Viva Italia! essays

Viva Italia! essays The only directions to my Great Uncles restaurant rested on a yellowed old postcard that my Nonno gave to me right before he died. He had drawn with his fragile, shaky hand, a little map of the lake from his memory of where my Nonna was born. His map took me to the waterfront of Lago Di Garda, Northern Italia. The town was called Castelletto. After making it this far and alone, I was exhausted but extremely excited. I was determined to find the restaurant, so I kept my eyes peeled like lemons. As I walked, I reflected back to the reasons that brought me there. So here is the way my story goes... Italy had always been a dream of mine and now I was actually there, but most intense, was my great need to touch base with my ancestors. My Nonna died before I was able to meet her and I felt as though this was the perfect opportunity to connect with my family roots. I had awoken to a beautiful sunrise out of my hotel balcony. The rays filled my room with an illuminating glow and the fresh morning air made me rise out of bed with no hesitation. I had an eager, adventurous feeling inside me and I was ready to start my long days journey that I had on my agenda. I quickly got ready, grabbed a bite to go, and started walking to the bus station that was located about two miles from my hotel. When I arrived, the woman handed me my ticket after I paid my dues, I said Grazie! and she sent me off with a polite Bon giorno. Not much later when the bus pulled up, I got on and was greeted kindly with a Come sta? from the petite, sweet-faced old man behind the wheel. I responded with Bene, e tu? Our conversation ended quickly when he ripped my ticket stub; I then headed to the back of the bus and sat in the squeaky seat. The bus made a big jolt and started to move, I fell into an automatic relaxation period as I watched the tantalizing scenery roll by. ...

Temperate, Torrid, and Frigid Zones

Temperate, Torrid, and Frigid Zones In one of the first attempts at climate classification, the ancient Greek scholar Aristotle hypothesized that the earth was divided into three types of climatic zones, each based on distance from the equator. Though we know that Aristotles theory was vastly oversimplified, it persists, unfortunately, to this day. Aristotles Theory Believing that the area near the equator was too hot for habitation, Aristotle dubbed the region from the Tropic of Cancer (23.5Â °) in the north, through the equator (0Â °), to the Tropic of Capricorn (23.5Â °) in the south as the Torrid Zone. Despite Aristotles beliefs, great civilizations arose in the Torrid Zone, such as those in Latin America, India, and Southeast Asia. Aristotle reasoned that the area north of the Arctic Circle (66.5Â ° north) and south of the Antarctic Circle (66.5Â ° south) was permanently frozen. He called this uninhabitable zone the Frigid Zone. We know that areas north of the Arctic Circle are indeed habitable. For instance, the worlds largest city north of the Arctic Circle, Murmansk, Russia, is home to almost half a million people. Due to months without sunlight, residents of the city live under artificial sunlight but yet the city still lies in the Frigid Zone. The only area that Aristotle believed was habitable and capable of allowing human civilization to flourish was the Temperate Zone. The two Temperate Zones were suggested to lie between the Tropics and the Arctic and Antarctic Circles. Aristotles belief that the Temperate Zone was the most habitable likely came from the fact that he lived in that zone. Since Then Since Aristotles time, others have attempted to classify regions of the earth based on climate and probably the most successful classification was that of German climatologist Wladimir Koppen. Koppens multiple-category classification system has been slightly modified since his final classification in 1936 but it is still the classification used most frequently and most widely accepted today.

Policy Process Paper Essay Example | Topics and Well Written Essays - 750 words - 1

Policy Process Paper - Essay Example To improve the operations of a criminal justice system, some strategies need implementation. First, some reforms must be made in the re-entry programme. Released prisoners face a lot of challenges that trigger them to their return to criminal activity, to address the above challenges I would recommend the re-entry services that may help reduce barriers to obtaining employment, housing, or other services that reduce the chances that a person commits a new offense while out of prison. I would suggest a partnership with the faith based community organizations whereby majority of released inmates will return (Roberts, 2003). Secondly, rehabilitation is another key issue to be tackled. Rehabilitation majorly revolves around job skills, counseling and education (Crawford, 2001). Up to date, many ex-convicts still leave prison merely better-educated and skilled criminals (Mears, 2006). Hence, I recommend the use of probation officers to do the rehabilitation for some selected groups of sentenced offenders. With the prior aim set to high risk offenders. I also recommend the partnership with the NGO sector. They will collaborate with the probation officers mentioned. Thirdly police officers also form an integral system of criminal justice and foremost police reforms should be done. These will achieve the objective of improving public organisation, reduction in the levels of and promotion of the human rights. According to Roleff (2003), improving the reform process in police, expanding the standards of safety and investigation, ensuring transparency in the police sector as well as bringing police work in line with international standards will assist in meeting above objectives. According to Garside (2004), with regard to the length of sentences, sentencing options and length of prison terms under the current Criminal Code of the country should be revised to consider the modern trends in the

Ansewering the international business policy (questions) Essay

Ansewering the international business policy (questions) - Essay Example Dogs often put business strategists to their wits’ end as they worry what to do with them. Unprofitable business units, as a matter of fact, consume similar financial resources as their profitable counterparts. Hence, business strategists often undergo a serious decision-making to handle Dogs among the portfolios of companies they manage. Some of the ways to deal with unprofitable business units or product lines include: (i) establishing a partnership with a brand company that sells similar products; (ii) undergoing merger with another company; (iii) or selling the under-performing business units and invest the proceeds in other businesses that may yield some profits in the near future (Dalton et al., 2007). Selling of unprofitable companies have become the most popular option companies’ managers use to discard off low-yield business units in recent years. 2 2. Estonia, Latvia and Lithuania are examples of Baltic States. The prospect of finding new positions in their ma rkets may be remote due to the poor economic activities in these countries. For a new company entering the countries must resort to a policy of market development before it could assume the market leadership in these countries. The process of market development is a quite risky adventure because there is no 100% guarantee that it is going to be successful. The process involves using the company’s limited resources (both physical and human) to research the Baltic markets, analyse the available opportunities, undertake products’ publicity, and organise distribution channels that may be different from the ones available in the countries (Stonehouse et al., 2004). There are some common risks associated with market development. Some of these problems are cultural risk, financial risk, market risk and resource risk (Haberberg and Rieple, 2008). Some of the questions to be asked about this process are (i) what of if the cultures in the Baltic States are not receptive to forei gn participation in a particular industry in the country, say, hospitality industry? (ii) how could the company entering into the Baltic markets scrupulously manage its resources? (iii) And what are the possible market risks associated with this kind of business adventure? Once these burning issues can be successfully resolved, it will possible to for the new company to control the market it targets, and also reap the complete benefits this adventure will bring (Haberberg and Rieple, 2008). 3 3. In an economically viable country like Austria, competition among the business operators in the country is inevitable (De Wit et al., 2004). Engaging in â€Å"price wars† is one of the characteristic features of competition in the markets. Price wars force every player in the market to offer competitive prices that would draw consumers away from their rivals and promote continued patronage of what goods or services they offer (Winninger, 1994). To win these wars, some companies may of fer discounts on each of their products; they may also provide subsidies to state or non-private organisations to purchase large quantities of their products (Winninger, 1994). Other incentives for consumers include reduced Value Added Tax (VAT), free delivery mechanism and post-delivery services that many other companies

Motivation Project Essay Example for Free

Motivation Project Essay The drive to achieve goals is being motivated. Motivational theories are the processes to reach those goals. Being a new student in Caitlin’s situation is difficult. Catlin seems like she could be doing better. She isn’t pushing herself to her fullest. She lacks the desire to. Caitlin lacks a few of the things required for self-actualization; per her situation she is in she lacks a lot of motivation. She needs to find something worth achieving the grade for. She hasn’t achieved all the spots on Maslow’s hierarchy of needs; achievement motivation and neither intrinsic nor extrinsic motivation apply. Caitlin seems to have only hit a few points on Maslow’s hierarchy of needs chart. She lacks self-actualization, esteem and love/belonging. She doesn’t seem to know herself. She seems to be distracted given her situation. Physiological and safety she appears to have. She has to have physiological and safety she seems to have achieved. She lacks three out of five levels on the hierarchy of needs given her current situation. She lacks achievement motivation. There is nothing motivating her to achieve her goals in her world history class. Her life situation has her down regarding everything It is causing her to be distracted and she doesn’t have a way to be motivated to achieve her goals. She isn’t intrinsic motivated because she doesn’t seem to realize that there is a reason to achieve better than a c. She also doesn’t have extrinsic motivation because she is living a rough life. She doesn’t feel like she can achieve anything better. There is nothing either outside or inside of her that could push her to do better at his moment. I would say try and help her. Caitlin needs a friend. She is living in the next to impossible situation no that no one going to school wants to live. She is a new student and her parents are divorced. Her world has exploded for the average school age girl. She needs to know that she can trust you as her teacher. She needs to feel that you’re there and willing to help her with her both outside and inside academic issues. If she knows you’re willing to help with both then maybe she’ll better motivated to achieve higher grades. She needs a friend. Everybody needs to know they can trust their teacher. A healthy learning environment is the best thing that could be created for children.

Intertwined Cultures in the Writings of Jhumpa Lahiri Essay -- Literar

Charlemagne was once quoted having said â€Å"To have a second language is to have a second soul† (Kushner 29). In achieving full comprehension of another language, one also gains insight into the culture of foreign individuals. It is common knowledge that in the modern world, English is the dominant tongue. Yet, bilingualism, even multilingualism, is a sure sign of possessing the scarce knowledge of cultural diversity. As American society becomes more accepting of various cultures in its politics and education, foreign voices also appear more in American literature. The diversity of origins of the latest young writers is vast: In The New Yorker’s 2010 â€Å"Top 20 Under 40† list of new American writers, over one-third were not born in this country. Their homes cross the globe, from Latvia to Peru (â€Å"Top 20 Under 40†). The rise in popularity of stories of these bicultural writers can be attributed to the changing of attitudes in America. Our history and present is laden with the accounts of immigrants. Their perspectives are fresh and bursting with talent. Jhumpa Lahiri, a female Bengali author, gained prominence after she was listed in the 1999 edition of the â€Å"Top 20 Under 40†. That same year, her collection of short stories â€Å"Interpreter of Maladies† was published, and went on to sell millions of copies worldwide. Lahiri in particular is well known for, in the words of Aviya Kushner, â€Å"translating the immigrant experience for us, often lyrically†¦as the English-born child of immigrants, she can move smoothly between both worlds, marveling and assuring us that, yes, it will be all right† (Kushner 27). In many of her short stories, Lahiri focuses on that transition from a foreign culture-in her case, Indian-to American culture. More than oft... ... May 2012. . Kakutani, Michiko. "BOOKS OF THE TIMES; A Broken Body in Shiny, New China." The New York Times. The New York Times, 04 July 2008. Web. 4 May 2012. . Kushner, Aviya. "McCulture." The Wilson Quartlerly 33.1 (2009): 22-29. JSTOR. Woodrow Wilson International Center for Scholars, Dec. 2009. Web. 2 May 2012. . Lahiri, Jhumpa. Interpreter of Maladies: Stories. Boston: Houghton Mifflin, 1999. Print. Ranjini, V., and N. Ramakrishna. "Immigrant Experience In Jhumpa Lahiri's Interpreter Of Maladies And The Namesake." Poetcrit 21.1 (2008): 64-74. Literary Reference Center Plus. Web. 5 May 2012 Tyrell, Michael. â€Å"Interpreter of Maladies: Review.† Harvard Review 17 (1999): 198-199. JSTOR. Web. 4 May 2012.

How would Xerox define diversity? Essay

Xerox defines diversity as a priceless resource and a key to their success. It more than just race or gender. By incorporating in a company like xerox different cultures and ways of thinking it expands the mind set of the company and leads toward creating innovative solutions and business opportunities (Xerox). How has the definition of diversity changed over the years? We live in a world where, because of the Internet and the Web, we can communicate with someone in Africa or Asia as easily as we can communicate with someone in the office next door. A company like Xerox represents businesses all over the world, and the diversity of its employees is a big plus. Acknowledging our differences and using them as a value-added for any clients needs is one of the keys to a companies success. The economic problems that the world economy is experiencing has only added greater emphasis to our beliefs in the importance of diversity. We are all in this economic situation together. It certainly is not the time to retreat from our strong belief that diverse perspectives are essential to prospering in today’s world. What are the seven reasons why Xerox should be motivated to diversify their workforce? Illustrate how Xerox shows its values workplace diversity. Wider Talent Pool More talent will be employed at Xerox if employees of all cultures and race are hired. More Knowledge Sharing Employees can share cultural traits , market demographics and help develop companies develop robust knowledge management and market intelligence systems. Enhanced Productivity By processing varied skills , competencies and capabilities of different races and cultures, Xerox can increase its productivity worldwide (Xerox). Reduced Discrimination At Xerox woman and minorities make up for 52% of the workforce and 42.5% of Xerox senior executives are women or people of color or both (Xerox).

Cinema of Attractions

The cinema of attraction. ‘A matter of making images seen. ’ This is what Fernand Leger was writing in 1902 about the new art, trying to describe the possible changes in cinema, by emphasizing the fact that imitating the movements of nature is not necessarily the best way of defining cinema’s essence. This is only one of the writings concerning this topic which influenced Tom Gunning in characterizing the cinematic period before 1906 as that of the ‘cinema of attractions’.In this essay I am going to talk about the cinema of attractions and its main characteristics with examples from several early films, with an emphasis on ‘Un homme de tetes’ (Georges Melies, 1898) and L'arrivee d'un train a la Ciotat (Auguste and Louis Lumiere,1895). History of the cinema of attractionsThe term of ‘cinema of attractions’ was introduced into the study of film by Tom Gunning and Andre Gaudreault in 1985, describing a filmmaking technique used for early films, until 1906, in which the main interest is in the spectacle and the audience’s visual experience rather than in the narrative side. The cinema of attractions employed delights like colors, costumes, commentary, sometimes even grotesque features, like freaks or indigenous people. In the simplest terms, it was a cinema based on entertainment, shock and sensations, the ability of showing something.The main difference between this style and the cinema in later years is the focus: the cinema of attractions is trying to take the spectators on an unique trip to an extraordinary place, by inviting them to look, get involved and be amazed by these perfect illusions, rather than telling a story, while the narrative cinema focuses on human psychology, continuity of the plot and characters. The term ‘attract’ is defined by the english dictionary as ‘to draw by appealing to the emotions or senses, by stimulating interest, or by exciting admiration; allur e; invite’.In cinema, Eisenstein was one of the first people to use ‘attraction’ as a way of describing his techniques, which had either a physical or psychological unexpected impact on the audience, due to its direct address towards it, sometimes causing an emotional shock, through aggressivity and due to the unpredictability of the moment. Attractions of the early cinema. The first film that I am going to analyze is directed by the Lumiere brothers, which interpret cinema as the transcription of real unstaged life, opposing to Melies who saw cinema as invention, artifice, illusion, fantasy.Around this 50 seconds film there are different myths, some of which say that in the first showing of the movie, a lot of the spectators screamed, thinking that the train is going to hit them, and some of them even left the room, because of the illusion of the train moving towards them. This myth is why nowadays people tend to think of the early audience as naive, but at the same time, they forget to take in consideration other aspects, like the transformation which is occurring in front of their eyes, the idea of change and also the historical and social background.The primary object of most early films seems to be the personal space, which is invaded on a certain level. By triggering stress or fear, or choosing real-life danger objects like trains and other vehicles, the personal space is invaded and bodily reactions are being triggered, which is the main purpose of the cinema of attractions, by engaging the viewer in the exhibition. In 1986, Maxim Gorky writes a review of the Lumiere programme, and he uses words like ‘straight at you’, ‘shield’, ‘will reach you’, which, once again, shows the physical reaction that people had. Nevertheless, one must not confuse this with a complete illusion.People did not actually believe that the train will physically hurt them, but they were allowing themselves to enjoy the thr ill of the cinematic magic. If we were to take a clear example of the details which change this perspective of a credulous audience, the exhibition of The Black Diamond Express is one of the strongest ones, as the movie had a presenter, described as a ‘terrorist mood setter’ which introduced the audience in a dramatic atmosphere, by describing the images of a locomotive rushing into the camera as an unique moment in history, in which it will come towards them with its dreadful ‘iron throat’.This puts the danger that people believed to be in, in a new light, showing that their emotions and anxiety were influenced by the atmosphere created, together with the novelty of this type of entertainment. This type of delay, the suspension, the wait for an already announced unusual thing to be happening accentuate its impact over the image perceived by the crowd. Locomotives, trains and generally moving objects were preferred by directors, as they easily created a sen sation of fear, which could also represent a sensual reaction, as we saw earlier, viewers running out of the movie theater.This experience could nowadays be compared to that of a roller coaster, described by Gunning as ‘sensations of acceleration and falling with a security guaranteed by the modern industrial technology’, which in my opinion precisely describes people’s experience from 100 years ago as well, as they were well aware of the fact that it was just an illusion, but that didn’t mean they were refusing to be drawn in the experience, especially considering its innovation.Another aspect of the cinema of attraction is confrontation, which holds the viewer and makes it impossible for him to lose himself into absorption, like before in other arts like painting or sculpture: ‘attractions address the viewer directly, soliciting attention and curiosity through acts of display’. [1] This type of art ask for an immediate response from the audi ence, as the images are moving, evolving- a living screen. ‘Unlike psychological narrative, the cinema of attractions does not allow for elaborate development, only a limited amount of delay is really possible’. TG, p122) It is exactly this newness that makes it exciting, as it instantly produces a show with a high impact, offering sensational thrills through powerful images in motion, without the traditional narrative structure. In this type of cinema, the spectator identifies himself with the camera more than a character and his confrontation with the film is rather unmediated by the story. Hence, seeing this exhibitionist style as a precursor for the later narrative structures would show a misunderstanding of its value. Another iconic film for the cinema of attractions is Un homme de tetes, 1895.I have chosen to discuss this film because of its director, which most of the time is put in contrast with the Lumiere brothers, because of their different styles. The first one uses editing and multi shots, while the Lumiere brothers show nature caught on camera, in a single shot. Still, both styles have the same essence, that of the act of display, the pleasure of the spectacle. One aspect that one can definitely notice in Melies’ film is the presence of a showman/monstrator whose role is to present the film to the audience, a mediator between the crowd and the experience itself.As Gunning states, ‘The showman rather than the film themselves gives the program an overarching structure, and the key role of the exhibition showman underscores the act of monstration than founds the cinema of attractions. ’( TG, p. 122) As an example, Melies, who was a performer himself, during the movie which lasts less than two minutes, gesticulates with his hands towards himself and the heads, in a way directing the public’s attention to the main points, the heads, which are part of his magic trick. This, once again, puts the spectator in an ex ternal position, making him aware of the act of looking.This does not distance him, but, on the contrary, makes him part of the whole show, emphasizing the realism and the interactivity of the cinema. The tricks found in his films represent the typical burst of attraction, when there is a transformation of an object into something else: ‘In its double nature, its transformation of still image into moving illusions, it expresses an attitude in which astonishment and knowledge perform a vertiginous dance, and pleasure derives from the energy released by the play between the shock caused by this illusion of danger and delight in its pure illusion’. (TG, p. 29) One more time, it is emphasized that the audience knew how to make the difference between reality and illusion, and that movement is what cinematography promised, while still experiencing sensational thrills and feeding their hunger of consuming the world through images. From the examples above, we can see Tom Gunnin g’s idea of cinema of attraction come to life, and the way in which it dominated the first decade of early cinema, through the first silent movies and their exhibitionist characteristics. Their ability to show something without a narrative structure has fulfilled the audience’s visual curiosity of thrills, danger nd magic, while drawing them in the film, creating strong bodily sensation. Therefore, cinema of attractions is a primary response to people’s wish of seeing a spectacle apart than storytelling, in which their body is engaged rather than the mind through a succession of instants. Claudia Mangeac 1623 words Bibliography: 1. Tom Gunning: An Aesthetics of Astonishment: Early Film and the (In)Credulous Spectator 2. The Cinema of Attractions Reloaded, edited by Wanda Strauven, Amsterdam University Press, Amsterdam 2006 3. Tom Gunning -Attractions: How They Came into the world . Encyclopedia of early cinema, edited by Richard Abel, Routledge 270 Madison Avenu e, New York, USA 5. http://scan. net. au/scan/journal/display. php? journal_id=109 6. http://www. scribd. com/doc/65086032/Tom-Gunning-Primitive-Cinema 7. Tom Gunning, The Cinema of Attraction(s): early Film, Its Spectator and the Avant-Garde 8. Un homme de tetes’ (Georges Melies, 1898) 9. L'arrivee d'un train a la Ciotat (Auguste and Louis Lumiere,1895). ———————– [1] Tom Gunning, ‘An Aesthetic of Astonishment: Early Film and the (ln)Credulous Spectator’ (pg. 121)

Five Theories on the Origins of Language

Five Theories on the Origins of Language What was the first language? How did language begin- where and when? Until recently, a sensible linguist would likely respond to such questions with a shrug and a sigh. As Bernard Campbell states flatly in Humankind Emerging (Allyn Bacon, 2005), We simply do not know, and never will, how or when language began. Its hard to imagine a cultural phenomenon thats more important than the development of language. And yet no human attribute offers less conclusive evidence regarding its origins. The mystery, says Christine Kenneally in her book The First Word, lies in the nature of the spoken word: For all its power to wound and seduce, speech is our most ephemeral creation; it is little more than air. It exits the body as a series of puffs and dissipates quickly into the atmosphere... There are no verbs preserved in amber, no ossified nouns, and no prehistorical shrieks forever spread-eagled in the lava that took them by surprise. The absence of such evidence certainly hasnt discouraged speculation about the origins of language. Over the centuries, many theories have been put forward- and just about all of them have been challenged, discounted, and often ridiculed. Each theory accounts for only a small part of what we know about language. Here, identified by their disparaging nicknames, are five of the oldest and most common theories of how language began. The Bow-Wow Theory According to this theory, language began when our ancestors started imitating the natural sounds around them. The first speech was onomatopoeic- marked by echoic words such as moo, meow, splash, cuckoo, and bang.   Whats wrong with this theory?Relatively few words are onomatopoeic, and these words vary from one language to another. For instance, a dogs bark is heard as au au in Brazil, ham ham in Albania, and wang, wang in China. In addition, many onomatopoeic words are of recent origin, and not all are derived from natural sounds. The Ding-Dong Theory This theory, favored by Plato and Pythagoras, maintains that speech arose in response to the essential qualities of objects in the environment. The original sounds people made were supposedly in harmony with the world around them. Whats wrong with this theory?Apart from some rare instances of sound symbolism, theres no persuasive evidence, in any language, of an innate connection between sound and meaning. The La-La Theory The Danish linguist Otto Jespersen suggested that language may have developed from sounds associated with love, play, and (especially) song. Whats wrong with this theory?As David Crystal notes in How Language Works (Penguin, 2005), this theory still fails to account for the gap between the emotional and the rational aspects of speech expression. The Pooh-Pooh Theory This theory holds that speech began with interjections- spontaneous cries of pain (Ouch!), surprise (Oh!), and other emotions (Yabba dabba do!). Whats wrong with this theory?No language contains very many interjections, and, Crystal points out, the clicks, intakes of breath, and other noises which are used in this way bear little relationship to the vowels and consonants found in phonology. The Yo-He-Ho Theory According to this theory, language evolved from the grunts, groans, and snorts evoked by heavy physical labor. Whats wrong with this theory?Though this notion may account for some of the rhythmic features of the language, it doesnt go very far in explaining where words come from. As Peter Farb says in Word Play: What Happens When People Talk (Vintage, 1993): All these speculations have serious flaws, and none can withstand the close scrutiny of present knowledge about the structure of language and about the evolution of our species. But does this mean that all questions about the origin of language are unanswerable? Not necessarily. Over the past 20 years, scholars from such diverse fields as genetics, anthropology, and cognitive science have been engaged, as Kenneally says, in a cross-discipline, multidimensional treasure hunt to find out how language began. It is, she says, the hardest problem in science today. In a future article, well consider more recent theories about the origins and development of language- what William James called the most imperfect and expensive means yet discovered for communicating a thought.

Definition and Examples of Illustration in Composition

Definition and Examples of Illustration in Composition In rhetoric and composition, the word illustration  refers to an example  or  anecdote  thats used to explain, clarify, or justify a point. And the word illustration, pronounced [IL-eh-STRAY-shun], is from the Latin Illustrationem, which means vivid representation. In writing an illustration, says James A. Reinking, we try to show readers something truthful about our understanding of the world. They wouldnt read what we have written if they suspected we were unusually careless in our thinking, or if they thought we were trying to deceive them by skewing our evidence or distorting our examples. (Strategies for Successful Writing. 8th ed., 2007.) Examples and Observations of Illustration The Function of Illustration Illustration is the use of examples to make ideas more concrete and to make generalizations more specific and detailed. Examples enable writers not just to tell but to show what they mean. For example, an essay about recently developed alternative sources of energy becomes clear and interesting with the use of some examples- say, solar energy or the heat from the earths core. The more specific the example, the more effective it is. Along with general statements about solar energy, the writer might offer several examples of how the home building industry is installing solar collectors instead of conventional hot water systems, or building solar greenhouses to replace conventional central heating. (Rosa, Alfred and Paul Eschholz.  Models for Writers. St. Martins Press, 1982.) Joe Queenans Illustrations: You Cant Fight City Hall ​Books, I think, are dead. You cannot fight the zeitgeist, and you cannot fight corporations. The genius of corporations is that they force you to make decisions about how you will live your life and then beguile you into thinking that it was all your choice. Compact discs are not superior to vinyl. E-readers are not superior to books. Lite beer is not the great leap forward. A society that replaces seven-tier wedding cakes with lo-fat cupcakes is a society that deserves to be put to the sword. But you can’t fight City Hall. (Queenan, Joe. interviewed by John  Williams  in ‘Books, I Think, Are Dead’: Joe Queenan Talks About ‘One for the Books.’  The New York Times, Nov. 30, 2012.) Tom Destry Jr.s Illustration: Stick to Your Own Trade Nobodys gonna set themselves up above the law around here, you understand? I got something to say to you. I think maybe I could illustrate it a little better if I told you a story. I used to have a friend that was an opry singer. Then he went into the cement business, and one day he fell into the cement. And now hes the cornerstone of the post office in St. Louis, Missouri. He should have stuck to his own trade. You better stick to yours. (James Stewart as Tom Destry in  the film Destry Rides Again, 1939.) Don Murrays Illustration of Writers as Dawdlers Even the most productive writers are expert dawdlers, doers of unnecessary errands, seekers of interruptions- trials to their wives or husbands, associates, and themselves. They sharpen well-pointed pencils and go out to buy more blank paper, rearrange offices, wander through libraries and bookstores, chop wood, walk, drive, make unnecessary calls, nap, daydream, and try not consciously to think about what they are going to write so they can think subconsciously about it. (Murray, Donald M. Write Before Writing.  The Essential Don Murray: Lessons from Americas Greatest Writing Teacher, Heinemann, 2009.) T.H. Huxleys Illustration of the Word Fish If any one wants to exemplify the meaning of the word fish, he cannot choose a better animal than a herring. The body, tapering to each end, is covered with thin, flexible scales, which are very easily rubbed off. The taper head, with its underhung jaw, is smooth and scaleless on the top; the large eye is partly covered by two folds of transparent skin, like eyelids- only immovable and with the slit between them vertical instead of horizontal; the cleft behind the gill cover is very wide, and, when the cover is raised, the large red gills which lie beneath it are freely exposed. The rounded back bears the single moderately long dorsal fin about its middle. (Huxley, Thomas Henry. The Herring. Lecture delivered at the National Fishery Exhibition, Norwich, April 21, 1881.) Charles Darwins Illustration: All True Classification Is Genealogical It may be worthwhile to illustrate this view of classification, by taking the case of languages. If we possessed a perfect pedigree of mankind, a genealogical arrangement of the races of man would afford the best classification of the various languages now spoken throughout the world; and if all extinct languages, and all intermediate and slowly changing dialects, were to be included, such an arrangement would be the only possible one. Yet it might be that some ancient languages had altered very little and had given rise to few new languages, whilst others (owing to the spreading and subsequent isolation and states of civilisation of the several races, descended from a common race) had altered much, and had given rise to many new languages and dialects. The various degrees of difference in the languages from the same stock, would have to be expressed by groups subordinate to groups; but the proper or even only possible arrangement would still be genealogical; and this would be strict ly natural, as it would connect together all languages, extinct and modern, by the closest affinities, and would give the filiation and origin of each tongue. (Darwin,  Charles. On the Origin of Species by Means of Natural Selection. 1859.)

The Millennium Dome Project Research Paper Example | Topics and Well Written Essays - 2500 words - 1

The Millennium Dome Project - Research Paper Example Blair was trying to rescue the Millennium Dome, which, far from being the built representation of his reforming, forward-looking, government – â€Å"Cool Britannia† replacing â€Å"Rule Britannia† (that looked back to the time of the British Empire) – was rapidly becoming a political and financial scandal. That very evening was a disaster: thousands of guests were still stuck in lines at security checkpoints at Stratford Tube Station when the midnight hour struck and for those who made it to the Dome the champagne ran out!† It was built on a 300-acre land overlooking the River Thames. The Dome measures 320 meters in diameter, and reaches a height of 50 meters at its center; it was created to lure tourists to London. The costs for the Dome reached 758 million pounds (or more than $1.2 billion). The Dome was destined to be a failure. It carried the slogan â€Å"Time to make a difference†, which was heavily criticized by the press, and the citizens of London were asking, â€Å"What difference will it make?† Many however were looking forward to its opening for it certainly was making history. It was designed to attract tourists to London, help regenerate the depressed Greenwich borough provide a showcase for UK designs and companies and reinforce London’s image as a dynamic international city. (Swarbrooke, 2002, p. 345) At the time of the Dome project, there were many other similar projects envisioned and already started by the Government as an outcome of the global economic and cultural changes. In the post-industrial city, economic survival depends upon growth in the service sector. (Thornley, 2000, p. 689) The Millennium Commission was set up to decide the allocation and announced on 28 July 1996 that the Dome would take place on the Greenwich peninsula in London. The big bulk of the money came from the National Lottery when Prime Minister John Major and his Conservative Party decided to open it for a year’s exhibition, after which it had to be sold to  any interested private bidder.