Linguistics in Opera and Libretto

Introduction Opera is performed using theatrical scenes where the art involves a combination of singing and dramatization. This kind of text is referred to as the libretto. It was a very popular form of art in early Europe. Opera remains popular today in some quarters of the society. The art brings together singing, speaking as well as acting. All these activities are performed in an opera house which is specifically designed for such purposes (Kennedy 62).Advertising We will write a custom essay sample on Linguistics in Opera and Libretto specifically for you for only $16.05 $11/page Learn More Linguistic on the other hand is the exploration of human language and its origin, revolution as well as application of the language. The application encompasses the use of morphology, syntax as well as the phonology in the composition of words. The meaning of language has been explored by analyzing the meaning of other forms of art in the real world. This is with the view of understanding the origin of opera from different backgrounds. This means that opera can be analyzed from a linguistic perspective. The opera is characterized by features such as the stage, orchestra pit and an audience area among others. Some operas are designed to accommodate various aspects of linguistic analysis. This is especially so considering the fact that operas were very popular in England and other countries during the early centuries. A comprehensive analysis of linguistics in opera can be achieved by looking at the origins of this form of art. This is given the fact that linguistics in opera is influenced a great deal by the origins of this art. It is noted that the art originated in Italy towards the end of the 16th century. It later spread to other parts of the world especially in Europe. To date, the operatic terminologies in these countries are referred to as the libretto (MacNutt 101). This is an indication of linguistics in opera. The origins of opera are evident in today’s compositions where aspects of Italian language are incorporated. This is given the fact that most of them have retained the original Italian characteristics such as accent and others. Such aspects help in tracing the common origin of today’s opera performances as far as linguistics is concerned.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More In this paper, the author is going to look at the use of linguistics in opera. The author will make reference to librettos from operas in English from England and the United States of America. Examples of linguistic operas will be put into perspective in a chronological sequence. The aim here is to depict the link between the two fields of linguistics and opera. History and Origin of Opera from a Linguistic Perspective Before embarking on the critical analysis of the link between opera and linguistics, it is important to look at the history and origins of opera as a form of art. This will give the reader an idea of what opera is all about. It will also give the reader an idea of how contemporary opera differs from classical compositions and performances. The word opera is an Italian word implying â€Å"work† when translated. When loosely translated, opera involves the combination of â€Å"†¦Ã¢â‚¬ ¦.works from acting declamation in opera house stage† (Kennedy 75). Jacopo Peri is considered as the pioneer of this form of art. Dafne is actually a piece of work that was originally produced by Peri and it remains one of his most popular compositions. A group of Camerata found out that the entire opera was performed by the Greek dramas. So far the idea was to conceive and restore the traditional art. On a sad note, Dafne was lost and Peri was forced to come up with a new composition, the Euridice. This is the only opera that is still performed to date. It is to be noted that singing wa s an important aspect of opera (Warrack Ewan 25). Libretto Libretto is an elongated piece in form of music found in many categories of performances such as opera and cantanta. The word in some cases is associated with liturgical works such as the requiem as well as the expression of a story in ballet. Like opera, libretto also has an Italian origin, creating a link between it and linguistics. It literally translates into a book as already indicated in this paper. Libretto is different when compared to other forms of art like synopsis. In libretto, the distinction is evidenced by the fact that it contains words (linguistics) as well as stage directions. Synopsis on the other hand is used to give a summary of the plot (Smith 31). Historically, the ballet users have described libretto in different ways. For instance, libretto was recorded in a book of between 15 and 40 pages that contained ballets describing one scene or another.Advertising We will write a custom essay sample on Linguistics in Opera and Libretto specifically for you for only $16.05 $11/page Learn More This was in Paris in the 19th century. To this end, it is noted that the relationship between the composer and the writer of a given piece of music varies from one case to the other. This has varied the outcomes of such compositions for centuries. This is given that the writing criteria adopted as well as the sources used also varied (Simon 23). The language used in the composition varies from one case to the other. Metastasio is an example of well known librettists in Europe. It was used by a composer and a writer in a practice commonly known as poetry. Poetry is part of linguistics, and at this juncture, the author notes that it is also part of opera. In some cases, libretto has been written before music. Some composers used this idea in their creations. This is composers such as Mikhali Glinka and Alexander Serov who wrote down passages without accompanying texts. T his was later to be modified by composers when vocalizing the lines (Smith 43). Linguistics in opera is also evident in opera of the 20th century. It is to be noted that opera was widely used in America in the 20th century. Richard Rodgers is an example of a great composer who used this art in collaboration with other librettists. In other relationships as far as libretto and linguistics are concerned, composers designed their own libretti. Other librettos established a close relationship with composers so that all works of opera could reflect a common origin. The common origin could be deduced from the language that was used. Ingredients from other traditions were also effective in composition. But the efficiency improved when they were â€Å"combined under one work as far as composing and writing is concerned† (MacNutt 20). In this case, the opera will not clash with the play in attempts to accommodate other linguistics works with different origins. In cases where there was a need to combine works with different origins, it was necessary to put the script down in the presence of all the composers and the writer (Warrack Ewan 43).Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More English Language Opera and Linguistics Opera was first used in England in the 17th century. The piece was performed towards the end of a play. It was frequently characterized by scandalous scenes which depicted a consistence use of the popular tunes phrased in a dialogue. In the same period, French operas were gaining roots in English courts. They had â€Å"†¦Ã¢â‚¬ ¦..favorite splendors with scenes that were realistic† (Smith 22) in the plays. England had to use this kind of opera on the stage. Inigo Jones is credited as the pioneer of this art. He later became a quintessential specialist in all the productions (MacMurray Franzetti 26). The opera contained both songs and dances. Linguistic aspects were borrowed from different backgrounds for instance Italian and French which was taking hold in England. Opera revolution instigated the rise of linguistic elements from different artists. One such artist was Henry Purcell who also incorporated aspects of Italian language in his compositions. This is for example in his first work Dido and Aeneas. He centered his work on the semi opera type of format. The Fairy Queen is also one of the most famous works produced by Purcell. In this text, he was targeting the use of English in all versions of opera as an art. Dido and Aeneas Opera This is one of the English opera composed by Purcell. It was a libretto from Nahum Tate in the 17th century. This was the only work that had started to use English traditions after the inception of the Shakespearian linguistics. It is noted that the desire to use the English language in opera was common among emerging artists during the century (Apel 47). Opera Seria Long English compositions emerged later and the first English composer to venture here was Thomas Arne (Smith 24). He did this by experimenting with the Italian style, a process known as comic opera. This art became a huge success with many other pieces incorporated into the opera seria in Italian and English (MacM urray Franzetti 51). Opera seria dominated the stages till late 1830s and by then he was the only English composer to have gone beyond the Italian composition to produce a unique English composition with aspects of the Italian language. Linguistics was also evident in Balla opera where the composers incorporated some aspects of the English language. This is for example in The Love In Village (MacMurray Franzetti 58). As a result of this many native operas developed by incorporating aspects of the Italian language. Linguistics here was evident as the composers combined aspects of two different languages. The Yeomen of the Guard The 19th century English opera has been greatly influenced by linguistics elements. Many operatic conventions dominated London stages with emerging English composers taking the center stage. One English opera of this time was The Yeomen Of The Guard which was greatly recognized. It is a savoy opera that originated in Victorian England. The contributors to th is art included Gilbert and Sullivan who came up with compositions from scratch. Punch and Judy In the 20th century English opera was characterized by independent works from contributors such as Ralph Williams and Benjamin Britten. The two have greatly influenced contemporary theatre operas. This is after it emerged that English opera was being used in many parts of the world. For example the work of Sir Harrison The Punch and the Judy is not only Britain’s important opera art but also globally recognized (Silke 24). This work was evident in the 20th century and was performed in the American theatres. It was an indication that linguistics in opera was a common phenomenon across the globe. Using of puppets was an indication of how human behavior is linguistically transformed from one discipline to another (Silke 43) In the early 21st century, Harrison concentrated with the composition of other popular pieces such as â€Å"Facing the Goya†. English opera has therefore be come a significant ingredient of today’s opera world. For example, the National Lyric Stage involves the use of operas composed in the English language (Cooke 15). American Opera American opera became profound during the 20th century. The pioneers in American opera include Leonard Bernstein and Douglas Moor among others. Their works include The Porgy and Bess. They greatly influenced English opera as they performed music encrypted in English. It was characterized by folklores and American music comedies. They are the ones who popularized this form of art in America. On their part, they were influenced by composers and performers in operas found in other parts of the world (Kennedy 28). An American in Paris This is one of the compositions from America done by George Gershwin. It is a well defined opera incorporating aspects of the French language in 1922. In this art, French was used together with American English with the aim of using linguistics to depict the experience of a n American visitor in Paris (Smith 39). Other Contributions Still in the 20th century, other prominent opera arts include the Dead Man Walking which was successfully delivered through movie theaters. Another aspect of linguistics in opera can be discerned from the works of Italian opera composer Gian Carlo. The composer produced several librettos from America and became a great figure in American operas in this century. One of his works includes The Medium and The Consul. Some of his works featured in television performances (Kennedy 49). Conclusion In this paper, the author sought to look at the application of linguistics in opera. The aim was to study the link between linguistics and opera. All these involve the use of different languages hence linguistics in opera. The author used librettos from operas in English from England and the United States of America in identifying the link between the two fields. To this end, the researcher identified the link or the relationship between opera and linguistics. The author also looked at some of the key figures in English opera both in England and the United States of America. The origin of opera was also looked at. The paper found that the origin of opera can be used to analyze the link between opera and linguistics. This is given that there are some aspects of the original opera language that are evident in today’s opera. For example, some aspects of the Italian language are evident in today’s works of opera. Works Cited Apel, William. Harvard Dictionary of Music, Cambridge: The Belknap Press of Harvard University Press, 2011. Print. Cooke, Mervyn. The Cambridge Companion to Twentieth-Century Opera, Cambridge: Cambridge University Press, 2009. Print. Kennedy, Michael. The Oxford Dictionary of Music, Melbourne: Oxford University Press, 2006. Print. MacMurray, Jessica, and A. Franzetti. The Book of 101 Opera Librettos: Complete Original Language Texts with English Translations, London: Black Dog Levent hal Publishers, 2009. Print. MacNutt, Richard. The New Grove Dictionary of Opera, London: Prentice Hall Publishers, 2009. Print. Silke, Leopold. The Idea of National Opera c. 1800: United and Diversity in European Culture c. 1800, New York: Oxford University Press, 2006. Print. Simon, Henry. A Treasury of Grand Opera, New York: MacGrill Publishers, 2008. Print. Smith, Marian. Ballet and Opera in the Middle Age, Boston: Princeton University Press, 2009. Print. Warrack, John, and W. Ewan.The Oxford Dictionary of Opera, London: Oxford University Press, 2010. Print. This essay on Linguistics in Opera and Libretto was written and submitted by user Ishaan T. to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

How to Throw an Unforgettable College Dorm Party

How to Throw an Unforgettable College Dorm Party One of the biggest rites of passage for college students is to throw a completely unforgettable college dorm party. What better way to celebrate an occasion or simply kick off some steam from the stresses of college than to let loose with your friends – and everyone else they brought along. If you’re strapped for ideas we’ve got you covered with the main essentials to throwing a party that no one will forget. Logistics Time The first thing you should be is pick a date and time that won’t interfere with anything else big on campus. For example, if there’s a huge bar crawl happening, don’t try to throw a party on the same night. Throwing a party as a go-to spot after a sporting event might be a good springboard for your party, but do your best not to conflict with other parties and events on campus. Promotion Next, start promoting! There’s no party without people. Grab your phone and make the call known on social media. Twitter, Instagram and Snapchat (if you haven’t deleted your app) are the best ways to reach classmates (because who uses Facebook anymore). Feel free to start a hashtag with your room number or address and post the deets to your story. If you’re not feeling an invite-yourself situation post and invite those interested to DM you so you can have more control over who shows up to your epic party. Guests Make sure you don’t just invite girls or guys, there needs to be a good mix of both so invite as many girls as you can because they always bring friends and do the same with guys. Gather up as many as possible. Speaking of who shows up, you’re going to get some randos and tag-a-longs. That comes with the territory of being an awesome party host. People will hear through the grapevine, someone will bring their besties from the next college over and that guy you vaguely remember from French 101 will show up and eat all the snacks. Be prepared for everything to balloon – in a good way. That’s why it’s a good idea to keep an eye on your maximum capacity. If you don’t want to get shut down before the fun begins keep an eye on how many people you can fit comfortable in your space and have a friend help you keeps tabs on how many partygoers walk through the door. Atmosphere Compile the World’s Greatest Playlist. That means all the hits, some cool new joints that only the music geeks know about and a few crowd favorites that will take you back to middle school dances. Choose a mix of songs that will get the crowd hype and some that give everyone a chance to relax and just bop to the beat. Also make sure that you save the best songs for the height of the party, you don’t wanna waste your best tunes on the beginning when people are just trickling in. Load Up on Snacks. After you’ve crafted the perfect playlist, it’s time to load up on snacks. Guests love to fulfill their hunger for the munchies with some light fair. You can never go wrong with chips and dip, popcorn, some microwave boneless wings, guac or even candy. Feeling creative? You can make small finger food like meatballs or spinach dip. For the more mature crowd with a sweet tooth try taking a bag of gummy bears and soaking them overnight in vodka or peach schnapps. Buzz and sweets? Sounds like a match made in heaven! Drinks And since we’re on the topic, it wouldn’t be a college party if someone didn’t bring the alcohol. You can make a punch with the alcohol of your choice and punch or simply have beers and shots for the crowd. Make sure you keep some in reserve so you can monitor how much is consumed and keep any underage guests from becoming inebriated. Grab plenty of plastic cups and shot glasses so you’re guests aren’t left having to drink out of the bottle and swapping germs. There’s no fun in that. And make sure you plan to have enough so everyone can achieve their desired buzz. Parties are no fun when someone gets blackout drunk and becomes ill or hurts themselves or others – but the best parties are the ones where everyone lets loose and has some fun. On the flip side, try to stay away from the drug scenetoo many stoned or high people can go bad quickly and kill the vibe of the party. Hosting Duties Let’s be honest, you’ll have a few wallflowers at your party initially, so make an effort to talk to everyone who shows upafter all they didn’t have to! Show your appreciation, even if you don’t know them or don’t think highly of them and introduce them to other people who can make them feel comfortable. Tell jokes, take song requests, make fun announcements, challenge guests to games, you name it! It’s your time to have some fun and push everyone to have fun with you. And once everyone’s let loose a bit everything will seem ten times as fun. Don’t be afraid to play a few games: Drinking games, giant Jenga, cards and more are fan favorites that will get your guests interacting and having fun. You may want to move the furniture around so no one knocks into your lamp and to leave room for people to mingle and dance if they choose. Designate a friend as a lookout/bouncer to keep the party from getting crashed or shut down early. If things get out of hand, this person can get things back in order so everyone still has fun. This person can also make sure the location doesn’t exceed it capacity or break any music rules. Have mixologist, you know that one friend or party guest who knows exactly how to mix drinks. Finally, enjoy yourself! Once the party’s going keep yourself present and emet new people, don’t put a lot of pressure on yourself and see where the night takes you. It won’t be long before everyone’s blowing up your inbox asking about the next party.

Information Technology & Communication Coursework

Information Technology & Communication - Coursework Example Be it Americans or Asians, White or Black, human nature almost responds to the same way. For instance, if one receives an uninvited ad(s) on his/her mobile, most probably it would cause not only irritation but also discourage him/her to pay attention to other valuable messages/information. Let me clarify the situation by giving my own example. I keep on receiving Call/SMS package offers from the Cellular Company but I never bother to read such messages and delete them right away. Why? Because I am not interested in. Thus, in my case I would term it as a failed marketing. So I am trying to convey is that mobile marketing can surely drive better results provided if it is going to be a â€Å"Permission-Based Advertising† – i.e. with user’s prior permission to receive such ads. Lih-Bin Oh and Heng Xu (2003) stated, â€Å"Advertising researchers have devoted much attention to the study of irritation arising from advertisements such as TV commercials and Web pop-up ad vertisements. For the case of permission-based location-aware advertisements, the level of irritation should be rather low since messages are delivered with the receiver’s prior consent†.

The Nature of the Accounting Profession in Mexico, and Mexicos Term Paper

The Nature of the Accounting Profession in Mexico, and Mexicos Accounting Principles - Term Paper Example At present, Mexico’s accounting profession is quite established with a long history. The initial accounting professional body was established in the year 1917. MIPA or the Mexican Institute of Public Accountants was part of the nine-member founders of the International Accounting Standards Committee  (IASC). Mexican accounting firms primarily provide services such as bookkeeping and audit and tax services. In order for a person, to qualify as a public accountant in Mexico he or she must have a professional diploma in accounting. MIPA issues bulletins, which regulate accounting and financial reporting in the country (Deloitte, Haskins & Sells and AICPA 125). These bulletins dictate financial reporting through requirements for stock exchange listings, as well as legislation. Mexican law requires all listed companies to be audited by a Mexican certified public accountant. The law also requires annual financial statements to be published in nationally circulated media such as ne wspapers. The Mexican National Banking and Securities Commission or NBSC, which is an equivalent of the US Stock Exchange Commission, oversees the disclosure of information by publicly owned organizations. MIPA also has the mandate of issuing auditing and accounting standards through a well-established process (Prieto 106). The oversight institution established a Code of Ethics that deters public accountants from advertising their services. The School of Public Accountants of Mexico is the sole accountancy organization that establishes standards, as well as financial reporting principles and train people who seek an accounting career. Since Mexico is part and parcel of the North American Free Trade Agreement, the accounting principles of the US significantly influence Mexico’s accounting principles. The US primarily exerts this control through the existence of the Big 4 international accounting firms, as well as the presence of numerous subsidiaries of renowned US companies. Perhaps the most exceptional characteristic of Mexican accounting principles is the treatment of the implications of inflation in financial statements. Mexican accounting principles primarily provide for the treatment of the effects of inflation through the use of general purchasing power accounting. The nation’s accounting principles require the adjustment of a number of accounts to demonstrate the effects of inflation. These accounts include net earnings, which include monetary losses and gains, depreciation and cost of sales, fixed assets, shareholders equity (in effect of holding non-monetary assets and capital stock and retained earnings) and inventories. MIPA’s bulletins dictate how businesses calculate various values. For instance, bulletin B-10 introduced an innovative concept referred to as the integrated result of financing calculated by summing the nominal interest expense, the losses and gains due to changes in the price level in terms of a company’s net monetary position, and losses and gain due to fluctuations in the exchange rate on a company’s monetary assets, as well as liabilities denominated through foreign currencies (Orme 67). Regardless of international influences inherent in Mexico’s accounting principles, the country’s Bulletin B-10 that deals with inflation accounting indicates how

Research Methodology Essay Example | Topics and Well Written Essays - 2500 words

Research Methodology - Essay Example Finally, one has to note what one is likely to â€Å"‘conclude† in terms of the research problem and one’s hypothesis (an early conclusion in other words). All this goes into a brief and concise introduction, to be termed â€Å"Introduction† and/or â€Å"Abstract†, of the proposed research. To illustrate the research process thus described, I shall in the following adopt the perspective of anthropology, the science of culture, as an example of a an inductive, empirical social science with appropriate methods to tackle social science research questions ‘ Literature Review Having thus described the contents of the proposal, one now turns to these items, one by one, beginning with a focused analysis of relevant literary sources and notions in order to answer the research question. The review reflects â€Å"the state of the art† regarding knowledge of the research topic. The review will highlight various issues that are particularly relevant to solving the identified research problem. Setting and Sample: Next, one describes the setting and/or sample size. Depending upon one’s choice of research problem one describes the setting which, when social science research is conducted, may be a community (e.g., affluent, middle-class, poor), an institution (e.g., a school, a bank), a neighbourhood, street corners, a slum, etc. (Hannerz, 2007). Based upon this choice, a sample is defined. One may want to work with a small, large, partial or complete sample, a random selection, a certain quota or a representative sample. The economic anthropologist Polly Hill studied cocoa faming and development in southern Ghana. She used maps and air photography to define her sample (Hill, 1963). This may seem an extreme choice, but it isn’t for an anthropologist conducting research in a non-Western setting. Methodology 1. Induction-Deduction Research, the search for knowledge and problem-solving, is a process whereby one continua lly adds to knowledge (Ellen, 1984). By this understanding, research is an ongoing process. There are, however, certain procedures to be followed and standards to be adhered to, be they of an â€Å"inductive† (experimental: â€Å"arriving at a theory based on facts†) or â€Å"deductive† (â€Å"facts are organized to match theory†) nature. Based on this division, one arrives at a â€Å"positivistic† and â€Å"relativistic stance†, resulting in a contrast of â€Å"explanation† (deduction, positivism) and â€Å"understanding† (induction, relativism) (Manners and Kaplan, 1968; Alexander, 1983; Gellner, 1985). Within anthropology and with its emphasis on induction and empirical research, the contrast between induction and deduction has been conceptualized as two modes of inquiry that are opposed to one another. The renowned anthropologist Bronislaw Malinowski advocated 90 years ago long-term immersion in the research site chosen and the use of a set of qualitative methods, considered suitable to such an approach (Malinowski, 1922). Since the nineteen twenties and Malinowski’s statement, the tension of deduction and induction is thought of as contrast between the natural sciences, such as biology, insisting on distance, and the human and social sciences stressing the value of experience-nearness. The contrast has been exemplified by the different emphases placed upon

Disneys Impact on the War

Disneys Impact on the War Disney Goes to War Its the year 1944. Imagine sitting in a Navy Vessel, preparing for an invasion of Normandy, with at least 50 men per boat, no less than 10,000 vessels total. There is barely any elbow room, waves crashing against the sides of the boat, tilting it back and forth as feet become soaked from the water on the floor. Nobody is talking. The only sound that is heard is the occasional vomit of a soldier that is sea sick and the thundering of the ocean that surrounds the vessel. Stomachs twist in knots as fear of life or death fight through ones mind. Some men are holding pictures of loved ones, some are praying, and some are on the verge of tears as memories of their lives flash through their minds. In hope of finding something to keep up the fighting spirits, eyes wander to the characters of Donald Duck and Goofy, the Disney cartoons that have been tattooed on war machines and military uniform sleeves. Envision sitting at home with the family surrounding the television as the same cartoons f lash across the screen to educate the viewers about what they can do to help win the war from home. After watching the same characters that were tattooed on the war machines and military uniform sleeve, they decide that the want to help any way they can to help win the war. Disney serves many meanings to different people and have become of much importance in the war over the Axis Powers of Germany, Italy, and Japan. These cartoons boosted the morale of soldiers in battle, influenced and educated both the public and soldiers about the war. Disney was a major factor in the Allied victory of World War II by the change of their traditional family comedy into political and educational cartoons. Disneys political and educational cartoons during World War II were geared to teach the public and soldiers about the war and how they could contribute to winning it. In order to do this, Disney Studios created many educational short films. Short films such as Seven Wise Dwarfs and The New Spirit promoted buying war bonds to help fund the war. Not only did they make short films but Disney also made childrens books that were used to teach children different ways they can spend their money to help pay for the war that would pay back when the war was over. Disney also made many training films for the soldiers. Some of these films included Education for Death and Reason and Emotion, which were used to show the Allied soldiers that they should lead with reason. Education for Death revolved around the making of a Nazi which tied together with Reason and Emotion because if you were led by emotion, then you were the same as a Nazi, who seemed to have no reason and led with only emotion. Acco rding to the Encyclopedia Online, Disney produced over 400,000 feet of educational war films, most at cost, which was equal to 68 hours of continuous film. In 1943 alone, 204,000 feet of film was produced (1). With this abundance of film, it shows just how dedicated Disney was in trying to help win the war. There were other types of training films that were used to teach the armed forces about different military tactics they could use during battle, which turned out to be extremely important to the new recruits. They were taught a wide range of things from camouflage, to navigational techniques. Not only did Disney teach soldiers and the public about war, but also influenced them in many ways. The cartoons that Disney produced during World War II influenced the public and the soldiers to help however they could to get the war over and done with, with the victory in our hands. Disneys short films, All Together and Donalds Decision, were used to show the public about buying war bonds and how it could help win the war. Many people confessed that after watching the family favorites that they were compelled to buy the items that were being advertised not only because they thought it was an important investment but also because their beloved family films had put in the effort to reach out to the public with ways they could help win the war. Food Will Win the War was a short that was created to teach the public about victory gardens. The film showed the viewers how to create the gardens, the right way to use them, and what they could do with the extra rations. Another short film th at was made to teach the public ways they could help win the war without giving up money is Out of the Frying Pan and into the Firing Line. This short was created specifically for the cooks of a household. They showed the viewers ways they could save their food grease and give it to their local general store that would, in turn, be used during battle for weapons and other small goods. Not only did the films influence the home front, but also influenced the front lines. Disney had at least a thousand requests of unique designs with the family favorite cartoon characters for different military equipment such as aircrafts, tanks, and navy vessels. Baxter says, Most of the designs featured Donald Duck, Pluto, Goofy, and Jiminy Cricket. It is said that we today find it hard to appreciate the way it felt for the soldiers to be represented by Disney, not only because it is a reminder of home, but also because this was a popular thing at home and they went out of their way to show their sup port of the men that risked their lives for their country(1). The influence Disney had over the people was so great that they were proud to have Disney represent them, even in war. Disneys influence was so strong that it could even boost the soldiers morale in war. Disney became a go-to in case the front lines needed a little boost. The propaganda films that were produced at the Disney Studios served as reminders of home and also served as a connection as to what was going on in the war and something the servicemen could relate to it. In the propaganda short, Fall Out Fall In, Donald Duck is featured as an American soldier who is marching for an endless amount of time through miserable conditions. Here Donald is pictured carrying a large army bag that holds the necessities while he marches through deserts, rain storms, snow storms, and long nights without any sleep. When he is finally allowed to sleep, he is told to pitch his tent before he can eat with his fellow comrades, but when pitching the tent, he had extreme difficulties and by the time he gets it, it is night. When he tries to fall asleep he hears snoring, random instrument playing and becomes frustra ted. This work relates to the endurance, patience, and morale these soldiers need to keep going not only for them to survive but also for their families back home and for their country. When soldiers see this film they automatically relate to it because that is what they are doing, and they recognize the struggles Donald is going through. According to Briner, When being reminded by all of these short films, they become eager to get the war over with so they can come home, boosting their morale to help them fight harder and longer(1). The importance it held to them was strong enough make them fight harder and longer. They recognize the difficulties and push through after their relations with the films that serve as morale boosting tools. In conclusion, Disneys service in the war through their political and educational cartoons helped the Allied Forces fight their way to victory over the Axis Powers in World War II. Disneys impact on the United States was so great that it followed soldiers to war. People thought of these cartoons as a connection to home, and they all needed some type of a reminder of home. The families that were left at home would see these images that mimicked what their loved ones were doing in the war and help anyway they possibly could after being taught the right ways to help. Disney has had a bigger impact on our lives than we could ever imagine, big enough, to help us win a war. Works Cited Baxter, John. When Disney Went to War. World War II, 5 February 2015, www.airspacemag.com/multimedia/when-disney-went-war-180954087/. Accessed 26 January 2017. Briner, Lisa. Walt Disney Goes to War. Army Heritage and Education Center, 7 April 2009, www.army.mil/article/19340/Walt_Disney_Goes_to_War/. Accessed 26 January 2017. Lesjak, David. When Disney Went to War. World War II, vol.20, no.5, Sept. 2005, p.22. EBSCOhost, search.ebscohost.com/login.aspx?direct=truedb=f5hAN+17740568site =ehost.live. Accessed 24 February 2017. Walt Disneys World War II Propaganda Production. World Heritage Encyclopedia. Accessed 5 March 2017.

Cristina Garcias Dreaming in Cuban Essay -- Cristina Garcia Dreaming

Cristina Garcia's "Dreaming in Cuban" The cyclical nature of time and the supernatural are recurring themes in Cristina Garcà ­a's 'Dreaming in Cuban'. Throughout the book, the members of the del Pino family find themselves reliving the same events and situations. This is characterized by the repetition of mental illness, attempted suicide, personal exile, and lovesickness that occurs over three generations. Celia, realizes that time will continue to repeat itself unless the family history is documented and carried on. She takes the responsibility of writing letters to her lover, in order to record their story, but understands more must be done, 'memory cannot be confined' (47). When Pilar is born she is endowed with specific gifts that will enable her to carry on the del Pino family history and end the vicious cycle that consumes the family. Through supernatural forces that manifest themselves as extraordinary memory, telepathy and dreams that serve as premonitions, Pilar is lead to return to Cuba where she fulfi lls her predetermined destiny; learning the del Pino family history and ending the cycle of lost memory that consumes them. Early on, as a child growing up in Cuba, Pilar has a very firm connection with the supernatural; she is able to will things to happen using her thoughts. She imagines her nannies? hair falling out strand by strand. We discover that in fact, many of her nannies fled her home with bald patches, claiming she was possessed. Pilar also has the extraordinary ability to recall events that occurred during two years she spent on the island and during her youth in New York City. ?I was only two years old when I left Cuba but I remember everything that?s happened to me since I was a b... ...suicide. When Pilar finally learns the del Pino family history, she frees Celia from the burden of her memories. ?As I listen, I feel my grandmother?s life passing to me through her hands? (222). This act, allows Celia to ?give herself to passion? (231). The act of suicide releases her from the pain and solitude of her memories which have plagued her since her youth. In her final moments, before her death, releasing the pearl earrings to the sea, allow her the closure that she has desperately yearned for. She is only able to accomplish this through Pilar?s gifts, extrodinary memory, premonitions and telepathy have allowed her to avoid the circular cycle of time that has destroyed the del Pinos before her. With this knowledge she too can break free from her family?s mistakes. Works Cited: Garcia, Cristina. Dreaming in Cuban. New York: Ballantine, 1992.

Hubspot Case Question Essay

1. Analyze HubSpot’s Marketing Mix in the context of an overallMarketing Strategy 2. Do you agree with HubSpot that the â€Å"rules of marketing† have changed? If so, how? Is inbound marketingthe answer? Why or why not? 3. Is HubSpot finding and serving the right set of customers? Given its position as a start-up company,should it widen its focus to serve any customer that comes its way? Or narrow their target, by focusingexclusively on either Owner Ollies or Marketer Marys? Or by focusing exclusively on either B2B or B2Ccustomers? 4. HubSpot has begun to differentiate its products as it has learned more about its customers. Should it domore? Should its pricing strategy change too? Does the software-as-a-service (SaaS) pricing model workfor both Marketer Marys and Owner Ollies? Should HubSpot try to immediately capture more value for either of these customers? 5. Are Halligan and Shah being too stubborn by not doing any outbound marketing? Or should they continueto practice what they preach by focusing on inbound marketing alone? 6. Halligan and Shah want HubSpot to be to marketing, what salesforce.com is to sales. What would your plan of action be to make this happen? Why would you take these actions? What keeps you up at nightabout your plan? This case follows the growth of HubSpot, an entrepreneurial venture which faces significant challenges including:developing a market segmentation, deciding which customer to serve and which customers to turn away,configuring a pricing strategy which is aligned with the value being delivered to customers, and determiningwhether inbound marketing programs can generate enough scale to grow the business or whethertraditionaloutbound marketing methods need to be employed to accelerate growth. The HubSpot case focuses on issuesaround marketing channels, specifically inbound marketing and the use of Web 2.0 tools and applications suchas blogging, search engine optimization, and social media

Analysis of Abu Hamid Al-Ghazali essays

Analysis of Abu Hamid Al-Ghazali essays Abu Hamid Al-Ghazali (1058-1111 CE) is regarded by scholars as an Islamic intellectual giant. He is one of the greatest teachers and interpreters of Islam, other than Muhammad. Born in 1058 CE in Tus, (in what is now known as Khorasan, Iran), he was a well educated man, having been taught in school in his early adulthood, studying under a distinguished theologian, al-Juwayni in Nishapur. Because of his privileged upbringing and intellectual capabilities at that time, he brought into existence various manuscripts on Islamic theology and law, which are still being used in the present. Al-Ghazali lived during the period known as the Golden Age of Islam (750-1258 CE), a period of growth in the mastery of art, mathematics, astronomy, medicine, and music. After his years of study, he later moved on to easing the political struggles of his time by writing religious treatises. He was later appointed the position of rector and professor of the Nizamiyya institute in Baghdad. Baghdad, at this time was considered the intellectual centre of the known world. This institute was also the greatest seat of learning in Islam. He produced two of his most important texts, The Intentions of Philosophers and The Incoherence of Philosophers. Afterwards, Al-Ghazali resigned as professor for pilgrimages between the cities of Mecca, Medina, Tus, and Damascus, during a period of ten years. His copious work which was made up of forty books, called Revivification of the Religious Sciences, was a seminal text which outlined the significance and meaning of the practices of Islam. He link ed theology, Muslim law (Sharia) and Sufi mysticism. Al-Ghazali was a very prominent contributor in the areas of philosophy, religion and especially Sufism. Greek philosophy in his time, including Neoplatonic philosophy, was accepted and further developed by a number of Muslim philosophers which w ...

Edgar Allan Poe’s “The Tell-Tale Heart” Research Paper Example

Edgar Allan Poe’s â€Å"The Tell Edgar Allan Poe’s â€Å"The Tell-Tale Heart† Paper Edgar Allan Poe’s â€Å"The Tell-Tale Heart† Paper A Guilty Conscience Shown in Edgar Allan Poe’s â€Å"The Tell-Tale Heart† The Tell-Tale Heart by Edgar Allan Poe is an intellectual murder story told from a first-person perspective of an eccentric narrator who kills a man because he is so frightened of the man’s eye. The mad narrator ultimately is unable to maintain his innocence to the deed. The narrator is obsesses with the vulture eye of the old man who he lives with. He describes the eye as evil, like the eye of a vulture, a pale blue eye, with a film over it. The narrator has a good relationship with the old man but decides that he must kill him in order to rid himself of the eye forever. During the events of the story it is obvious that the narrator is a man in fear of the evil eye with conscience eating away at him in the events of killing the old man. Even though the narrator focuses on the evil eye and tries to justify his actions, in the end he cant escape his own conscience. The narrator has a loving and friendly relationship with the old man. He states I loved the old man. The old man had never wronged him nor insulted him and he had no desire for the old mans money. He says For his gold I had no desire. The narrator is also sure to state to the readers that he was kind to the old man, I was never kinder to the old man than during the whole week before I killed him. He was careful not to disturb the old mans sleep each of the seven nights that he watched him and every morning he spoke courageously to him, called him by name in a hearty tone, and inquired how he had passed the night before. The old mans evil eye seems to have power over the narrator. He states I think it was his eye! Yes, it was this! He had the eye of a vulture Whenever it fell upon me, my blood ran cold. For an unknown reason, the old mans evil eye has provoked insanity in the narrator though the narrator argues that he is not crazy. He says You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded with what caution with what foresight with what dissimulation I went to work! And have I not told you that what you mistake for madness is but over-acuteness of the sense? The narrators obsession with the evil is shown by his extreme precision on how he watched the old man in order to catch a glimpse of the vulture eye. Every night at midnight he would turn the latch of the old mans door and opened it oh so gently. When he had made a sufficient opening for his head he put in a closed dark lantern so that no light shone in, then he thrust his head in, I moved it slowly very, very slowly and It took (him) and hour to place (his) whole head within the opening so far that (he) could see him Then when his head was well in the room he undid the lantern cautiously-oh, so cautiously cautiously (for the hinges creaked) I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights every night just at midnight And on the eighth night he describes a watchs minute hand as being quicker than his own. All of this shows how the narrator used such vigilance in how he went about carrying out his plan to kill the old man. The extreme precision and mindfulness that he went about doing these things in order to see the old man’s vulture eye illustrates the extent of the narrator’s obsession and fear of the evil eye. Although the narrator is so cautious about how he goes about killing the old man he begins the story by letting the reader know that he was very nervous about what he had planned to do. The narrators first sentence says TRUE! nervous very, very dreadfully nervous I had been and am. This is the first indication to the reader that the narrator does have a conscience. He even says that his idea to kill the old man haunted him day and night. When the narrator is hearing what he believes to be the old mans heart beating he is really just so nervous that he is hearing the beat of his own heart. The beat becomes so loud that he begins to worry; But the beating grew louder, louder! I thought the heart must burst. And now a new anxiety seized me the sound would be heard by a neighbour! After the killing is done and the officers have not found anything suspicious they sit over the dead body and begin in chat. As they are chatting the narrator, now the killer, grows anxious and his guilty conscience begins to overwhelm him. He says I felt myself getting pale and wished them gone. This caused him to begin to hear his own heart beat louder and louder again. The noise drove him to agony and he began to think the officers were making a mockery of his horror. His guilty conscience overwhelmed him so much that he couldnt bear it any longer until he finally admitted to doing the deed to the officers. Edgar Allan Poe indicates that the narrator is a mentally ill man with an extreme fear of the old mans vulture eye. Or should he be viewed as a mentally ill, mad man? Throughout the events of the story, the narrator is unaware that his plan to kill the old man simply to rid himself of the evil eye is wrong. Poe wants readers to see that this man, the narrator, does indeed have a conscience though. It just doesnt overpower his obsession with the eye and his plan to get rid of it. The evidence of the narrator’s existing conscience throughout the story shows that his natural instincts were present in knowing that even the idea of killing the old was wrong. In the event of the officers sitting and chatting for such a long period of time after he has killed the old man, the narrators guilt and anxiety becomes an extreme factor overwhelming him and causes his big plan to hurt himself in the end by telling the officers what he has done. Subconsciously the narrator hurts himself in the because of the decisions that he made to carry out his plan as a result of his guilt. : Poe, Edgar Allan. â€Å"The Tell-Tale Heart. † Literature, Reading, Reacting, Writing. Eds. Laurie G. Kirszner and Stephen R. Mandell. Compact 7th Edition. Mason, OH: Cengage, 2009. Print.

Christianity verses Feminism with a focus on gender violence against Essay

Christianity verses Feminism with a focus on gender violence against women - Essay Example I was determined to know the roles played by religion and the feminists as discussed in the essay. In this discussion, I will relate Christianity and feminism focusing on gender violence especially on women. In the discussion, I will introduce many concepts integrated in the gender violence; explore the traditional Christian and the feminist’s ways of their violence against women. I will also examine the three books discussed in the class throughout the term and integrate them in my work. Domestic abuse can simply be defined as the war waged in the family against immediate family members especially the spouses2. Domestic abuse employs wide range of tactics such as physical or psychological warfare to their victims. In the Christianity, this is combined to shifting of blame, prejudice and fallen theology making it an entangle issue which is difficult to resolve3. However, â€Å"with all the goodwill and readiness to counter the domestic violence problem among the Christian families, it is close to impossible until the female subordination doctrine which is centrally placed on the issue of gender violence and is also what perpetuates the issue is dealt with.†4 This discrimination, which is institutionalized, thrives on unreasonable fear and hatred for women. Furthermore, it perpetuates the abuse and prevents the Christians from responding to the victims compassionately using bible principles5. Ingersoll further observes that gender based violence forms one of the major violence afflicted to women in the society of today6. In the religion of Christianity, women abuse has become one of the major marital problems being attended by the priests and the counselors. The spousal abuse perpetrators mostly use biblical injunctions and religion to justify their actions. The essay has debunked the myth that it is only through religion that women can be safe from the many kinds of gender violence7. The

A Comparison of Probation and Parole Assignment Example | Topics and Well Written Essays - 500 words

A Comparison of Probation and Parole - Assignment Example 1). From the definitions, it could be deduced that probation and parole share similarities in terms of serving time periods outside of incarceration, usually in the community; but differ in terms of time of application, where â€Å"probation occurs prior to and often instead of jail or prison time, while parole is an early release from prison† (Advice Company par. 1). There are similarities between probation and parole in terms of influencing behavioural changes and serving the best interests of the community, to wit: â€Å"both are concerned with a defendant breaking the bad habits or behaviours that caused them to break the law. Even though both probation and parole have a strong rehabilitation component, each process has the additional goal of protecting the community† (Advice Company par. 8). Likewise, both involved supervision statutes that require, either active or inactive supervision, depending on the severity of the offence and on other mitigating factors (Bureau of Justice Statistics). On the other hand, the disparities between probation and parole are diverse. At the onset, through definition, the time of application spelt major difference where probation is recommended prior to incarceration; while parole is dispensed after some time has been served in jail. In addition, the supervising officers are different: a probation officer for the former and a parole officer for the latter. Also, conditions or subsequent changes in probation are noted to be within the jurisdiction of the court (Advice Company); while parole changes and conditions were reportedly set by the parole board (Advice Company). Concurrently, in terms of purpose or function, although both were noted to share similarities in behavioural intent and aiming to reduce the impact as well as incidence of crime in society, offenders who were given parole would face challenges in terms of reintegration due to the social stigma associated with criminal offenders who had been incarcerated.