How to Choose a Descriptive Essay Topic For College Writing

How to Choose a Descriptive Essay Topic For College WritingIf you are trying to find a topic for your essay, a lot of the time students will choose descriptive essay topics for college. This is because most college writing courses will teach students how to write these types of essays, as well as other types of essays.However, one of the biggest reasons why you should choose a descriptive essay topic for college writing is that it doesn't have to be anything extraordinary. You could take a simple experience, like what you read in a book or a newspaper, and you could turn it into a topic for your college writing class. Many students feel that they are only going to be writing an essay once, so this is a perfect option for them.The other reason why this is a good idea is because it gives you a chance to turn a simple experience into a specific topic. This could make your college writing class more interesting to some students. It also gives them a chance to gain some insight into what they're experiencing.For some students, the idea of a single-subject essay can be a very boring and uninteresting concept. Not to mention that it can be hard to focus on a single topic, when there are a lot of other students in your class.However, with a descriptive essay, you'll be able to turn your own experience into a topic that you can relate to, and then relate that topic to other people's lives. Your topic could be about going on a trip, or about something you experienced on your vacation. You could turn your experience into a topic that you would be comfortable talking about in class.In fact, you might want to start writing your essay before the subject has really been chosen for you. You could even write the first part of your essay about what kind of topic you are interested in. Then, after you've worked on that, you could start writing about the subject that you find interesting.Your goal is to have your first draft of the topic to be at least a couple paragraphs long. Th en, you should start writing about the specific problems you are having with the subject that you just wrote about. By doing this, you can see the exact problem you are going to have when you talk about that topic in class.Always remember, if you don't procrastinate and never get stuck on the first part of your essay, then it is going to be a much faster process. There are a lot of descriptive essay topics for college writing, so don't worry about finding a great topic for your essay. Just find one that will be interesting to you, and then work on that until you've gotten it all together.

The Believer and MacIntyres Emotivist Culture - Literature Essay Samples

Title: The Believer and MacIntyre’s Emotivist CultureAuthor: Katherine PerryDate Written: Feb. 22, 2006Words: 2,085In his book After Virtue, Alasdair MacIntyre asserts that members of contemporary society live in a world devoid of definitively objective moral foundation, a world he calls an â€Å"emotivist culture.† This essay will first define which specific characteristics MacIntyre believes are entailed in such a culture. Second, it will explain and elucidate the author’s argument for why the present state of the world reflects this emotivist culture. Last, it will present an argument refuting MacIntyre’s vision because his roster of emotivist social characters lacks a key non-emotivist player—the believer, or an individual who grounds his or her belief in a divine moral code.Before delving into an explanation of MacIntyre’s emotivist culture, it is both important and necessary to define emotivism as a moral philosophy. A theory of emotive ly-based moral judgments, emotivism purports that the assessment of values can be understood only in terms of emotive meaning, or on the basis of personal and individual realities. MacIntyre describes the theory as follows: â€Å"Emotivism is the doctrine that all evaluative judgments and more specifically more judgments are nothing but expressions of preference, expressions of attitude or feeling, insofar as they are moral or evaluative in character.† (MacIntyre 10) In his argument, MacIntyre says emotivism fails as a theory of meaning but succeeds as a theory of use. To clarify, the statement â€Å"Capital punishment is wrong† as a theory of meaning might translate as â€Å"Capital punishment – boo.† As a theory of use, this same statement would have persuasive or rhetorical effects so as to garner support for the cause to perhaps end capital punishment. By combining MacIntyre’s account of emotivism with the concept of culture, or a particular so ciety at a particular time and place, it is now possible to explain which features comprise today’s emotivist culture. The author paints a somewhat pessimistic portrayal of the modern world — one that would certainly both shock and disturb the average human being. In MacIntyre’s drearily-depicted emotivist culture, value judgments (or assessments of the universal goodness or badness of certain actions) are nothing but expressions of preference, attitude or feeling. Morality has no universal, overarching or objective grounds. Instead, moral choices are intrinsically arbitrary and are therefore at the mercy of the individual mind. Like having a favorite color, morality deals with taste and is merely a matter of opinion. To bolster his description of today’s culture as one based heavily on emotivist theory, MacIntyre emphasizes its distinctiveness from past societies. He alludes to past thinkers Nietzsche and Sartre to contrast the â€Å"very different mora l philosophies in Germany and France† with contemporary emotivist cultures. In the past, emotivist theories proposed by such thinkers were unconventional and eccentric, but MacIntyre says such theories dominate present-day culture. He dwells on how pervasive such ideals have become in today’s society and explains how they form a consensus set of beliefs based on emotivism. MacIntyre emphasizes the centrality of emotivist thought to contemporary culture in the following passage: For one way of framing my contention that morality is not what it once was is just to say that to a large degree people not think, talk and act as if emotivism were true, no matter what their avowed theoretical standpoint may be. Emotivism has become embodied in our culture (22). In his description and differentiation of emotivist culture from past societies, MacIntyre makes two bold assertions. First, he claims morality is not what it used to be prior to the moral apocalypse. Second, and more im portantly, he says what once was morality is gone. MacIntyre calls this â€Å"a grave cultural loss,† and arrives at such a jarring and novel claim—that is, that society today is in fact an emotivist culture—by constructing a proof of the reasoning behind his belief. The argument is valid, as its conclusion follows logically from its preceding premises. MacIntyre’s argument for his emotivist culture theory is unpacked and summarized below:Premise 1: Emotivism, by virtue of being a moral philosophy, implies a sociology, or study of social interactions among individuals.Premise 2: Sociology implies the presence of certain characters which embody the specific and telling social roles of a given society: the characters of today’s culture are intrinsically emotivist. Conclusion: The social roles of a society constitute its culture; social roles founded in emotivist rationale reveal the presence of an emotivist culture. Taking each statement separately, the explanation of MacIntyre’s argument begins with the premise that all moral philosophies require a sociology, or study of social interactions. Because emotivism is categorically considered a moral philosophy, the author asserts that it, too, presupposes a sociology. For every moral philosophy offers explicitly or implicitly at least a partial conceptual analysis of the relationship of an agent to his or her reasons, motives, intentions and actions, and in so doing generally presupposes some claim that these concepts are embodied or at least can be in the real social world (23). The second premise has two parts: a broad statement and a specific application of this statement to contemporary society. MacIntyre says sociology implies the presence of certain characters which embody particular social roles that indicate the nature of a society. MacIntyre says characters are â€Å"masks worn by moral philosophers† which â€Å"embody moral beliefs, doctrines and theoriesà ¢â‚¬  (28). Characters also encompass both sociological expectations and psychological wills of the individuals, and thus â€Å"morally legitimate a mode of social existence† (29). Regarding today’s social context, MacIntyre says three characters in particular embody the essence of culture: the aesthete, the manager and the therapist. All are rooted in emotivism, MacIntyre says, because each represents the â€Å"obliteration of the distinction between manipulative and non-manipulative social relations† (23). MacIntyre describes the aesthete as an individual who exists and flourishes in â€Å"environments in which the problem of enjoyment arises in the context of leisure† (25). For the aesthete, the social world is a mere arena for the pursuit and ultimate satisfaction of their own desires — a goal he or she will strive to attain even at the personal cost of others. MacIntyre’s second character, the manager, is the human embodiment of bureau cratic rationality, or the â€Å"rationality of matching means to ends economically and efficiently† (25). For the manager, the efficiency (not moral purpose) of a task is valued. The therapist completes MacIntyre’s trio of contemporary social characters, and describes a value-free and judgment-free individual concerned only with effectiveness and technique in â€Å"transforming maladjusted individuals to well-adjusted ones† (29). Just as a manager represents an obliteration of the distinction between manipulative and non-manipulative social relations, the therapist also represents this ambiguity â€Å"in the sphere of personal life† (29). Similar to the second premise, the argument’s conclusion is also comprised of broad and specific components. MacIntyre argues that the social roles of a given society — as embodied in its prime characters — define its culture, or way of life. Furthermore, social roles founded in emotivist rationale necessarily reflect an emotivist culture and â€Å"provide a culture with its moral definitions† (31). While in theory MacIntyre’s claim about contemporary culture seems plausible, closer observation into the practices of members of modern-day society indicate that something is amiss with the argument, primarily regarding his list of main characters. The list is incomplete. MacIntyre’s three characters are appropriate because they do correctly reflect the values and virtues of contemporary culture; however, to the aesthete, the manager and the therapist a fourth character must be added: the believer. The refutation of MacIntyre’s argument can be unpacked as follows: Premise 1: If culture is emotivist by nature, its â€Å"stock characters† or social roles must embody and reflect these same emotivist values.Premise 2: Not all social roles embody and reflect emotivist values.Conclusion: Therefore, culture cannot be deemed as truly emotivist. In MacInt yre’s second premise, he claims a certain sociology implies the presence of certain characters which embody the specific and telling social roles of a given society, and that furthermore, the characters of today’s culture are intrinsically emotivist. MacIntyre defines a character as â€Å"a very special type of social role which places a certain kind of moral constraint on the personality of those who inhabit them in a way in which many other social roles do not† (27). The believer’s place among the roster of social characters who are â€Å"immediately recognizable to the audience† is crucial because of his or her pervasiveness and influence in contemporary society. For MacIntyre, characters are â€Å"moral representatives of the culture† and â€Å"express bodies of moral belief in their actions† (28). The believer certainly fits this bill.A 2001 study by The Graduate Center of the City University of New York found that in the United States 85 percent of people are affiliated with a particular religious sect, with nearly 80 percent of this total belonging to some form of Christian church. Similarly, a 2001 Gallup poll found that 41 percent of Americans attend Church regularly. Although a significant portion of this percentage do not actually attend services, the very fact that individuals are lying about participation in religions activities indicates just how much people strive to embody and personify the character of the believer. The believer is not only melded in the sociological strata of culture — it’s embedded in its foundation and governmental aspects as well. The First Amendment of the United States Constitution guarantees freedom of religion. Though in theory, government is fundamentally divorced from religious matters, through the separation of church and state, often times in practice the two are fused. Evangelical Christians, for example, have tremendous influence in elections because their strong moral stances are generally consistent. In the 2001 presidential election, analysts purported that this group played a key role in George W. Bush’s victory over John Kerry precisely because their strong believes caused them to vote in unison on moral issues such as abortion and gay marriage. A common thread in today’s political world is the power of Christian voters, undoubtedly believers, who seek an objective moral code for the answer to such ethical issues and vote accordingly. In these instances, politicians often allude to God or call upon faith to garner votes. It is important to add that a distinction must be made between believer and priest, minister or churchgoer, as MacIntyre says societal characters cannot be defined in terms of institutions (29). â€Å"The requirements of character are imposed from the outside, from the way in which others regard and use characters to understand and to evaluate themselves,† he says (29). Therefore, what makes the believer a key character in present-day society is not purely the statistical evidence. The believer is a key character because his or her actions reflect his or her valuation of a divine and objective moral code. With the addition of the believer to MacIntyre’s list, the last statement of his second premise (that the characters of today’s culture are intrinsically emotivist) is untrue, as clearly the believer grounds their opinion in some type of divine moral code. Thus, the leap cannot be made from the emotivist nature of the characters to the emotivist nature of society because one of culture’s most key players is essentially non-emotivist. Clearly, the distinction between manipulative and non-manipulative social relations has been eliminated in terms of the aesthete, the manager and the therapist. MacIntyre describes this elimination as a situation in which â€Å"each person treats the other primarily as a means to his or her ends† (23). To use someone as a means to an end, he says, is to be unwilling to influence another except by reasons which the other individual adjudicates to be â€Å"good.† In such an emotivist culture, each character is responsible for defining his or her own morality and acting on his or her own set of beliefs by employing other individuals as â€Å"instruments† in their task (24). This cannot be the case for the believer; however, who adheres to an objectively ecclesiastical source of morality and looks to this – not themselves – for guidance in their day-to-day actions.MacIntyre’s argument for an emotivist culture is compelling; however, it is not whole without the addition of the believer. The failure of MacIntyre’s second premise, that characters of contemporary society are essentially emotivist, falls apart when this character is added to the cast. MacIntyre’s claim that society is emotivist because the majority of key social characters refl ect such values cannot be made due to the influence and pervasiveness of the believer. In the end, society cannot be correctly labeled as â€Å"emotivist† because there exists evidence of non-emotivist tendencies, as embodied by the believer.

Eternal Student How to Understand That Its Time to Quit

There are lots of reasons of why one chooses to pursue a second degree or even a third degree. Genuine love for learning. Doubt in the chosen career path. Wish to put off getting a real job for as long as possible – you might name another reason yourself. Being an eternal student is not a lifestyle many people can afford – unless you are backed with substantial fortune or win lots of grants, that’s how it is. But even if you can afford it – do you really have to? If you are willing to continue education in college after getting a degree (and are not going to pursue academic career), it most likely means that you have no idea what you are willing to do with your life, and are looking for a way to put off making this decision. For many people both High School and college are exactly these – legitimate ways of postponing necessary decisions. It is a justification: â€Å"Right now I am continuing with my education, there will be plenty of time to think about my future career after I finish with it†. Needless to say, it is not a very wholesome approach. If you are avoiding dealing with an issue, 9 times out of 10 it means that this issue is extremely important for you and you will be much better off if you deal with it right here, right now. What makes it worse is that education is not that much of an answer anyway – at least not anymore. While several decades ago getting several degrees in different fields was something akin to diversifying your investments, today’s world is much less attentive to formal education. It is experience, creativity and ability to learn on your feet that matter today – not your academic scores. The reason is, the world today is changing so fast that it becomes impossible for formal education to keep abreast of it. Most things you learn in college either have nothing to do with the things you will actually deal with in your life or are obsolete even before the course is over. So getting additional degrees does not simply mean that you put off vital decisions. It means that you are wasting the most productive years of your life learning things you will never practice or the things that have no application in today’s reality. Remember: life is short; sometimes it is unexpectedly short. Every day you spend learning you could have used more productively: working, getting real-life experience, making new and useful acquaintances, getting new skills. For learning new skills isn’t limited to formal education – far from it, the skills having to do with modern technologies are easily learnt independently. Of course, it doesn’t mean there is no use for formal education anymore. There are numerous fields where it is necessary, and if you are thinking of academic career, higher education is a must. But even in this case getting several degrees is far from being an answer – you will do much better if you decide what exactly you need from life and start moving towards this goal.

Childhood Development Of Anxiety And Depression - 940 Words

Annotated Bibliography Hudson, J. (2014, December 1). Parenting skills | Parent-Child Relationships in Early Childhood and Development of Anxiety Depression | Encyclopedia on Early Childhood Development. Retrieved November 16, 2015, from http://www.child-encyclopedia.com/parenting-skills/according-experts/parent-child-relationships-early-childhood-and-development. The impact of the parent on the child’s development is enormous mainly because they are close to the child more than anybody else and the fact that children look up to them. In her article, Hudson relates parenting and anxiety disorders by stating that overprotective parenting may lead to these disorders at a later stage of their development. It is true to state that parents have a big role to play concerning their children’s emotional needs hence the state of the relationship between parents and children have a huge bearing on how the children will turn out in later stages of their lives. Hudson states that handling fearful and risky situations is among the principal factors of dealing with anxiety. However, overprotective parents bring out a situation where the children are shielded from fearful moments that would have helped to build their character. This situation strips them of the skills to deal with distressing situations when they are older. According to Erickson’s psychosocial theory, the first stage of growth requires that parents provide support for their kids through an accurate reading of theirShow MoreRelatedRelationship Between The Child And The Parent1219 Words   |  5 Pages(McDonald et al., 2010). Many researchers have learned that positive, warm, and supportive parental relationships develop positive, healthy, social and emotional growth for their children during childhood and adolescence (McDonald et al., 2010). 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The main focus of the study was the concern that children s internalization of mental illness is a major concern for parents and society in general. However, this is due to the significant increase in health issue over a long period of time. This study in particular is important because the researchersRead MoreEgo Resilience As A Protective Factor1242 Words   |  5 PagesEgo-Resilience as a Protective Factor Between Childhood Trauma Psychopathology Jace Pincock University of Utah Introduction Clinical research reveals that psychological trauma during childhood increases the likelihood of developing psychological or functional disorders in adulthood. However, a significant percentages of adults with a history of trauma remain psychologically healthy. These individuals have been described as resilient. Resilience is the ability of human beings toRead MoreCognitive Behavioral And Psychodynamic Approach Essay863 Words   |  4 PagesJoseph’s unhappy childhood can be linked to his parent’s argument and he seems to have associated the darkness as a trigger for that events. Furthermore, splitting with his girlfriend may also have prompted him to feel lonely. This might have instilled fear on him, causing anxiety, panic attacks and depression. Biomedical, cognitive behavioural and psychodynamic approach can be used alongside, as treatment methods to help Joseph with his disorder. Biomedical approach treats physical symptoms of

Home from Home by Byrne and Kelly free essay sample

Home from Home is the first original song from the duo Byrne and Kelly. The group is made of up Neil Byrne, Ryan Kelly, Nicole Hudson, and Peter Sheridan from the Celtic group Celtic thunder. Ryan and Neil originally came up with the idea of performing together three years ago in 2012.Nicole and Peter didnt join them until recently. Their single Home from Home was released in June of 2015. There are many reasons why I love Home from Home. The first is that it is their first original single which givesa taste of what they have in their minds. Also, I love it because of medley of the song is catchy.I also love this song for the lyrics and the vocals. You can listen to the song on Youtube and buy it on CD Baby, Amazon, or itunes. Its a very great song and I hope that you will enjoy it as much as I do. We will write a custom essay sample on Home from Home by Byrne and Kelly or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page

To what extent is this a true description of Twelfth Night Essay Example For Students

To what extent is this a true description of Twelfth Night Essay I believe that Twelfth Night is a satirical fantasy comedy with an outrageously improbable plot that depends on the imagination of the audience. The implausible situations and unrealistic coincidences require a suspension of disbelief to revel in the entertainment value of the play. The comedy engages in real life themes, such as love, mistaken identities, ambition, homoeroticism, and deception, but although seemingly conceivable, these themes are exaggerated to a point of scepticism. I thoroughly agree that Twelfth Night is ‘a joyful fantasy full of impossibilities’, as although there are undoubtedly plenty of points in the play when the situation seems too unlikely to believe, there are also parts of the plot which emphasize the believable realism in the play and prevent it from being purely an escapist play. Shakespeare achieved prominence during the Elizabethan period when society was in an epoch of socio-political security and respect for the arts. The ‘twelfth night’ in the play’s title is an unambiguous reference to January 6th, the final night of the twelve day long Christmas season. We will write a custom essay on To what extent is this a true description of Twelfth Night specifically for you for only $16.38 $13.9/page Order now This ‘twelfth night’ was seen as a time of wild revelry and mayhem, and when social and sexual freedom could be freely contravened. Shakespeare’s Twelfth Night was inspired by this occasion, in which temporary sexual independence and social release is clearly shown (i. e. : Viola’s mistaken gender). Furthermore, the title of this play has no relevance to the actual storyline, and so suggests that this playwright is something to help you escape from the unhappiness of real life. The sub-title, ‘What You Will’ suggests that we can interpret the play individually so as to not take the plot too seriously. Attitudes to Puritanism were particularly negative in Shakespeare’s time, as a number of people sought to purify England of catholic religious ceremonies – which threatened the Christmas tradition. Puritans wanted rid of all arts and moral beliefs, as they felt it was incompatible with a properly reformed Christianity. In Twelfth Night, Malvolio exemplifies Puritanism, as he is regularly called a Puritan by the other characters because of his self love. Therefore, the character’s pranks at his expense are more political than their outside appearance of playfulness and innocence suggests. Shakespeare’s plays were written to be performed to an audience that were full of different types of people. Among the audience would be different social classes and people with different levels of intellect. Twelfth Night contains unpretentious characters who appeal to the working class, and the complex plot appeals to the upper class in the audience. Twelfth Night is set on a fantasy island named Illyria where the improbable is probable, and the plot is so absurd that the character’s worlds in relation to ours are literally opposite. The audience would have enjoyed watching a play that has no relevance to their real lives, as people went to the theatre to escape and have a good time, so the plot would have made them forget about their troubles. Fabian sums up the fantasy element well in Act 3 Scene 4, ‘If this were played upon a stage now, I could condemn it as an improbable fiction. ’ Shakespeare has used dramatic irony here to involve the audience in the play as it would have been humorous as the playwright is in actual fact being acted upon a stage. The structure of Twelfth Night contributes to the meaning of the play – it’s what you make it mean to you. It is made up of establishing character relationships (mostly done through absurd arguments), the building up of theatrical tension (which brings all the conflicts to a climax), and understanding the plot. Shakespeare carefully set out the scenes in an order that we can understand, but also to create tension and hilarity between the different moods of each scene. Each scene prepares us for the next one, and we are given crucial information throughout the play, so the already know. In Act 1 Scene 1, the theme of unrequited love is introduced right at the very start of the play. Although this is a serious issue in contrast to the rest of the play, it enables us to find out about Orsino and leaves us unexpected for a humorous scene. Orsino opens the play with a speech: ‘if music be the food of love, play on’. The speech is a metaphorical relation of music and love; where Orsino relates music to food and overindulgence of music to eating. Ultimately he is wishing that listening to too much music would kill his desire for love. The music that Orsino is listening to pleases him at first, and he compares the music to ‘the sweet sound’ (signifying a breeze), that picks up the smell of flowers (‘that breathes upon a bank of violets’). Orsino then contrasts love, which he portrays as stealing away the value of things, and the sea, which transforms things. ‘O spirit of love, how quick and fresh art thou, that, notwithstanding thy capacity, receiveth as the sea, nought enters there, of what validity and pitch soeer’. He then continues his figurative relation of love with appetite; he states that love is ‘quick and fresh’, meaning keen and hungry, and takes in more than its capacity to swallow. ‘So full of shapes is fancy’, Orsino continues , relating all the many things that love swallows up to loves power to be imaginative and fantastical. He is portraying that your mind is so occupied by love that everything that used to matter no longer does. Orsino is speaking in verse throughout this; showing that he is a noble character who is important. This use of verse contributes to the mood of the scene because he is talking about unreciprocated love, and verse is often used by Shakespeare when exploring this theme. This use of characterisation for dramatic effect is very useful, as Shakespeare has expressed Orsino as a ‘lovesick puppy’. Shakespeare also wrote his lines using iambic pentameter ‘if music be the food of love, play on’. This gets across the idea that Orsino wants to overindulge in music so it kills his desire for love because he is suffering from the pangs of unrequited love. Orsino repeatedly leads his conversation back to the topic of love; when his servant Curio asks him if he will go hunt a ‘hart’ (the pun on heart). ‘Will you go hunt, my lord? ’ ‘What, Curio? ’ ‘The hart. ’ Orsino answers by speaking of his heart, but then relates the topic of hunting to his lonely state. He then refers to Ovid’s account of Actaeon, who was punished for seeing the goddess Diana naked by being made into a hart, and then attacked by his own dogs. Another indication to Ovid is made when Orsino refers to the ‘rich golden shaft’ of Cupid’s arrow that will strike Olivia and make her love him, as according to Ovid, Cupid caused love with an arrow which was keen, sharp, and made of gold. The language that Orsino uses in this scene is full of deceit, but it also indicates his ability for strong emotions and heartiness. Orsino is yearning for love, but the way that Shakespeare has wrote his lines make his feelings sound urgent, as the imagery of him being torn apart by hounds (Ovid’s account of Actaeon), expresses the great impact that his emotions have on him. This shows that Orsino is determined to woo Olivia, but he doesn’t change who he loves hastily, in contrast to how his moods change. ‘Enough, no more, tis not so sweet as it was before. ’ This suggests that his moods vary all the time, as at first he was asking for music to be played, and then he asked them to stop playing it. Orsino feels very deeply about Olivia; ‘O when mine eyes did see Olivia first, methought she purged the air of pestilence’. This is a reference to the Elizabethan belief that illnesses was caused by miasma. Orsino also says ‘when liver, brain and heart, these sovereign thrones, are all supplied and filled, her sweet perfections, with one self king. ’ This means that Orsino wants Olivia’s passion, reason and emotion centred on him. When Viola is first introduced, she learns that she has been rescued from the shipwreck by the captain, and tells us that ‘my brother he is in Elysium’. Viola is continuing the mythological allusions started by Orsino, by referring to ‘Elysium’ (heaven), and Illyria. The two names of the places help to contrast the difference between the two places. In my opinion, it’s almost as if Elysium is a peaceful place with order, whereas Illyria is chaotic and the unthinkable manages to happen. Viola tries to be optimistic about the possibility of her brother Sebastian drowning in the shipwreck, as she says ‘perchance he is not drowned’. However, the captain then plays on her use of ‘perchance’ by saying ‘it is perchance that you yourself were saved’. I. e. : it is an accident that you were saved. The captain then exclaims ‘like Arion on the dolphin’s back, I saw him hold acquaintance with the waves’. This conjures up the image of Sebastian being carried to shore on a dolphin’s back, therefore being saved. The dialogue between Viola and the Captain is in verse, suggesting respect and that they are important characters in the play. In this scene, the gentle and hopeful side of Viola is shown, as although she fears she has lost her brother, she has hope for him, therefore she tries her best not to succumb to grief. In contrast to Orsino’s poetic tone and exaggerated imagery, Viola’s lines are more plain and straight forward, representing anguish but also her sensibility. There is fair behaviour in thee, captain. ’ .u85e6c45a1715f2c8fcc4ec7c59209257 , .u85e6c45a1715f2c8fcc4ec7c59209257 .postImageUrl , .u85e6c45a1715f2c8fcc4ec7c59209257 .centered-text-area { min-height: 80px; position: relative; } .u85e6c45a1715f2c8fcc4ec7c59209257 , .u85e6c45a1715f2c8fcc4ec7c59209257:hover , .u85e6c45a1715f2c8fcc4ec7c59209257:visited , .u85e6c45a1715f2c8fcc4ec7c59209257:active { border:0!important; } .u85e6c45a1715f2c8fcc4ec7c59209257 .clearfix:after { content: ""; display: table; clear: both; } .u85e6c45a1715f2c8fcc4ec7c59209257 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u85e6c45a1715f2c8fcc4ec7c59209257:active , .u85e6c45a1715f2c8fcc4ec7c59209257:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u85e6c45a1715f2c8fcc4ec7c59209257 .centered-text-area { width: 100%; position: relative ; } .u85e6c45a1715f2c8fcc4ec7c59209257 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u85e6c45a1715f2c8fcc4ec7c59209257 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u85e6c45a1715f2c8fcc4ec7c59209257 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u85e6c45a1715f2c8fcc4ec7c59209257:hover .ctaButton { background-color: #34495E!important; } .u85e6c45a1715f2c8fcc4ec7c59209257 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u85e6c45a1715f2c8fcc4ec7c59209257 .u85e6c45a1715f2c8fcc4ec7c59209257-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u85e6c45a1715f2c8fcc4ec7c59209257:after { content: ""; display: block; clear: both; } READ: I intend to reveal and display Romeo's emotional and psychological changes EssayAlthough Viola has never met the captain before, she assumes he has a fair and outward character because he offers to help her disguise herself as Sebastian, which ties in with the absurdity of mistaken identities. Viola feels sorry for Olivia as she too is experiencing the same thing as Olivia. The fact that they are both mourning their brothers creates a bond of sympathy between them, which is why Viola wishes to serve Olivia. ‘O that I served that lady and might not be delivered to the world, till I had made mine own occasion mellow, what my estate is. This compassion for Olivia is understandable even though they haven’t met each other, and Viola’s caring nature towards her is shown later in the play when she is disguised as Cesario. Shakespeare’s use of characterisation portrays Viola as a complex character who is independent, intelligent, and resourceful. The first sign of fantasy is when Viola turns up at Orsino’s palace as a Eunuch, and Orsino agrees to let ‘Cesario’ wait on him. Orsino himself speaks of how close they have grown; ‘I have unclasped to thee the book even of my secret soul’. This speech uses the metaphor of an unclasped book as personal secrets. The idea that he has shared it with a servant who has only been there for three days suggests that there is a bond between them, and Viola (Cesario), ends up falling in love with Orsino. This shows how much trust he shares with Cesario. Without realising, Orsino states the truth about Viola’s disguise, which again adds to the unbelievable plot. ‘thy small pipe is as the maiden’s organ, shrill and sound, and all is semblative a woman’s part. ’ This statement would have been very effective for the audience as it is full of dramatic irony, because Orsino has already guessed the truth about Viola without knowing it. It would be effective for the audience because they know who Cesario is and it seems more than coincidental that Orsino could guess as good as that. Orsino asks Viola to go to Olivia and tell her of Orsino’s love for her; he believes that Cesario, being youthful and handsome will succeed. Viola says she will obey, although she confesses aside that she already feels love for Orsino, and would rather be his wife than try to woo Olivia for him. ‘Yet, a barful strife. Whoe’er I woo, myself would be his wife. This suggests that doing this for Orsino is practically impossible, with play on the word ‘strife’ which refers to both hard labor and Viola’s war within her. When Cesario finally gets to tell Olivia how Orsino feels about her, the theme of false love is introduced. At the start of Twelfth Night, Olivia exclaimed, ‘the element itself, till seven years’ heat, shall not behold her face at ample view’. This means that Olivia will keep her face veiled for seven hot summers, and this is suggested to be because she is mourning the death of her brother and father. However, Olivia contradicts herself when she ‘falls in love’ with Cesario, ‘even so quickly may one catch the plague? ’ This conjures up the image of Olivia catching the disease of love. This is ironic because at the start of the play, Orsino said that she ‘purges the air of pestilence’, referring to Olivia as cleansing the air of disease. However, when Olivia says this, she’s saying she ‘caught’ the disease of love. This would have shocked the audience greatly as Olivia told everyone she would see no man for seven years, and suddenly, a young man she likes the look of turns up and she is in ‘love’. This is unrealistic, as it is very unlikely that Viola would be able to dress as a man, yet still talk like a woman, especially as Olivia still finds her attractive and so falls in love with her. Furthermore, it is implausible that Olivia could change her mind so quickly – she fell in love right away which doesn’t happen in real life. I don’t think that this scene is supposed to sound joyful and funny because of Shakespeare’s use of verse, which makes it more serious especially as the theme of love is being portrayed again. A major theme is shown at this point in the play – how Olivia and Orsino are both changed by their relationships with Viola. Before meeting Viola, Orsino spoke poetically but also expressed his artificial love for Olivia, however, after he meets Viola he gets straight to the point, sharing with Cesario the extent of his love for Olivia and his plans to woo her. In Olivia’s first encounter with Viola, her shows of mourning are suddenly forgotten, and Olivia must use her wit to deal with Viola. In Act 2, Scene 2, Viola notices what the audience have perceived the whole time – the irony of the situation she’s in. She sees that Olivia is in love with her disguise Cesario, but Viola realizes how problematic her disguise will be because it restricts her from telling Orsino how she feels about him. She states ‘as I am man, my state is desperate for my masters love’; but that, ‘as woman what thriftless sighs shall poor Olivia breathe! ’ Viola also considers how Olivia could fall in love with Cesario so quickly; and metaphorically compares women’s hearts to sealing wax. ‘She made good view of me, indeed so much that sure methought her eyes had lost their tongue. This means that Olivia liked what she saw of Cesario which left Olivia tongue tied – this shows how quickly Olivia fell for Cesario. Act 1, Scene 3 involves the sub plot, which includes the characters Sir Toby Belch, Sir Andrew Aguecheek, and Maria. This scene is spoken in prose as it is a light hearted scene with less important characters. The language involved in this scene is mostly literal misunderstandings, quibbles, and wordplay, that a lot of the characters don’t understand themselves. The comedy and unrealistic theme is portrayed right at the start, as Sir Toby attempts to introduce Sir Andrew to Maria. Sir Andrew addresses Maria as ‘a fair shrew’ which is laden with contradiction because he didn’t intend the statement to sound nasty. However, it did because ‘shrew’ refers to an ill-tempered woman who wouldn’t be addressed as ‘fair’. This shows that Sir Andrew is fundamentally a misunderstood character who interprets things as they are not meant to be – he is portrayed as a fool. Sir Toby tells Sir Andrew to ‘accost’ Maria, meaning to greet her, but Sir Andrew asks what ‘accost’ means and Sir Toby takes this as him asking who Maria is. Sir Andrew then wrongly assumes that her name is Miss Mary Accost, and then Sir Toby has to explain what ‘accost’ means. Although Sir Andrew is not very good at perceiving what people mean, he does get the impression that Maria thinks the two of them are fools; ‘do you think you have fools in hand’. Although Sir Andrew wanted it to mean are you in the company of fools, Maria takes it literally and answers ‘I have not you by th’ hand’, which shows her poor opinion of them both. Sir Andrew being a fool takes this the wrong way and gives her his hand to shake. Sir Toby and Sir Andrew then go on to exchange ridiculous things, and therefore they would have both appealed to the audience because they are very entertaining and foolish. Shakespeare’s use of characterisation here leaves the audience believing that Sir Toby and Sir Andrew are irrational characters who are very easily confused. Act 1, Scene 5 is when Feste the jester is introduced which although includes the fantasy element, also shows the darker side of the play. Feste is the only character who is allowed to speak out of term to someone higher than him (although Malvolio regards himself as being able to do this too). This is because as a jester, you were allowed to be a fool and speak out of term, and so Feste does. Feste is part of the main plot and the sub plot, as he links both the plots together, and the play wouldn’t be a comedy without him. Feste is allowed to mock other characters and make humorous jokes and use puns, because of his role in Olivia’s household. It becomes clear that Feste ridicules characters when he is convinced to join in with revenge on Malvolio. In scene 5, Olivia and Feste exchange wit, leading to Olivia being shown up. The more fool, Madonna, to mourn for your brother’s soul being in heaven. Take away the fool, gentlemen. ’ Feste argues that Olivia is the greater fool as she mourns her dead brother instead of rejoicing that he is in heaven. Olivia plays off of Festes false wit about a drowned man, a fool, and a madman with ease, as Feste is playing on words. When Feste confronts Olivia, he speaks in a mock-religious tone and would-be saying s. For example, ‘God give them wisdom that have it, and those that are fools, let them use their talents’. .u5e43d3cbd76fb1b731d828563c4a7e55 , .u5e43d3cbd76fb1b731d828563c4a7e55 .postImageUrl , .u5e43d3cbd76fb1b731d828563c4a7e55 .centered-text-area { min-height: 80px; position: relative; } .u5e43d3cbd76fb1b731d828563c4a7e55 , .u5e43d3cbd76fb1b731d828563c4a7e55:hover , .u5e43d3cbd76fb1b731d828563c4a7e55:visited , .u5e43d3cbd76fb1b731d828563c4a7e55:active { border:0!important; } .u5e43d3cbd76fb1b731d828563c4a7e55 .clearfix:after { content: ""; display: table; clear: both; } .u5e43d3cbd76fb1b731d828563c4a7e55 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u5e43d3cbd76fb1b731d828563c4a7e55:active , .u5e43d3cbd76fb1b731d828563c4a7e55:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u5e43d3cbd76fb1b731d828563c4a7e55 .centered-text-area { width: 100%; position: relative ; } .u5e43d3cbd76fb1b731d828563c4a7e55 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u5e43d3cbd76fb1b731d828563c4a7e55 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u5e43d3cbd76fb1b731d828563c4a7e55 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u5e43d3cbd76fb1b731d828563c4a7e55:hover .ctaButton { background-color: #34495E!important; } .u5e43d3cbd76fb1b731d828563c4a7e55 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u5e43d3cbd76fb1b731d828563c4a7e55 .u5e43d3cbd76fb1b731d828563c4a7e55-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u5e43d3cbd76fb1b731d828563c4a7e55:after { content: ""; display: block; clear: both; } READ: Femme Fatale EssayHe addresses Olivia as ‘Madonna’, which shows his upmost respect for her, as it means ‘my lady’. It is ironic that Feste is mocking religion here, yet later he taunts Malvolio disguised as a cleric. This would have appealed to the audience because it makes them feel like they know more than what the characters know about each other. Shakespeare’s use of characterization portrays Feste as a witty fool, who has the authority to be rude to those higher than him. Malvolio is established at an early point through Olivia’s perceptiveness. ‘You are sick of self-love, Malvolio’. Olivia says this and the audience realize that this is said only after a brief appearance of Malvolio. Although Malvolios vanity, arrogance, and self-deceptive qualities are not clearly shown at this point, Olivia talks about them and her judgment of him proves correct. However, Malvolio is easily manipulated later in the play as the conspirators sought revenge on Malvolio. After Maria wrote the note from ‘Olivia’ to Malvolio claiming her love for him, Malvolio regards himself as the person that the letter is implying. ‘M. O. A. I. doth sway my life’ M – Malvolio – M – why, that begins my name’, this suggests that Malvolio is taking everything from the letter and applying it to him – he wants Olivia to love him because he loves her. Feste, Maria, Sir Toby, and Sir Andrew played this trick on Malvolio because they are sick of his pompous regard for himself and his sick self love (Puritanism). He thinks he is in a higher position that what he really is, ‘to have the humour of state; and after a demure travel of regard, telling them I know my place as I would they should do theirs, to ask for my kinsman Toby’. This suggests that Malvolio would enjoy being in authority to tell the other character off, as he would gravely scrutinize those around him and look down upon them. However, Malvolio is no more than a steward for Olivia. Sir Toby, Sir Andrew, and Maria manage to convince Olivia that he is mad (a recurring theme in the play), after turning up after Olivia’s beckoning wearing yellow stockings and smiling inhumanely. Malvolio is imprisoned as Feste takes the role of ‘Sir Topaz’, and convinces Malvolio that there’s ‘no darkness but ignorance’ – which makes Malvolio believe that he is mad, which is revenge for being his pompous self. This highlights the moral and philosophical significance of the play as it demonstrates how arrogant Malvolio can be. When he is imprisoned some of the audience will start to feel sympathy towards Malvolio as he is portrayed as being deeply disturbed by the experience. In my opinion, it’s unlikely that Malvolio would have fallen for the trick in the first place, and then it seems implausible that Olivia would allow her best steward to be locked up without enquiring his behaviour. I believe that the ending of the play is ludicrous – the events are so implausible because life doesn’t wrap up nicely like that. Antonio arrives saying that Sebastian has been in his company for three months, and Orsino states that Cesario has been in his company for three months also. Shakespeare has created a lot of dramatic irony in Act 5, which is used to build up the tension to Olivia’s revelation about her marriage, and the reunion of Viola and Sebastian. The audience themselves know that Olivia has married Sebastian, and that both Sebastian and Viola are alive, but there is suspense throughout the audience as they wait for the characters to find out the truth and resolve the issues. Shakespeare also used the dramatic irony of this scene to provide some laughs for the audience whilst some of the characters share their deepest emotions. Viola is arguing with Olivia who then claims they’re married, which Viola knows nothing about, however the audience know what’s happened. Olivia is extremely upset by Viola although the twin is genuinely confused. ‘Give me thy hand, and let me see thee in thy woman’s weeds. ’ This implies that Olivia doesn’t really believe what she’s being told – she wants to see ‘Cesario’ in her woman’s clothes to prove that she’s really Viola. The situation becomes even more unbelievable when Orsino becomes angered about what Viola supposedly did, and the actions of the characters are very dramatic although the audience would have found this very humorous. ‘O thou dissembling cub! ’ This shows Orsino’s anger towards the situation as he implies that either Olivia or Viola are lying – he is genuinely angered at the thought of his servant marrying someone he loves – which is understandable. Shakespeare has combined tragedy and comedy because of the grief of Orsino and Olivia but the happiness of Sebastian and Viola. However, the most un coincidental part of the play in my opinion is when Sebastian and Viola finally meet. Before this moment, Sebastian had no idea that Viola was alive and so is in a state of disbelief when he sees her dressed as him. ‘Were you a woman, as the rest goes even, I should my tears let fall upon your cheek, and say ‘Thrice welcome, drowned Viola’. This implies that Sebastian is truly surprised to see his sister alive. Viola on the other hand is calmer because after her encounter with Sebastian had led her to believe that maybe her brother was alive, although there is still great heartfelt emotions at this point. Of Messaline; Sebastian was my father. Such a Sebastian was my brother too. ’ This shows that Viola is keeping calm and composed even though her brother is actually alive. Malvolio is then re-introduced and Viola reveals that Malvolio has imprisoned the sea captain that saved her, who has possession of her things. Malvolio speaks with c omposure and in verse for the first time in the play. He doesn’t appear bewildered – instead he is looking for vengeance for the wrong which was done upon him by Olivia as he believes. However Olivia has done nothing to her steward, so she defuses the situation carefully and promises him justice. However, Feste then explains the situation which angers Malvolio. Feste mocks what Malvolio had told ‘Sir Topaz’ and Malvolio’s disdainful comments to him and Sir Toby after he catches them making a nuisance of themselves late at night. Feste lets known his resentment towards Malvolio in front of all the other characters, and criticises Malvolio. Malvolio swears ‘I’ll be revenged on the whole pack of you’, and places the blame on the other characters therefore feeling pompous again. This is another example of the moral and philosophical relevance as it portrays Malvolio’s comeuppance – e. g. : what comes around goes around. Despite the trick played upon him, Malvolio still doesn’t learn from his mistakes even at the end of the play – which is too astonishing to comprehend – he was tricked, accused of being mad, then locked up, and still he doesn’t learn that how he treats people is wrong. Festes statement about how his enemies tell me plainly I am an ass, so that by my foes, sir, I profit in the knowledge of myself, could be because he is trying to get Malvolio to realize his mistakes. Yet again, this is more use of moral content because Feste, the jester, is trying to get Malvolio to accept what he did – although jesters are meant to be fools. The relationship between Sir Toby and Sir Andrew is also unresolved at the end of the play; their last appearance has Sir Toby swearing at Sir Andrew, and apparently quitting Sir Andrews company. All of this going on around them gives Sebastian and Viola time to work through their undoubtedly passionate feelings about each other and actually understand what happened to them. Sebastian renews his pledge to Olivia and they remain married, and Viola and Orsino end up marrying. This is total fantasy because before this Orsino thought Cesario was a man, and now he knows who Cesario really is he suddenly loves her – which is far-fetched. However, although Orsino closes the play on a happy note with an optimistic statement about the ‘golden time’ the newlyweds are about to enjoy, Feste sings a song that ruins the possibility of a completely happy and perfect ending, reminding us that the play has ended and now you have to go back to reality. It talks of the sad life of actors, jesters, and humans in general, but he declares that he and his fellows will continue trying to make the audience laugh. In conclusion, I thoroughly agree that Twelfth Night is ‘A joyful fantasy full of impossibilities’, because I believe that the play is mostly fantasy with many unfeasible events, however, themes such as unrequited love, cruelty, grief, and friendship are all portrayed, which restricts it from being total fantasy.

Irqui sitution end of 2002 essays

Irqui sitution end of 2002 essays Yes, there is little question that Saddam Hussein is no Martin Luther King, Jr.; no question that he is no Ghandi, no doubt that he has subjugated many millions of people and terrorized his own countrymen and has little right to legitimate leadership. Unfortunately, the story is not so simple and our own government is not immune to criticism in the making of this monster. A short chronology of this... The Carter Hostage Situation: It is well known that Regan- Bush Operatives made a deal with Iranian militants to prevent the return of the hostages until after the elections. The Regan Bush tandem won the election vis-a-vis the hostage situation. The result of this deal led to arms and narcotics deals spanning the world from the Middle East to Iran-Contra in violating U.S. law. Moreover, the Regan-Bush administration supported Saddam against Iran giving Saddam chemical and biological capacity. The documents have been published. Eventually these were used against the Kurds. After an eight year war with Iran in which we supported Iraq and had squandered billions of dollars, Saddam asked our ambassador to Iraq (a women) what would our position be if he invaded Kuwait. He was told we do not have a position. Being an Arab and a Muslim, and not trusting a women, he went to a higher up in the State Department and got essentially the same answer. My guess is that he thought it was a tacit consent, and so he invaded Kuwait. Undoubtedly to his great surprise, he was setup. His boys in Washington turned on him: The Bush administration. They played him for a sucker and as the scapegoat of our failed Mideast policy. Not one bit of evidence connects Iraq with terrorism with the exception of funding the families of Palestinian suicide bombers after the fact. There certainly is no connection with the 911 perpetrators. In fact, Saddam suppressed Islamic fundamentalism vis-a-vis war with Iran and at home. He appears to be quite right-wi ...