Volstead Act Free Essays

Siddhartha VS. Fahrenheit 451 Essay Example for Free

Siddhartha VS. Fahrenheit 451 Essay Siddhartha and Fahrenheit 451 are fundamentally the same as here and there and altogether different in others this article will discuss a portion of these likenesses and a portion of the distinctions. So as to comprehend the two books we should initially compose a nitty gritty rundown of them. When that is done then we can get into the similitudes of the two great books, lastly the distinctions of Siddhartha and Fahrenheit 451. In Siddhartha, the principle character Siddhartha chooses to leave his family, alongside his closest companion Govinda, so as to look for illumination. They travel to the forested areas to discover the Samanas, a gathering of individuals who choose to live without property. During the three years with the Samanas they get familiar with a great deal. One day they hear that there is a man who is said to have accomplished Nirvana. They withdraw structure the Samanas so as to seek after Gotama, the Enlightened One. At the point when they arrive they hear one of his addresses, Afterwards Siddhartha stands up to Gotama to inquire as to why his discourse didn't disclose to him how to accomplish Nirvana. Not long after the showdown Govinda declares that he is going to remain and get one of Gotama’s adherents, while Siddhartha concludes that he is going to seek after his own way towards illumination. Govinda isn't content with this however he had just committed to his pledge to serve steadfastly under Gotama. Siddhartha leaves the town and revisit the forested areas where he experiences a ferryman. The ferryman whose name is Vasudeva lets Siddhartha go through the night in his cottage and afterward gives him a difference in garments to wear into town. Siddhartha goes to the close by town and there he meets Kamala, a neighborhood prostitute. He at that point continues to inquire as to whether she can show him love. From the outset she chuckles at him and said that for her to train him he shoul d get some cash. Before Siddhartha leaves he inquires as to whether he could trade a sonnet for a kiss. She concurs and after that was over she sent Siddhartha to the rich vendor, Kamaswami. At the point when Siddhartha solicits to gain the path from the trader Kamaswami doesn't turn him down. Siddhartha now rich again and learning the methods of adoration and exchange accepts that he is glad for a change, yet some piece of him is as yet absent. Sooner or later Siddhartha chooses to leave his trader life so as to continue pursuing his fantasy. He deserts Kamala and Kamaswami and returns to the forested areas. There he goes to the waterway where he looks downward on himself and accepting that his life was finished. He chooses to suffocate himself for it would be the speediest approach, yet something works him out of it. Rather he nods off by the base of a tree. At the point when he awakens he is bewildered to locate his closest companion Govinda snoozing opposite him. He and Govinda talk for some time when Govinda said that he expected to find his gathering of priests that were getting the message out of Gotama. Siddhartha at that point leaves and follows the waterway back to the Vasudava’s, the ferryman, house. While there he inquires as to whether he can show him the methods of the ferryman. Vasudeva concurs. They start by revealing to Siddhartha that so as to turn into a ferryman he should firs figure out how to tune in to the waterway. At the point when Siddhartha and Vasudeva are shipping individuals across they go over Govinda and his gathering of priests once more. The priests state that Gotama is biting the dust and has gotten back to every one of his priests to him. It is in one such time that Siddhartha and Kamala get together once more. This time Kamala has a child with her. Kamala has been nibbled by a snake and Siddhartha needs to support her. He attempts and attempts however nothing works and she inevitably kicks the bucket. At the finish of the story Govinda and Siddhartha are brought together once and for all. Govinda now observing Siddhartha without precedent for some time accepts that Siddhartha has done it, he had accomplished Nirvana. In Fahrenheit 451 the fundamental character is a man known as Guy Montag. He is a fire fighter. Being a fire fighter doesn't imply that they battle fires, it implies that they consume books that the individuals in their city attempt to keep covered up. In transit home from on hard day at work, Montag meets a little youngster named Clarisse. She is an impossible to miss young lady for she poses a great deal of inquiries that have to do with nothing other than simply arbitrary things. In one of these inquiries she pose on the off chance that it were genuine that fire fighters really battled fires as opposed to consuming books. Montag doesn't have the foggiest idea how to reply. He strolls along until he gets to Clarisse’s house. The last inquiry that she pose Montag is the most bizarre of all. It is â€Å"are you happy†. Montag returns home contemplating that last inquiry. He prepares for bed when he unintentionally kicks a dozing pill bottle on the floor. In the wake of understanding that it is unfilled he rapidly calls the crisis room. They send somebody over to help with Montag’s spouse Mildred. They get done with her and disclose to Montag that they get around ten of these calls each night. He props up to work and chatting with Clarisse. It was during one of these discussions that she scoured a blossom under her jaw. When Montag asks what it implied she says that it is to check whether an individual is infatuated or not. Montag goes to work one day and is assaulted by the mechanical dog. After he escapes he says that the mechanical dog has done that multiple times and it would possibly act that way in the event that somebody had modified it. Later on in the book he gets back home and sees that Mildred is viewing the news. It was stating that a youthful multi year old young lady was hit by a vehicle and slaughtered. Montag understands that the young lady was Clarisse. One day he is at the recreation center and sees a man by the name of Faber. Montag discovers that Faber was a school teacher however stopped in light of the fact that they had copied the entirety of the books. Faber offers Montag his location. One night while the ladies companions of Mildred’s are over he goes to Faber’s house. There he thinks of his arrangement to reproduce books. He additionally says that they should plant books in the fireman’s houses. Faber didn’t tune in so as to get him to tune in, Montag begins to tear the pages out of the book of scriptures. Faber gives Montag an earpiece that permits them to talk. While back grinding away the fire fighters get a call that somebody has books in their home. Montag is somewhere down in discussion with Beatty the fire boss that simply after they stop does he understand that the house they halted before is his own. Beatty reveals to Montag that he will be locked up and he needs to consume the entirety of his books that he had with a flamethrower. After he wraps up the books Montag gets disturbance in the ear with the specialized gadget. Beatty sees this and takes the earpiece. Presently that Montag is baffled he chooses to burn Beatty. After that he is assaulted by the mechanical dog. He executes the monster and escapes. Shockingly for him each channel is playing a tape that advises individuals to be on the watch for Montag. While at Faber’s house He had given Montag a few headings. Montag now on the run follow those bearings. He gets together with a gathering of outcasts that are largely smart. They choose to leave for the city to reproduce the books that they have retained the city is leveled by bombs. They conclude that it is currently best to republish those books with the goal that the survivors have a feeling of pride once more. Since you comprehend the fundamental framework for the two books here are a couple of likenesses between them. In the two books the fundamental character discovers instructors that help him along the way to their fate. In Siddhartha these instructors like Kamaswami, Kamala, and even his closest companion Govinda. In Fahrenheit 451 Montag’s educators are Clarisse, Faber, and even the gathering of pariah school teachers. Another likeness between the two is that in the two books the primary character needs to stand up to a waterway. In Fahrenheit 451, Montag must get in the stream to help wash away his fragrance from the dogs and to assist him with escaping. In Siddhartha, Siddhartha goes up against the waterway three separate occasions. The first run through is the point at which he should cross to get to the town. The subsequent time is the point at which he faces a real existence and passing situation. The last time is the point at which he is advised by Vasudeva to gain from the stream. These are only a portion of the similitudes between Fahrenheit 451 and Siddhartha. There are numerous contrasts between these books. A portion of these distinctions we will discuss now. In Siddhartha, the primary character begin with a way set for him. While in Fahrenheit 451 Montag doesn't yet have a specific objective as a primary concern. In Fahrenheit 451, Montag is on the run and he is being pursued by a pack a law requirement authorities. In Siddhartha, Siddhartha isn't being pursued or sought after by any person or thing. He is basically making his own specific manner all through the universe. One final contrast between the two is that in Siddhartha, the principle character doesn't need to make another companion to help him en route, he as of now has Govinda. Though in Fahrenheit 451 Montag must discover somebody to supplant Clarisse after she passes on. That somebody was Faber after they meet. These are only a couple of the contrasts between the two. Presently you have the essential data between the two books, the similitudes and contrasts between them also. These two books are not that unique in relation to one another. The two of them are written in an anecdotal setting and both are agreeable. These two books will be acceptable perusing for pretty much anybody. Book reference Hesse, Herman. Siddhartha. New York: New Direction, 1951. Print Bradbury, Ray. Fahrenheit 451. New York: Simon and Schuster, 1967. Print.

Studying Mangroves Free Essays

Water temperature was estimated utilizing a thermometer. The pH was resolved utilizing a pH meter, and saltiness was estimated utilizing the handheld TOGA refractors. Mangrove Damage and Recovery Assessment The techniques utilized In this investigation were based from Roth (1992) and Taylor et al. We will compose a custom article test on Considering Mangroves or on the other hand any comparative point just for you Request Now (2013) with certain changes. In the island of Butting, seven 100 mm plots were built up. The plots built up depended on the vegetation types present. L. Species Composition All mangroves established inside the plots were recorded and Identified In skank. The Handbook of Mangroves in the Philippines †Panky by Primeval et al. 004) and Field Guide to Philippine Mangroves likewise by Primeval (2009) were utilized as head assets in distinguishing the species. Mangroves were arranged into three: trees, saplings, and seedlings. For Individuals having more prominent than or equivalent to 2. 5 CM DAB (size at bosom stature, or 1. 3 m over the ground level), they were classified as trees. GHB (CM) of each tree was estimated utilizing an estimating tape. For forking or expanding stems, estimation was done independently. For the seedlings and saplings, they were just distinguished and tallied. Different perceptions, for example, flotsam and jetsam and theoretical sort, were additionally noted. II. Recuperation Typhoon Impacts on the territories were recorded. Trees riches the plots were Judged as in any condition, and allocated to one of three auxiliary effect classifications: standing, fallen, or snapped. The rough tallness of breakage for snapped trees was likewise whether well reformatted, inadequately reformatted, or dead were recorded. Sick. Regenerative Capacity In surveying the regenerative limit, the quantity of seedlings and saplings were observed each month from February until April 2014. Live and dead plants were noted. Information Analyses The timberland vegetation was assessed utilizing the accompanying recipe portrayed by Croã »ton greenish blue in 1984. Thickness was estimated species shrewd and aggregate in each plot as follows: Total thickness of all species = entirety of all species densities (2) Basal territory was estimated species astute and aggregate in each plot as follows: Basal zone (mm) of every specie = 0. 005 x DAB (7) Importance estimation of an animal varieties = relative thickness + relative predominance + relative recurrence Species decent variety was depicted by the Shannon list (H) in light of significance estimation of an animal varieties (N’) and entirety of significance esteem for all the species (N). H = NUN log NUN (10) The most effective method to refer to Studying Mangroves, Papers

Tourist Destination Assignment Example | Topics and Well Written Essays - 3000 words

Traveler Destination - Assignment Example Since the beginning of development, people have headed out from one spot to the next. It was the fundamental necessities of life, for example, water, food, assets that went about as the early sparks of voyaging. In any case, the plan to go for relaxation and joy rose after a significant number hundred years. One of the early travel guides, Guide to Greece was composed by Pausanias during 170 A.D for the Roman sightseers (PRM, n.d.). The flood in recreation going exercises happened because of the improvement of innovation. Prior explorers used to travel either by strolling or rode tamed creatures. Gradually with the progression of time, the innovation of various transportation mediums, improved street condition and settled government has assumed a basic job in the powerful development of this industry. With each new advancement of innovation and foundation, the degree and chances of voyaging has expanded. In this task, a report will be delivered on the vacationer goals of the United K ingdom and it will be contrasted and the visitor goals from Kenya. Furthermore, the report will assess a portion of the qualities of the visitor goal of the UK and it will be assessed and how these attributes affect the intrigue to sightseers. Besides, the examination additionally proposes to break down the issues that impacts the fame of the traveler goals. Last, the examination looks to talk about the potential for dependable the travel industry to upgrade the host network at overall goals. Based on the discoveries of the conversation of the previously mentioned focuses, the report will eventually make a determination to the investigation. Diagram of the Global Tourism Industry The travel industry is considered as one of the prime segments in the worldwide economy. It is frequently named as the biggest single industry. The travel industry movement likewise goes about as a significant wellspring of work for various creating just as created nations and is a wellspring of gaining rem ote trades. Regularly, the travel industry is alluded to as a ‘double edged’ action as it has both positive and negative effects on the general public and nature. The positive commitment of the travel industry shows up as financial accomplishments, expanded provincial notoriety and advancement of the foundation. In any case, alongside that because of its quick and at some point wild development it turns into the significant reason for condition debasement, customary societies and loss of nearby personality. In addition, albeit physical and organic assets are the variables that draws in the sightseers yet alongside that the strain made by the travel industry exercises on the slight environment irritates and quickens their consumption. Incomprehensibly, the achievement of the travel industry of a nation is straightforwardly corresponding to the debasement of the earth. To the extent the improvement of the national economy is concerned, the travel industry positively estab lishes open door for the monetary advancement of a country, by and large development of the nation and financial enhancement. The travel industry establishes around 5-6% of the worldwide GNP (Gross National Product). As indicated by reports of World Tourism Organization (WTO), it is right now the biggest business of the world with yearly income of faltering $3 trillion dollars (biodiversity, 2012). The business gives around 6 million employments in the United States alone

WinningWriters.com Dedicated to Helping Writers Improve Their Craft

WinningWriters.com Dedicated to Helping Writers Improve Their Craft WinningWriters.com focuses on helping independent and freelance writers, and it provides information and advice to help writers of all levels. The wide range of topics the site addresses is truly impressive; topics range from writing advice to legal resources and every subject matter in between (including topics such as self-publishing resources, writing for social change, and spotting scam literary agents).If you sign up for their newsletter, you can get Winning Writers list of The Best Free Literary Contests delivered directly to your inbox. Editor Jendi Reiter sends messages with information, updates, deadline changes, rule changes, and insights about more than 200 free poetry and prose contests on the 15th of every month along with four quarterly special announcements. Any writer interested in pursuing contests (and potentially earning prize money) should sign up for this newsletter, because Jendi digests the pertinent information about each contests rules and summarizes them in easy-to-understand language. She also gives her perspective about what kind of piece will likely win the contest, which is valuable advice that can save you time and help you to custom tailor your submissions and increase your chances in the contest. The contests Ive discovered on there are for credible publications with really exciting themes. The other members of my monthly Writing Group were thrilled when I shared this information with them, because many of them spend vast amounts of time researching contests in addition to writing their entries, and they were simultaneously excited and relieved to discover that Jendi Reiter has done most of the legwork for them! This resource saves you from having to scroll through online search results searching for contests; the editors at Winning Writers have done all the research and investigating for you, so you can easily glance at the contests and see which ones spark your interest and match your writing style. If you are hesitant about g iving out your email address (although they promise they will not share your email address or information with outside companies), you can access past issues of the newsletter on the site, but you risk missing opportunities for contests with shorter lead times.Under Whats New, the site features an extensive and continually updated list of Writing and Poetry contests, and they include prize and deadline information along with external links to each contest website for more detailed information. Based on the high standards and ethics exhibited throughout the rest of the site, interested writers and poets can confidently submit to the contest and publications featured here.One of the aspects of Winning Writers that I found most impressive and informative is their list of contests and publications that writers should avoid because they are not reputable, are vanity publishers, or are money-making schemes that will charge you to publish your work and will not improve your resume or portf olio (and may even possibly tarnish your resume). Most writers are passionate about their work, and that passion sometimes translates into a desperate need to see our work in print, which can lead to bad decisions such as paying to publish something youve spent weeks crafting. In addition to the list of organizations/contests to avoid, the site provides details on why they recommend avoiding certain organizations or contests. That additional information is quite useful for understanding the darker sides of the writing industry and learning how to spot some of the companies that try to exploit writers. The list and the explanations are valid and genuine. The fact that Winning Writers dedicated the time and resources to compile this list made me feel that they care about writers and the integrity of the writing industry. Red flags that the site warns about include anthologies that require poets or writers to purchase a copy of the anthology to get published, contests or publications t hat require you to relinquish too many of your intellectual property rights (which may prevent you from shopping the piece around or publishing it somewhere legitimate), and contests that include high non-refundable entry fees along with a fine print clause reserving the right to cancel the contest if they do not receive enough entries. In addition to this list and informative explanation, there is an extensive list of additional topics and external resources that can help prevent writers from being exploited when trying to get published.The Resources section of Winning Writers is elaborate, with at least forty-eight subheadings to choose from within this section. For writers interested in learning more about reputable publishing houses that publish books, journals, and magazines, the Publishers section provides two pages of quality options. The recommended publishers are listed in alphabetical order, and each listing is followed by a brief synopsis that summarizes the publishers sp ecialty and/or niche and what kind of writers might be interested in submitting for publication with them, along with a hyperlink that will take you to the publishers website if you want to find out more. Out of the seventy-two publishing houses listed, I was only familiar with three, so once again, Winning Writers has done most of the legwork for you in vetting these smaller entities.In the Resources section under the Books heading and Essential Tools subheading, I came across Bruce Holland Rogers article Ten Tips for Psychological Survival in Writing, which should be required reading for all writers, aspiring writers, poets, and aspiring poets. While many of the items within the Resources section provide summaries and links to outside sites if you want to read the entire essay or piece, this piece is printed in full on the site, which suggests that perhaps the people at Winning Writers also believe that Rogers Ten Tips for Psychological Survival in Writing contains essential infor mation for any and all writers. I urge you to head to the site and read it, or you can pick up a copy of Bruce Holland Rogers book Word Work: Surviving and Thriving As a Writer, which this essay is excerpted from.The Winning Writers website doesnt just provide resources and information about where to submit your writing for prizes and publication; they also host four contests (with substantial prizes) of their own:The Tom Howard/Margaret Reid Poetry Contest, which accepts all styles and themes of poetryThe Tom Howard/John H. Reid Fiction Essay Contest, which accepts all styles and themes of both fiction and non-fictionThe North Street Book Prize, which accepts submissions of self-published booksWergle Flomp Humor Poetry Contest (no fee), which accepts submissions of humorous poems.The site includes detailed descriptions of previous prize winners, including excerpts of the winning work. This is beneficial both for the winning writers, because it gives them exposure and publicity in addition to their prizes, and for future submitters, because it provides ample information about what sort of entries the judges consider prize worthy.If you dont have time to dig through previous contest winners to glean tips about how to write a winning essay, Arthur Powers, one of the judges of the Tom Howard/John H. Reid Fiction Essay Contest, wrote an article that reveals what he looks for in an award-winning essay. He is mindful that writing is subjective and everyone has a unique style, so in his advice he mentions multiple times that he doesnt want to influence anyones essay. However, he provides solid, useful tips about how to craft an essay that speaks to a contest judge.If you are interested in learning more about the judging process for poetry submissions, Ellaraine Lockie, one of the judges of the Tom Howard/Margaret Reid Poetry Contest, provides an in-depth interview with Jendi Reiter, in which she describes what aspects she considers when judging entries for the poet ry contest.If you are the author of a self-published book, you should absolutely consult Jendi Reiter and Ellen LaFleches article explaining what they look for when judging submissions for the North Street Book Prize. Reiter and LaFleche go into exquisite detail about how they select their favorites for this contest. They even include recommendations of their favorite books in every genre, so writers interested in submitting can conceptualize what sort of stories resonate with them. This kind of information is invaluable when entering contests â€" especially when first prize is $3,000!Another benefit of the Winning Writers newsletter is Critique Corner, where an editor (usually Jendi Reiter, who is also the vice president, or Tracy Koretsky) critiques a poem submission and provides advice about how to improve the poem, along with ideas regarding possible submission outlets. Reiter provides insightful comments about the poems and frequently compares them to popular or well-known poem s of similar genres. She is a beautiful and skilled writer, and even when providing suggestions for how to improve the poems, she does so with grace and compassion, and you can tell that her suggestions for change are because she truly wants to help the poet make the poem the best that it can possibly be. Winning Writers is no longer adding new critiques to its Critique Corner, but the existing critiques will remain online indefinitely.In addition to having their own staff of editors and contest judges, Winning Writers combs through the Internet and finds valuable articles with pertinent information to share with their readers. The links to outside resources are rich with advice for writers. Creative nonfiction writer Megan Galbraith tackles a frequent source of writers block for many creative nonfiction writers in her article Thats Not How I Remember It: Creative Nonfiction and the Art of Dealing with Doubters.The WinningWriters.com website should be a bookmarked tab in any aspirin g or established writers web browser. The site is dedicated to helping writers improve their craft, and the articles, tips, and resources on the site will guide all writers and poets aspiring to improve their crafts, and it may help you to get published or win a contest along the way.

Rendering Meaning Through the Mind-Body Connection The Importance of the Physical, and its Relation to Identity, in the Subjective Reality of To the Lighthouse - Literature Essay Samples

In her novel To the Lighthouse, Virginia Woolf lavishly constructs the individual â€Å"realities† of multiple characters though a narration of their thoughts, impressions, perceptions, doubts, and the silent, self-questioning processes underlying the surface of human behavior. As a result, reality in the book exists only as it is perceived. There is no finite, singular definition of â€Å"right,† â€Å"true,† or â€Å"actual,† only a collection of distinct moments and experiences skillfully woven together to craft the rich tapestry of the novel’s interior. There is a sense that characters feel in To the Lighthouse, not that they actively live as in a traditional narrative. They are not defined by externals, or by oppositional categories of personality, unequivocally good or bad, altruistic or selfish, intelligent or simple. Because they are subject to the ambiguity, nuance and caprice of another’s interpretation, which itself varies along a continuum of mood and impulse, characters are not determinant, empirically â€Å"identifiable† forms. The mind, therefore, is the source of all-forward motion in To the Lighthouse, the guiding narrative agent. It exists both within and outside the confines of the novel, the purveyor of the subjective reality in which the â€Å"action† occurs, but also a character in its own right. If we regard the author as the ultimate puppeteer, and view the world of the book as an extension of her string-work (i.e. creative process), â€Å"the mind† is recast as the critical subject of her artistic experiment to craft a literature of consciousness. According to the The Norton Anthology of English Literature, in its introduction to 20th Century literary modernism, Virginia Woolf’s new focus was to be â€Å"an ordinary mind on an ordinary day. The life that mattered most would now be a mental life†¦Some version of an interior flow of thought becomes the main modern ist access to ‘character.’† This structuring of a subjective reality, the careful arranging and layering of â€Å"reflections, momentary impressions, disjunctive bits of recall and half-memory,† is the primary artistic endeavor of To the Lighthouse.However, therein lies the interesting paradox of Woolf’s â€Å"modernist† tour-de-force. If, indeed, the only life worth understanding, the only questions or concerns of any real consequence, are mental, or rooted in subjective experiences, why do the characters in To the Lighthouse yearn to connect to elements of their physical world, maintaining an awareness of themselves in relation to the corporeal? Why does Lily Briscoe, one of the main characters (or more aptly, viewpoints) through which the novel is filtered, suddenly realize towards the conclusion of the novel that â€Å"It was one body’s feeling, not one’s mind†¦To want and not to have sent all up her body a hardness, a hollowness, a strain? Moments later, Lily criticizes the very activity of consciousness she has been engaging throughout: It had seemed so safe, thinking of her [Mrs. Ramsay]. Ghost, air, nothingness, a thing you could play with easily and safely at any time of dayand then suddenly [Lily] put her hand out and wrung her heart thus†¦Suddenly [her surroundings] became like curves and arabesques flourishing round a centre of complete emptiness†¦for the whole world seemed to have dissolved in this early morning hour into a pool of thought. Although ostensibly contradictory, this shift in attention from the internal self to the external environment is actually in keeping with the novel’s pursuit of a subjective reality, its exaltation of the â€Å"mental life.† If such a reality is one formed from within rather than from without, and varies according to whomever is tasked with the challenge of assigning meaning to the chaos of feeling, â€Å"what† someth ing â€Å"is† in a subjective reality is more a definition of the perceiver than of the object being perceived. Therefore, the greater purpose or reward to this effort must be the acquisition of an acute sense of self. To this end, the most profound meaning and understanding is gleaned from incongruity. The realization that people and places, although unchanged in the objective sense, impress upon us in a radically different way, is the foundation of any fully-formed, mature identity. The physical, therefore, stands as a crucial point of reference to mark this difference, to recognize and measure the changes in one’s own character. One can see this process most clearly at play with James Ramsay, and his connections to both his father and the titular Lighthouse, and with Lily Briscoe and her profound link to the memory of Mrs. Ramsay. A comparative study of these two relationships will reveal the ostensibly contradictory, but nonetheless important—even necessar y—ways in which the physical begets and then continuously fuels the subjective experience. A fixture of the â€Å"material† world in the most traditional, unambiguous sense, the Lighthouse is an example of how the physical both pervades and foundationally supports the novel’s subjective reality. As a youth, James Ramsay, his unbridled spirit of adventure, his vast, lively imagination, are captivated by the Lighthouse, mythic in its allure. The opening lines of the text immediately establish his desire to visit the Lighthouse as a major premise or focus of the book’s â€Å"narrative of consciousness.† It will be the axle around which many of the characters’ internal debates and emotional struggles revolve:Yes, of course it’s fine tomorrow,† Mrs. Ramsay assures her son, â€Å"to whom these words conveyed and extraordinary joy, as if it were settled, the expedition were bound to take place, and the wonder to which he had looked fo rward, for years and years it seemed, was, after a night’s darkness and a day’s sail, within touch.Opposing forces who attempt to thwart the dream, the destined mission, are the closest figures to villains the novel presents. James’ father, Mr. Ramsay, is preeminent in this capacity. His rigid, mechanical pragmatism is so implacable it its attempt to inappropriately regulate—rather than attend to or encourage—the realm of childhood fantasy, that the cruelty borders on tyranny. As a consequence, James loathes his father and the oppression exacted by his strident belief in his own â€Å"accuracy of judgment.† After all, â€Å"what [Mr. Ramsay] said was true. It was always true. He was incapable of untruth; never tampered with a fact; never altered a disagreeable word to suit the pleasure or convenience of any mortal being, least of all his children.† James’ consciousness boldly, in stark, unapologetic honesty and mature languag e, reveals the severity of his animosity towards Mr. Ramsay:Had there been an axe handy, or a poker, any weapon that would have gashed a hole in his father’s breast and killed him†¦James would have seized it. Such were the extremes of emotion that Mr. Ramsay excited in his children’s breasts by his mere presence. Clearly, both the Lighthouse and Mr. Ramsay, especially Mr. Ramsay’s attitude towards the Lighthouse mission, were the two major formative influences on young James Ramsay. Together, they captured the essence of James’ childhood, encapsulating his fantasies and his disdain for the pragmatic. To put another way, the perceived relationship between the Lighthouse and Mr. Ramsay was James’ unique â€Å"version† of the first major psychological conflict faced by any child, that fearful moment when the child is forced to urgently defend (or ultimately renegotiate) the illogic of his playful imagination against an invading, dulling à ¢â‚¬Å"real-world† mentality. Above all else, however, the Lighthouse and Mr. Ramsay were simply powerful physical presences that aroused in James strong urges, disturbing feelings, and profound impressions. They served as the puzzle board onto which James could piece together his redefinition of the concrete forms once he reconciled them with his interiority. The process of inviting the objective into the subjective, reworking the disparate elements together, and then casting the result back into the external from within, is an exercise in identity-making. It is an organic, live exercise that will inevitably be called up again as time passes, circumstances change with age, and notions of identity require renegotiation to remain meaningful. James faces this challenge when presented with the Lighthouse, his father, and their relation to each other, later in the novel. The second half of To the Lighthouse takes place about ten years since the close of the first â€Å"narrativeà ¢â‚¬  section (â€Å"The Window†). Life has changed along the picturesque Scottish seashore (the book’s primary setting): war has descended upon Europe, the characters have aged, some have died (namely Mrs. Ramsay), and some have left to explore worlds beyond the Ramsay’s estate. James is now a young man, no longer caught in the rapture of an idealizing, boundless and spirited imagination. He still has his Lighthouse; nature has not eroded it into oblivion, mankind has not razed it to the ground. Ironically, the â€Å"action† of the second half of the novel focuses on the realization, finally, of the voyage to the Lighthouse James had been cruelly denied as a child. It is a wish-fulfillment come too late, however, as this unchanged physical structure no longer resembles the image of James’ childhood, no longer resonates in a familiar way. He observes: The Lighthouse was [in his childhood] a silvery, misty-looking tower with a yellow eye, that open ed suddenly, and softly in the evening. Now†¦he could see the white-washed rocks; the tower, stark and straight; he could see that it was barred with black and white; he could see window in it; he could even see washing spread on the rocks to dry. So that was the Lighthouse, was it?Despite the disappointing, sobering transformation of impression that has resulted from the passage of time, from the shift between childhood naivetà © and adult-like realism, James acknowledges his earlier perception â€Å"was also the Lighthouse.† In the subjective reality of Woolf’s novel, both images, although oppositional, coexist seamlessly. Their relationship of â€Å"harmonious contradiction† serves a unifying purpose. Together, these disjointed fragments define the greater â€Å"whole† of James’ adult self-concept. Further emphasizing and contributing to the â€Å"refreshed,† mature identity that James is realizing for himself, his consciousness ( and thus the most accurate reflection or statement of his interiority) reveals strikingly new impressions and opinions about his father. James continues to view his father as a figure of oppression, against whom he must steadfastly commit to â€Å"carry out the greatest compact – to resist [Mr. Ramsay’s] tyranny to the death.† The figurative language of blades and knives (e.g. when contemplating his father, James articulates an eagerness to â€Å"strike him to the heart†) persists, thematically linking the boy of the past with the young man of the present. However, the older James differs from his younger incarnation in that he allows himself the option of entertaining an alternative, more generous and rational view of his father’s harshness. He reasons:It was not him, the old man reading, whom he wanted to kill, but it was the thing that descended on him—without his knowing it, perhaps: that fierce sudden black-winged harpy, with its talon s and its beak all cold and hard, that struck and struck at you (he could feel the beak on his bare legs, where it had struck when he was a child) and then made off, and there he was again an old man, very sad, reading his book. That he would kill†¦ Children often invest the tangible, that which is readily knowable, with unequivocal veracity. They feel no need to search beyond the immediate surface in order to arrive at an answer or conclusion that fits neatly within the parameters of their limited worldview. For James to demonstrate such an intimate (though perhaps nascent) understanding of human nature, for him to recognize his father as being somehow outside the elusive, powerful forces dictating behavior, are acts that indicate maturity of identity. More so, this moment of recognition epitomizes the reward, the completion of the rather exceptional aim inherent to life within a subjective reality. James has successfully used his external environment to trigger the activity o f his interior consciousness. His interpretations, informed by his unique personhood, are projected as finite definitions of the â€Å"real world.† But the only world of any value to James is the world of his impressions; within this context, the subjective is of supreme importance, and becomes objective and empirical. Therefore, both the Lighthouse and Mr. Ramsay, their concrete presences in James’ life, are the catalysts for the significant experiences and inner monologue by which he structures his subjective reality. By the end of To the Lighthouse, James Ramsay gains an awareness of himself, and a wise understanding of the differences his mature person has endured. However, without the function of core physical elements to awaken feeling, and to measure or illustrate the changes of a developing identity, the transformative, character-building process of the subjective reality would never occur. Lily Briscoe encounters this very obstacle, this kind of temporary abey ance of consciousness. Her struggles to arrive at a complete, well-defined sense of self later in her adult life, clearly reinforce the importance of the physical even within the â€Å"mental† sphere of the subjective reality.As a consequence of the emotional and literal distance provided by separation of space and the passage of time, Lily Briscoe, at the start of the second half of To the Lighthouse, demonstrates a very weak, fragile and tenuous self-concept. Lily has come back to the Ramsay’s seaside home an older, slightly sadder woman, overcome by a vacancy of feeling she cannot comprehend. Once so â€Å"mentally† expressive, once so â€Å"articulate† by the fluidity and conviction of her thoughts, Lily now finds that clarity of consciousness escapes her: What does it mean?—a catchword that was caught up from some book, fitting her thought loosely, for she could not, this first morning with the Ramsays, contract her feelings, could only make a phrase resound to cover the blankness of her mind until these vapours had shrunk. For really, what did she feel come back all these years†¦? Nothing, nothing—nothing that she could express at all.Questions of relative meaning and personal purpose elude Lily. She feels bereft, yet cannot access the source of her longing, cannot isolate the beguiling feelings causing her such discomfort. Without the ability to â€Å"contract her feelings† and provide order and substance to her confusion, to her fragments of thought (the â€Å"blankness of her mind†), Lily feels incomplete. Without the facility of expression, Lily is fundamentally unanchored. Her capacity to engage in the process of crafting and existing in a subjective reality has been arrested; as a result, she has lost her sense of self.An important question thus emerges: why, at this late point, does Lily stumble, caught at an impasse between mental sensation and meaning, between emotion and understandin g? The reason behind Lily’s disconnect clearly illustrates the crucial function of the physical in any subjective reality, especially with regard to the cultivation and strengthening of identity. She has lost her footing within the framework of the novel precisely because she cannot forge an attachment to her surroundings. Immediately upon her return, the changed environment registers with Lily, and triggers feelings of confusion and alienation from the familiar. Acutely aware of her troubled relationship with external fixtures, Lily muses: The house, the place, the morning all seemed strangers to her. She had no attachment here, she felt, no relations with it, anything might happen, and whatever did happen, a step outside, a voice calling†¦was a question, as if the link that usually bound things together had been cut†¦Without the ability to recognize the elements of her former surroundings, assume them into the tapestry of her subjective interpretation, and then re connect in a unifying way, Lily feels estranged from the environment of her past. More importantly, however, unlike James Ramsay, who still has the presence of both the Lighthouse and his father to stir him viscerally, and to stand as guideposts tracking the changes in his character, Lily is missing her equivalent â€Å"beacon† in the form of Mrs. Ramsay. For Lily, Mrs. Ramsay had been such a powerful influence, the challenging figure at the forefront of her thoughts, because Lily identified in the older woman a certain essence that resonated with her artist’s sensibility. Lily’s main personal challenge throughout the course of To the Lighthouse, the goal underlying and shaping her subjective experience, was the completion of a painting. This picture, a portrait of Mrs. Ramsay and of the seaside landscape, when finished, would become the realization of Lily’s â€Å"vision,† a celebration of her achieving a satisfactory sense of unity with the outs ide world. The completion of the painting would be the defining moment of her character. In Mrs. Ramsay, Lily saw a woman already in possession of the qualities she hoped to access through her work; namely, the ability to render permanent the small instances that collectively comprise life: But what a power was in the human soul!That woman sitting there writing under the rock resolved everything into simplicity; made these angers, irritations fall off like old rags; she brought together this and that and then this, and so made out of that miserable silliness and spite†¦something†¦and there it stayed in the mind affecting one almost like a work of art.In this way, Lily projected onto the blank canvas of Mrs. Ramsay her own need to preserve the ephemeral components of life through her art, â€Å"to make of the moment something permanent.† She further reflects: In the midst of chaos there was shape; this eternal passing and flowing (of intangible thought)†¦was s truck into stability. Life stands still here, Mrs. Ramsay said. â€Å"Mrs. Ramsay! Mrs. Ramsay† she repeated. She owed it all to her. At this point in the novel, however, Mrs. Ramsay has died. Her concrete presence, the currency she supplied to the transactions between mood and thought within a subjective reality, has disappeared into the ether of Lily’s vague memories. Without a physical form to lend shape to these recollections, or to stand as a marker of contrast by which to redefine her past perceptions, Lily is floating aimlessly within a void of her own identity. I would now like to return to the passage that originally precipitated my investigation:It had seemed so safe, thinking of her [Mrs. Ramsay]. Ghost, air, nothingness, a thing you could play with easily and safely at any time of dayand then suddenly [Lily] put her hand out and wrung her heart thus†¦Suddenly[her surroundings]became like curves and arabesques flourishing round a centre of complete emp tiness†¦for the whole world seemed to have dissolved in this early morning hour into a pool of thought. In this agonizing, moving moment, Lily is struggling to reconcile within her mind something irrevocably outside herself, outside her intellectual reach. She is up against the permanence of the life cycle, of death, which are corporeal inevitabilities. â€Å"Mrs. Ramsay!† she calls out in desperation, a futile endeavor because she will never find her response. And she is crying for a response, for confirmation, for the comfort of knowing and feeling the existence of humanity around her. By demanding an organic, somatic reaction, Lily is trying to supply herself with that palpable source of both inspiration and incongruity the physical world has removed. And it is not until she lowers the myth of Mrs. Ramsay to the rank of the material mundane, so that she too â€Å"became part of ordinary experience, was on level with the chair, with the table,† that Lily regain s the clarity and intensity of her active thought-process: â€Å"Her mood was coming back to her†¦so full her mind was of what she was thinking, of what she was seeing†¦Ã¢â‚¬  In the end, the painting that had been the launching pad for countless impressions and internal deliberations within Lily, reaches fruition with a single, impulsive bodily act. This is a stunning turn, for it essentially celebrates the supremacy of the physical by undermining (or simply negating) the years of exhaustive mental activity that preceded the picture’s culmination. With a quick stroke of the hand, with a line drawn abruptly fragmenting the meticulously-crafted background landscape, Lily is able to proclaim, â€Å"I have had my vision.† Therefore, it is only when Lily feels once again connected to the concrete, grounding elements of her subjective reality, that she achieves completeness of self. Although deeply rooted in the realm of consciousness, concerned with the mindâ €™s ability to rework the intangibility of feeling, the ambiguity of impression, into a knowable reality, To the Lighthouse paradoxically remains under the persistent, weighty influence of the material world. Rather than be a statement solely on how the only life that matters is the one felt, not the one lived, where the experience of the mind takes precedence over the functions of the body, where mental fulfillment is valued over corporeal satisfaction, To the Lighthouse also isolates and emphasizes the physical as a key component in the grander scheme of a subjective reality. Like a crucial element in a complex formula, a person’s â€Å"actual,† tactile connection to his immediate setting is the basis from which perceptions are formed, and the agent through which they are reinforced.Because signification in a subjective framework is the product of the complex, unique interiority of the signifier, engaging the â€Å"mental milieu† is truly an exercise in id entity-building. And without a concrete guidepost by which to track the changes in one’s character, without a source of pronounced incongruity to serve as the point of entrà ©e into the renegotiation of identity, the strength of a mature self-concept is vulnerable to the intangibility of feeling. As evidenced by the solid self-concept portrayed by James Ramsay in the second half of the novel, as opposed to the tenuous, fragile, confused notion of identity tormenting Lily Briscoe, a notion that requires further reconfiguration in the absence of an accessible, concrete frame of reference, physical elements are integral to the formation of a firm sense of self. If intimate familiarity with the nuances of one’s own personhood is the goal, the â€Å"pay-off,† to the pursuit of a subjective reality, connection to the physical is essential not only to the book and the life of its characters, but also to the overall concept of humanity the novel, the art form, wishes t o mirror.

Motivation Techniques Used By Managers - 1091 Words

Motivation is used by managers in companies to encourage its employees to perform to the best of their abilities. The motivation techniques used in the first summer are quite different than those of the second. The workers were motivated in the first summer due to the Expectancy Theory as well as the Four-Drive Theory. In the first summer, workers quite enjoyed working for Joe and put great effort and time into landscaping customers’ yards. The â€Å"E-to-P expectancy† (McShane, Steen Tasa, 2014, p.119) is used by Joe. This expectancy is based on the workers’ belief that he/she can successfully complete the task required. In the first summer, Joe taught all new workers how to use the lawn equipment and was present at the job site aiding†¦show more content†¦This means, motivation techniques based on human need of emotion, bonding, and learning. â€Å"Drive to Bond† (McShane, Steen Tasa, 2014, p.116) is one out of the four theories Joe used in the first summer. The theory states that the forming of social relationships with coworkers as well as with the manager increases motivation within the company. It is clearly shown in the case that the workers all have a well established relationship with each other. They are able to communicate with each other to disting uish tasks, as well as eat and make jokes together during lunch and/or brakes. This desire to bond and create groups motivates workers to cooperate and feel confident in the environment in which they work. Another upside to the bond the workers have is that their joking and talking does not interfere with their work. The working habits and atmosphere in the second summer were quite different from the first. The new supervisors needed better motivation techniques to encourage the workers to perform well. First and foremost, it is clear the new supervisors do not have sufficient leading skills. They lacked communication with the employees and seemed to flaunt their authority. The supervisors needed to improve their â€Å"Drive to comprehend† (McShane, Steen Tasa, 2014, p.116-117). This drive enables the worker to fully understand what is happening in the environment around them. Most of the time, the new employees were forced to