airline European companies in the industry decided that the opportunities arising from the implementation of a low-cost strategy do not present a substantial threat to their market (Paton, 2013). Yet, newcomers in the European airline industry, such as EasyJet, applied the example of Ryanair’s point-to-point strategy. A direct outcome of this initiative was the creation of a low-cost niche market, which led to significant shifts in market behaviour as well as technology utilisation (Maldonado, 2014). It can be suggested that such niche of customers have realised the importance of Ryanair’s strategy even though they have not been identified as regular flyers. In addition, the low-cost and no frills strategy soon started to attract a considerable number of business travellers, who demonstrated a rapid switch from high-cost airline compani es to low-cost airlines (Christensen et al., 2008). This has been done with the assumption that low-cost airlines have significantly improved their service as a result of the implementation of disruptive innovation principles (Habtay, 2012). Such aspect demonstrates the validity of the theory considering its successful application to expanding companies’ growth in new markets. Ryanair has succeeded in the creation of a new market of budget travellers, which represents an example of the theory on disruptive innovation. The basic of such success was to offer routes to customers that no other airline did at rather competitive, affordable prices. The main aspect of disruptive innovation is to refocus technology use (Paton, 2013). This has helped the airline to maintain a close contact with its customers through optimisation of the internet use, commitment to quality, and safety maintenance and adequately focused criteria for growth. Ryanair has achieved its objective to reduce its operation cost through maximising its use of technical advances, as it introduced the options of booking of tickets and issuing of boarding cards online (Schmidt and Druehl, 2008). This airline company has provided a relevant example of how its operational teams and processes are brought together to deliver innovation in specific target niches. It has been assumed that the innovation introduced by Ryanair is desired by the target niche market (Habtay, 2012). Therefore, it can be argued that innovation levels should be maintained in balance in order to achieve the company’s initially presented goals for growth and expansion. As illustrated in Professor Clayton’s theory on disruptive innovation, an emergent strategy that organisations should adopt should be based on essential principles. Initially, companies that consider the option of disruptive innovation should incorporate elements of learning into their strategy plan (Paton, 2013). Furthermore, organisations should be focused on finding relevant information that can guarantee that they move in the right direction, similarly to what Ryanair did in the European airline industry through its adherence to the disruptive innovation model (Schmidt and Druehl, 2008). As a result, this type of innovation can produce long-term catalytic change, as illustrated in the example of Ryanair. The way in which a new technology addresses the demands presented in an existing customer segment is an important condition for success. Existing customers have been found powerful to affect an organisation’s resource allocation process (Christensen et al., 2008). The basic idea behind the application of disruptive innovation in practice is to introduce new functions or attributes, as Ryanair introduced a low-cost strategy and flexible fares to its customers (Petrick and Martinelli, 2012). A significant assumption can be provided in relation to new market disruptive innovation in the sense that it is more likely to prosper among customers that companies have not been addressed previously. As implied in The Innovator’s Dilemma, Professor Clayton’s theory of disruptive innovation illustrates both the strengths and weaknesses of using financial ratios to measure business performance in both the short-term and long-term (Christensen, 1997). The strengths associated with using these ratios refer to the capacity of companies to use specific financial information to advance their business operations. Weaknesses of these ratios include improperly maintained focus or irrelevant or inaccurate financial details. The most important ratios with regards to Professor Clayton’s theory are the following profitability ratios: Return on Capital Employed (ROCE); Current Ratio and Acid Test Ratio (Christensen et al., 2008). The ratio of RONA presents a comparison of net income with the specific net assets. The ratio of ROCE provides significant information about the returns that an organisation achieves from the capital it employed. In the case of Ryanair, the company’s ROCE ratio indicated a significant increase from 6.86% in 2011 to more than 10% in 2013 before tax (Paton, 2013). The formula for calculating the current ratio is to divide current assets and current liabilities. Therefore, Ryanair’s current ratio in 2013 is 1.97:1. Acid test ratio is obtained through subtracting current assets and inventory and the result is divided with current liabilities (Habtay, 2012). The acid test ratio in 2013 is 1.97:1. These ratios indicate that the company performs well in its niche target market as a result of the introduction of disruptive innovation. Plan Professor Clayton’s teaching provides fundamental business ideas that can help individuals move forward to a sustainable and successful future, as human beings. His concepts reinforce the potential of professionals in the business world to bring about a substantial change that can alter positively their lives (Christensen et al., 2008). When human beings are confronted with new technological innovations, they tend to explore the numerous opportunities associated with such technology advancements that can help them become more successful in their operations. Sustainability emerges as an essential dimension in Clayton’s teaching on disruptive innovation (Petrick and Martinelli, 2012). By finding new markets for new technologies, individuals can help companies move in the right direction through adhering to the model of disruptive innovation (Christensen et al., 2008). Technology is the key to a sustainable and successful future for human beings considering the emphasis on improvement in product performance. There has been always a drive to seek improvement of products and services in any market segment. Clayton’s teaching motivates individuals to restructure their thinking and present distinct inferences regarding the application of disruptive innovation models in practice (Chandra and Yang, 2011). In fact, the model suggested by the professor indicates a proven path to achieving a sustainable and successful future based on the concept of disruptive innovation. The ability of human beings to innovate is leading in the contemporary business world, which is oriented towards long-term success. Clayton’s ideas are focused on presenting a realistic framework according to which sustainable is achievable as well as new innovations address current needs and expectations identified in different markets (Christensen et al., 2008). As Clayton a rgued, market leaders are responsible for embracing such innovations and exploit the numerous advantages of technologies. As a result, this would contribute to the emergence of a high level of sustainability in the dynamic business environment (Maldonado, 2014). The model introduced by Professor Clayton provides managers with an opportunity to offer relevant insights into the most appropriate way of utilising disruptive technologies. The professor presents his arguments in a clear, consistent manner, which helps individuals understand the specificity and applicability of his theory (Christensen, 1997). The emergence of particular value networks is in line with the basic idea to refocus on technology through the distinct model of disruptive innovation (Petrick and Martinelli, 2012). Moreover, Professor Clayton emphasises the necessity to discuss different managerial decisions, which contribute to enhanced sustainability in the business world. Moving to a sustainable and successful future may be challenging for human beings, but they can make a sense of all activities pertaining to disruptive innovation and apply them in practice. This can help individuals realise the potential and practicalities of the ideas shared by Professor Clayton (Habtay, 2012). Emphasis on the learning cycle shows that both individuals and companies can embrace the concept of change, which may contribute to expanding sustainability not only in the organisational context but also in society (Christensen et al., 2008). The professor’s teaching is intended to clarify any misunderstanding related to business performance in the contemporary world. His ideas suggest that sustainability and business success are attainable through the simple realisation of companies’ potential (Christensen, 1997). In addition, the development of new capabilities as related to specific organisational boundaries may be a relevant solution to overcome problems i n a company’s performance. Conclusion   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   This paper discussed Professor Clayton Christensen’s theory on disruptive innovation, which has been recognised as a significant tool in driving the growth of many organisations (Christensen et al., 2008). The paper also provided arguments pertaining to the successful implementation of the theory in practice. Ryanair was referred to as an example of company, which adheres to the model of disruptive innovation (Paton, 2013). It has been concluded that Ryanair’s low-cost strategy has brought substantial success to the company. Moreover, the paper discussed details on how the professor’s teaching is inspiring for human beings in the process of moving forward to a sustainable and successful future. References Chandra, Y. and Yang, S. (2011). ‘Managing Disruptive Innovation’. Journal of General Management, vol. 37(2), pp.23-50. Christensen, C., Johnson, C. W. and Horn, M. B. (2008). Disrupting Class: How Disruptive Innovation Will Change the Way the World Learns. New York: McGraw-Hill. Christensen, C. (1997). The Innovator’s Dilemma: When New Technologies Cause Great Firms to Fail. Boston: Harvard Business Review Press. Cortez, N. (2014). ‘Regulating Disruptive Innovation’. Berkeley Technology Law Journal, vol. 29(1), pp.175-228. Govindarajan, V., Kopalle, P. K. and Danneels, E. (2011). ‘The Effects of Mainstream and Emerging Customer Orientations on Radical and Disruptive Innovations’. Journal of Product Innovation Management, (1), pp.121-132. Habtay, S. R. (2012). ‘A Firm-Level Analysis on the Relative Difference between Technology-Driven and Market-Driven Disruptive Business Model Innovations’. Creativity Innovation Management, vol. 21(3), pp.290-303. Jang, S. W. (2013). ‘Seven Disruptive Innovations for Future Industries’. SERI Quarterly, vol. 6(3), pp.94-98. Maldonado, E. R. (2014). ‘How to Identify Disruptive New Businesses’. Global Conference on Business Finance Proceedings, vol. 9(1), pp.510-520. Paton, M. (2013). Ryanair Profits Soar 21% [online]. The Motley Fool. Available at: fool.com/investing/general/2013/01/28/ryanair-profits-soars.aspx [Accessed: 14 August 2014]. Petrick, I. J. and Martinelli, R. (2012). ‘Driving Disruptive Innovation’. Research Technology Management, vol. 55(6), pp.49-57. Schmidt, G. M. and Druehl, C. T. (2008). ‘When Is a Disruptive Innovation Disruptive?’ Journal of Product Innovation Management, vol. 25(4), pp.347-369.

Judy Chicago, Feminist Artist and Art Collaborator

Judy Chicago, Feminist Artist and Art Collaborator   Judy Chicago is known for her  feminist art installations, including The Dinner Party: A Symbol of Our Heritage,  The Birth Project,  and  Holocaust Project: From Darkness into Light. Also known for feminist art critique and education. She was born on July 20, 1939.   Early Years Born Judy Sylvia Cohen in the city of Chicago, her father was a union organizer and her mother a medical secretary.   She earned her B.A. in 1962 and M.A. in 1964 at the University of California. Her first marriage in 1961 was to Jerry Gerowitz, who died in 1965.   Art Career She was part of a modernist and minimalist trend in the art movement.   She began to be more political and especially feminist in her work. In 1969, she began an art class for women at Fresno State. That same year, she formally changed her name to Chicago, leaving behind her birth name and her first married name.In 1970, she married Lloyd Hamrol. She moved over the next year to the California Institute of Arts where she worked to begin a Feminist Art Program.   This project was the source of Womanhouse, an art installation that transformed a fixer-upper house into a feminist message. She worked with  Miriam Schapiro  on this project.  Womanhouse combined the efforts of female artists learning traditionally male skills to renovate the house, and then using traditionally female skills in the art and participating in feminist consciousness-raising. The Dinner Party Remembering the words of a history professor at UCLA that women were not influences in European intellectual history, she began working on a major art project to remember women’s achievements. The Dinner Party, which took from 1974 to 1979 to complete, honored hundreds of women through history. The main part of the project was a triangular dinner table with 39 place settings each representing a female figure from history. Another 999 women have their names written on the floor of the installation on porcelain tiles. Using ceramics, embroidery, quilting, and weaving, she deliberately chose media often identified with women and treated as less than art.   She used many artists to actualize the work. The Dinner Party was exhibited in 1979, then toured and was seen by 15 million. The work challenged many who saw it to continue to learn about the unfamiliar names they encountered in the art work. While working on the installation, she published her autobiography in 1975.   She divorced in 1979. The Birth Project Judy Chicago’s next major project centered around images of women giving birth, honoring pregnancy, childbirth, and mothering.   She engaged 150 women artists creating panels for the installation, again using traditional women’s crafting, especially embroidery, with weaving, crochet, needlepoint, and other methods.   By picking both a woman-centered topic, and women’s traditional crafts, and using a cooperative model for creating the work, she embodied feminism in the project. The Holocaust Project Again working in a democratic manner, organizing and overseeing the work but decentralizing the tasks, she began work in 1984 on another installation, this one to focus on the experience of the Jewish Holocaust from the perspective of her experience as a woman and Jew. She traveled extensively in the Middle East and Europe to research for the work and to record her personal reactions to what she found.   The â€Å"incredibly dark† project took her eight years. She married photographer Donald Woodman in 1985. She published Beyond the Flower, a second part to her own life story. Later Work In 1994, she began another decentralized project. Resolutions for the Millennium joined oil painting and needlework.   The work celebrated seven values: Family, Responsibility, Conservation, Tolerance, Human Rights, Hope, and Change. In 1999, she began teaching again, moving each semester to a new setting. She wrote another book, this with Lucie-Smith, on the images of women in art. The Dinner Party was in storage from the early 1980s, except for one display in 1996.   In 1990, the University of the District of Columbia developed plans to install the work there, and Judy Chicago donated the work to the university. But newspaper articles about the sexual explicitness of the art led the trustees to cancel the installation. In 2007 The Dinner Party was permanently installed at the Brooklyn Museum, New York, in the Elizabeth A. Sackler Center for Feminist Art. Books by Judy Chicago Through the Flower: My Struggle as a Woman Artist,  (autobiography), introduction by Anais Nin, 1975, 1982, 1993.  The Dinner Party: A Symbol of Our Heritage,   1979,  The Dinner Party: Restoring Women to History, 2014.Embroidering Our Heritage: The Dinner Party Needlework,  1980.The Complete Dinner Party: The Dinner Party and Embroidering Our Heritage,1981.The Birth Project,  1985.Holocaust Project: From Darkness into Light,  1993.Beyond the Flower: The Autobiography of a Feminist Artist,  1996.(With Edward Lucie-Smith)  Women and Art: Contested Territory,   1999.Fragments from the Delta of Venus,  2004.Kitty City: A Feline Book of Hours,   2005.(With Frances Borzello)  Frida Kahlo: Face to Face,   2010.Institutional Time: A Critique of Studio Art Education,   2014. Selected Judy Chicago Quotations Because we are denied knowledge of our history, we are deprived of standing upon each others shoulders and building upon each others hard earned accomplishments. Instead we are condemned to repeat what others have done before us and thus we continually reinvent the wheel. The goal of The Dinner Party is to break this cycle. I believe in art that is connected to real human feeling, that extends itself beyond the limits of the art world to embrace all people who are striving for alternatives in an increasingly dehumanized world. I am trying to make art that relates to the deepest and most mythic concerns of human kind and I believe that, at this moment of history, feminism is humanism.   About The Birth Project:  These values were oppositional in that they challenged many prevailing ideas as to what art was to be about (female rather than male experience), how it was to be made (in an empowering, co-operative method rather than a competitive, individualistic mode) and what materials were to be employed in creating it (any that seemed appropriate, irrespective of what socially constructed gender associations a particular media might be perceived to have).   About The Holocaust Project:  A lot of survivors committed suicide. Then you must make a choiceare you going to succumb to the darkness or choose life? Its a Jewish mandate to choose life. You shouldnt have to justify your work. I began to wonder about the ethical distinction between processing pigs and doing the same thing to people defined as pigs. Many would argue that moral considerations do not have to be extended to animals, but this is just what the Nazis said about the Jews.   Andrea Neal, editorial writer (October 14, 1999):  Judy Chicago is obviously more exhibitionist than artist. And that raises a question: is this what a great public university should support?

News Article related to Liquidated Damage Clause Essay

News Article related to Liquidated Damage Clause - Essay Example It often includes a reading that the parties involved in the contract are agreeing beforehand, as it would probably be unmanageable to decide the compensatory damages in the event of contract breach, although, such a statement is not mandatory. This clause may be conducted towards both parties involved in the contract. For instance in these words: "If both of us neglect to execute, one will be obliged to pay the other party $20,000." But it is not essential too. Normally, a liquidated damages clause is conducted towards only one party, along with the specified date of delivery of amount. The California Association of Realtors has provided a benchmark contract involving residential purchase that entails a liquidated damages clause that emphasizes that if a buyer failed to fulfill the completion of purchase contract due to fault by buyer, the seller will retain the amount deposited actually as the liquidated damages. The most noteworthy items in the mentioned clause include the asymmetry of the provision; as it puts the whole burden on one party, its limitation to a specific unit of residential property set by the Civil Code 1675 and the requirement of agreement by signing to ensure damages are paid. The signatory agreement is required to ensure that both parties have agreed that the contract has breached. Otherwise an arbitration or judicial decision will be needed. Initialling or signatory agreement on a liquidated clause is not mandatory but optional. Though it is printed priory in the agreement of CAR purchase, it is applicable only on the indication of both parties. Mostly in the encounter of a liquidating clause, a principle has the liability to inquire the meaning of the clause replied by the seller as defined by law. At times the contract has been breached by the buyer and this hurts the seller who desires to have more than the deposited amount so the inclusion of liquidated damage clause helps in