Definition and Examples of a Written Summary of Text

Definition and Examples of a Written Summary of Text A summary, also known as an abstract, precis, or synopsis, is a shortened version of a text that highlights its key points. The word summary comes from the Latin, sum. Examples of Summaries A Summary of the Short Story Miss Brill by Katherine MansfieldMiss Brill is the story of an old woman told brilliantly and realistically, balancing thoughts and emotions that sustain her late solitary life amidst all the bustle of modern life. Miss Brill is a regular visitor on Sundays to the Jardins Publiques (the Public Gardens) of a small French suburb where she sits and watches all sorts of people come and go. She listens to the band playing, loves to watch people and guess what keeps them going and enjoys contemplating the world as a great stage upon which actors perform. She finds herself to be another actor among the so many she sees, or at least herself as part of the performance after all....One Sunday Miss Brill puts on her fur and goes to the Public Gardens as usual. The evening ends with her sudden realization that she is old and lonely, a realization brought to her by a conversation she overhears between a boy and a girl presumably lovers, who comment on her unwelcome pr esence in their vicinity. Miss Brill is sad and depressed as she returns home, not stopping by as usual to buy her Sunday delicacy, a slice of honey-cake. She retires to her dark room, puts the fur back into the box and imagines that she has heard something cry. -K. Narayana Chandran. A Summary of Shakespeares HamletOne way of discovering the overall pattern of a piece of writing is to summarize it in your own words. The act of summarizing is much like stating the  plot of a play. For instance, if you were asked to summarize the story of Shakespeares Hamlet, you might say: Its the story of a young prince of Denmark who discovers that his uncle and his mother have killed his father, the former king. He plots to get revenge, but in his obsession with revenge he drives his sweetheart to madness and suicide, kills her innocent father, and in the final scene poisons and is poisoned by her brother in a duel, causes his mothers death, and kills the guilty king, his uncle. This summary contains a number of dramatic elements: a cast of characters (the prince; his uncle, mother, and father; his sweetheart; her father, and so on), a scene (Elsinore Castle in Denmark), instruments (poisons, swords), and actions (discovery, dueling, killing). -Richard E. Young, Alton L. Becker, and Kenneth L. Pike. Steps in Composing a Summary The primary purpose of a summary is to give an accurate, objective representation of what the  work  says. As a general rule, you should not include your own ideas or interpretations. Paul Clee and Violeta Clee Summarizing condenses in your own words the main points in a passage: Reread the passage, jotting down a few keywords.State the main point in your own words and be objective: Dont mix your reactions with the summary.Check your summary against the original, making sure that you use  quotation marks  around any exact phrases that you borrow. -Randall VanderMey, et al. Here...is a general procedure you can use [for composing a summary]: Step 1: Read the text for its main points.Step 2: Reread carefully and make a descriptive outline.Step 3: Write out the texts thesis or main point. . . .Step 4: Identify the texts major divisions or chunks. Each division develops one of the stages needed to make the whole main point. . . .Step 5: Try summarizing each part in one or two sentences.Step 6: Now combine your summaries of the parts into a coherent whole, creating a condensed version of the texts main ideas in your own words. -(John C. Bean, Virginia Chappell, and Alice M. Gillam, Reading Rhetorically. Pearson Education, 2004) Characteristics of a Summary The purpose of a  summary is to give a reader a condensed and objective account of the main ideas and features of a text. Usually, a summary has between one and three paragraphs or one hundred to three hundred words, depending on the length and complexity of the original essay and the intended audience and purpose. Typically, a summary will do the following: Cite the author and title of the text. In some cases, the place of publication or the context for the essay may also be included.Indicate the main ideas of the text. Accurately representing the main ideas (while omitting the less important details) is the major goal of the summary.Use direct quotations of keywords, phrases, or sentences. Quote the text directly for a few key ideas; paraphrase the other important ideas (that is, express the ideas in your own words.)Include author tags. (According to Ehrenreich or as Ehrenreich explains) to remind the reader that you are summarizing the author and the text, not giving your own ideas. . . .Avoid summarizing specific examples or data unless they help illustrate the thesis or main idea of the text.Report the main ideas as objectively as possible...Do not include your reactions; save them for your response. -(Stephen Reid,  The Prentice Hall Guide for Writers, 2003) A Checklist for Evaluating Summaries Good summaries must be fair, balanced, accurate, and complete. This checklist of questions will help you evaluate drafts of a summary: Is the summary economical and precise?Is the summary neutral in its representation of the original authors ideas, omitting the writers own opinions?Does the summary reflect the proportionate coverage given various points in the original text?Are the original authors ideas expressed in the summary writers own words?Does the summary use attributive tags (such as Weston argues) to remind readers whose ideas are being presented?Does the summary quote sparingly (usually only key ideas or phrases that cannot be said precisely except in the original authors own words)?Will the summary stand alone as a unified and coherent piece of writing?Is the original source cited so that readers can locate it? -John C. Bean On the Summary App  Summly Upon hearing, in March of [2013], reports that a 17-year-old schoolboy had sold a piece of software to Yahoo! for $30 million, you might well have entertained a few preconceived notions about what sort of child this must be...The app [that then 15-year-old Nick] DAloisio designed, Summly, compresses long pieces of text into a few representative sentences. When he released an early iteration, tech observers realized that an app that could deliver brief, accurate summaries would be hugely valuable in a world where we read everything - from news stories to corporate reports - on our phones, on the go...There are two ways of doing natural language processing: statistical or semantic, DAloisio explains. A semantic system attempts to figure out the actual meaning of a text and translate it succinctly. A statistical system - the type DAloisio used for Summly - doesnt bother with that; it keeps phrases and sentences intact and figures out how to pick a few that best encapsulate the entir e work. It ranks and classifies each sentence, or phrase, as a candidate for inclusion in the summary. Its very mathematical. It looks at frequencies and distributions, but not at what the words mean. -Seth Stevenson. The Lighter Side of Summaries Here are some...famous works of literature that could easily have been summarized in a few words: Moby-Dick: Dont mess around with large whales, because they symbolize nature and will kill you.A Tale of Two Cities: French people are crazy.Every poem ever written: Poets are extremely sensitive. Think of all the valuable hours we would save if authors got right to the point this way. Wed all have more time for more important activities, such as reading newspaper columns. -Dave Barry. To summarize: it is a well-known fact that those people who must want to rule people are, ipso facto, those least suited to do it. To summarize the summary: anyone who is capable of getting themselves made President should on no account be allowed to do the job. To summarize the summary of the summary: people are a problem. -Douglas Adams. Sources K. Narayana Chandran,  Texts and Their Worlds II. Foundation Books, 2005)Richard E. Young, Alton L. Becker, and Kenneth L. Pike,  Rhetoric: Discovery and Change. Harcourt, 1970Paul Clee and Violeta Clee,  American Dreams, 1999.Randall VanderMey, et al.,  The College Writer, Houghton, 2007Stephen Reid,  The Prentice Hall Guide for Writers, 2003John C. Bean, Virginia Chappell, and Alice M. Gillam  Reading Rhetorically. Pearson Education, 2004Seth Stevenson, How Teen Nick DAloisio Has Changed the Way We Read.  Wall Street Journal Magazine, November 6, 2013Dave Barry,  Bad Habits: A 100% Fact-Free Book. Doubleday, 1985Douglas Adams,  The Restaurant at the End of the Universe. Pan Books, 1980

Round

Round Round Round By Maeve Maddox The word round is the ideal word to illustrate the fact that a word is not a part of speech until it is used in a sentence. Of the eight classic parts of speech–noun, verb, adjective, adverb, preposition, conjunction, pronoun, and interjection–round can function as five of them. 1. Round as Noun We speak of a round of golf and the rounds of a boxing match. We sing musical rounds like â€Å"Row, Row, Row Your Boat† and â€Å"Frere Jacques.† Shakespeare spoke of a king’s crown as â€Å"a golden round.† The steps of a ladder are called rounds. The creed of the United States Postal Service, translated from Herodotus, declares, â€Å"Neither snow nor rain nor heat nor gloom of night stays these couriers from the swift completion of their appointed rounds.† Here are some more common meanings of round as a noun: a large piece of beef a slice of bread, especially toast a regularly recurring sequence the constant passage and recurrence of days the act of ringing a set of bells in sequence a circular route a regular visit by a doctor or a nurse in a hospital a set of drinks bought for all the people in a group an amount of ammunition needed to fire one shot. a single volley of fire by artillery an outburst of applause a period or bout of play at a game or sport a division of a game show a session of meetings for discussion 2. Round as Adjective Anything that is spherical in shape may be described as round, for example, balls marbles, oranges, and grapes. Also round are cake pans, plates, Frisbees, wheels, CDs, and bagels. Vowels can be round, (i.e., enunciated by contracting the lips to form a circular shape.) Applied to a quantity of something, round can mean large or considerable: â€Å"A million dollars is a good round sum.† But applied to an estimate, round means rough or approximate: â€Å"The figure of three thousand years was only a round guess.† Shakespeare and his contemporaries frequently used round in the sense of outspoken: â€Å"Sir Toby, I must be round with you.† Horses can trot at â€Å"a good round pace,† and scholars often have â€Å"round shoulders.† 3. Round as Verb You can round a piece of clay into a ball, round the edges of a table, round the bases, round chickens into a corner, round out your gnome collection, round a number, and round suddenly on someone who has been annoying you. 4. Round as Adverb and Preposition These uses of round are more common in British usage than in American: â€Å"When the door slammed, everyone turned round.† (adverb) â€Å"At last, the bus came round the corner.† (preposition) See Round vs. Around for a discussion of these two uses of round. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:Fly, Flew, (has) FlownFlied?"Replacement for" and "replacement of"English Grammar 101: Sentences, Clauses and Phrases

History of the Japanese in North America Essay Example | Topics and Well Written Essays - 1000 words

History of the Japanese in North America - Essay Example People from Japan began migrating to the U.S. in significant numbers following the political, cultural, and social changes stemming from the 1868 Meiji Restoration. Particularly after the Chinese Exclusion Act of 1882, Japanese immigrants were sought by industrialists to replace the Chinese immigrants. In 1907, the "Gentlemen's Agreement" between the governments of Japan and the U.S. ended immigration of Japanese workers (i.e., men), but permitted the immigration of spouses of Japanese immigrants already in the U.S. The Immigration Act of 1924 banned the immigration of all but a token few Japanese. The ban on immigration produced unusually well-defined generational groups within the Japanese American community. Initially, there was an immigrant generation, the Issei, and their U.S.-born children, the Nisei. The Issei were exclusively those who had immigrated before 1924. Because no new immigrants were permitted, all Japanese Americans born after 1924 were--by definition--born in the U.S. This generation, the Nisei, became a distinct cohort from the Issei generation in terms of age, citizenship, and language ability, in addition to the usual generational differences. Institutional and interpersonal racism led many of the Nisei to marry other Nisei, resulting in a third distinct generation of Japanese Americans, the Sansei. Significant Japanese immigration did not occur until the Immigration Act of 1965 ended 40 years of bans against immigration from Japan and other countries. The Naturalization Act of 1790 restricted naturalized U.S. citizenship to "free white persons," which excluded the Issei from citizenship. As a result, the

Labor Relations Reseach Paper Research Example | Topics and Well Written Essays - 1250 words

Labor Relations Reseach - Research Paper Example Predominantly, in the heavy industries of south west and the north east, another get natured in the thriving consumer industries of the east, southern coast provinces (Beik, 2005). This has steered to the rise of two new labor movements. State sector workers have complained and struck to shield their jobs, while in foreign-owned and private factories, dismal conditions and dictatorial management are matters that have provoked insurgency. The largest and the most dramatic labor protests in China get induced by laid-off workers against the regularly corrupt and illegal methods in which their enterprises get sold off, or for owing unpaid benefits, which they remained entitled to. Nevertheless, their radicalism happens at the moment of departure from the working classes when they do not anymore have the power to halt production. However, there has been a rising trend for workers to be against the corrupt conditions in which their enterprises get privatized, and to leap in before they get laid off (Pringle, 2010). Deng Xiaoping agreed as many western academics ostensibly do not, that not only is there no essential connection between political and economic liberalism, but the realization of China’s economic success has been reliant on political repression to subdue the inevitable dissatisfaction (Oxford University, 2011). When tanks rolled into Tiananmen Square in 1989, he described the frightening logic behind the resolution: â€Å"Even if we sacrifice 10 to 20 thousand persons, we must exercise control above the situation of the country and get twenty years tranquility in response†. However, workers showed to be far stronger than Deng expected, with strikes recounted even in the 2nd half of 1989. The most significant feature of the growing industrial disturbance is that for the first while since 1948, strikes have become an undying feature of Chinese society. In addition, unlike the past, this has occurred at a time of agreement among the leadership o f Communist Party (Oxford University, 2011). For instance, the Chinese Honda Motor Company faced the worst strikes in its 18-year-old manufacturing business. The company said it needed to develop communication with its employees in the nation after the strikes took the company by shock. Honda, Japanese second - largest automaker, made the report after strikes at 2 suppliers in China paused its car output in China for the first time and required the company to raise their wages. Another third strike, at Honda Lock (Guangdong) Company, Guangdong province, got suspended for the union leaders and management to negotiate over pay. There are no effective networks in China for management and workers to negotiate, said Crothall Geoffrey, a Hong Kong-based China Labor Bulletin advocacy group spokesman. Discussions between the two parties get handled by government - associated union officers who can not selected by the workers. Honda is trying to construct a system that will facilitate a flow of communication between workers via managers to Honda management team and Japanese company officials (Beik, 2005). The first measure to be taken by the company was increasing its wages as demanded by the striking workers. Before any communication developments, the company had to solve the underlying problems of the strike which primarily included wages increment. After ward, the company had

I Know Why the Caged Bird Sings Essay Essay Example for Free

I Know Why the Caged Bird Sings Essay Essay In the autobiography I Know Why the Caged Bird Sings, the main character, Maya, and her older brother, Bailey, have a very close relationship at the beginning of this novel. As children, they were each other’s best friends and they were inseparable. They did everything together and they even thought they had their own language that no one else knew. However, when they first moved in with Mother Vivian, their relationship starts to fall apart. â€Å"When spring came to St. Louis, I took out my first library card, and since Bailey and I seemed to be growing apart, I spent most of my days at the library†¦Ã¢â‚¬  (Angelou 76). As the two of them become older, their relationship grows more distant because of their different genders and the different activities each of them enjoyed doing. In the autobiography I Know Why the Caged Bird Sings, the main character, Maya, and her father have a very estranged relationship. Whenever Maya sees her father, she thinks of him as more of a stranger. Towards the end of the book, Maya’s father invites Maya to come visit him for the summer. When she gets there, she is shocked to see that her father lives in a trailer with his girlfriend who is roughly Maya’s age. Maya’s father invites Maya to come to Mexico with him to go get groceries. Maya agrees to go, and her father ends up leaving her in a shabby bar by herself to run off with his other girl. This just proves he is an unfit parent. â€Å"How could he leave in that raunchy bar and go off with his woman? Did he care what happened to me? Not a damn, I decided, and opened the flood gates for hysteria† (Angelou 236). Maya realizes that her father doesn’t give two shoes about her and has no interest in trying to be a father to her. In the autobiography, I Know Why the Caged Bird Sings, the main character, Maya, is moved from place to place and always has the feeling of displacement, or not belonging. I can relate to Maya’s feelings of displacement. Throughout my life, I too have moved to many different places and schools. I was used to being the new kid and having no friends. I used to be afraid to even make friends because I knew that I wouldn’t be in that school for too much longer after I did. After going to five different schools and living in seven different houses, I’ve felt the feeling of displacement many times and like Maya, had my issues with trying to connect to people. While reading this novel, I knew how Maya felt all those time she didn’t feel like she belonged and all the times she moved. Those parts are what go to me the most because I know how it feels to leave behind the  people you love.

The Queer Prison Abolitionist Movement Essay -- Prison Abolitionist, I

It would be misguided to discuss queer prison abolitionist movements without first thoroughly examining the place of the prison system in the neoliberal imperial project of enemy production (both inside and outside the boundaries of the state). The contemporaneous production of exterior and interior enemies (terrorists and criminals respectively), movement toward and legislation for ostensible (and, importantly, homonormative) queer â€Å"equality,† the criminalization of radical activism through increased surveillance, torture, disappearance, and imprisonment, and the exponential growth in the transnationally funded prison system is symptomatic of what, in the article â€Å"Intimate Investments,† Anna M. Agathangelou, M. Daniel Bassichis, and Tamara L. Spira deem the â€Å"imperial project(s) of promise and nonpromise† (Agathangelou, Bassichis, and Spira 120). Agathangelou, Bassichis, and Spira argue that, inherently a part of empire’s promises to some groups of safety and inclusion in global capitalism is a process of othering by which other groups are constructed as â€Å"enemy others,† and by which yet other groups are rendered â€Å"‘other Others’ whose life and death do not even merit mention or attention† (123). At the heart of this process lies the imperialist drive to establish and protect the new world order via what M. Jacqui Alexander deems the process of â€Å"incorporation and quarantining† (Alexander qtd. in Agathangelou, Bassichis, and Spira 127). This process serves the imperialist ends of militarization by constructing â€Å"enemies† which must be contained and/or killed; it also provides a backdrop against which newly legitimized homonormative queer identities can be conceptualized. In other words, by creating classes of racially sexualized... ...plex. Eric A. Stanley and Nat Smith. 1st ed. Oakland: AK Press, 2011. 267-79. Print. Girshick, Lori. â€Å"Out of Compliance: Masculine-Identified People in Women’s Prisons.† Captive Genders: Trans Embodiment and the Prison industrial Complex. Eric A. Stanley and Nat Smith. 1st ed. Oakland: AK Press, 2011. 189-208. Print. Nair, Yasmin. â€Å"How to Make Prisons Disappear: Queer Immigrants, the Shackles of Love, and the Invisibility of the Prison Industrial Complex.† Captive Genders: Trans Embodiment and the Prison industrial Complex. Eric A. Stanley and Nat Smith. 1st ed. Oakland: AK Press, 2011. 123-39. Print. Nemec, Blake. â€Å"No One Enters Like Them: Health, Gender Variance, and the PIC.† Captive Genders: Trans Embodiment and the Prison industrial Complex. Eric A. Stanley and Nat Smith. 1st ed. Oakland: AK Press, 2011. 217-31. Print.

Commencement of Business by a Public Company

Commencement of Business by a Public Company Restrictions on commencement of business. – (1) A company shall not commence any business or exercise any borrowing powers unless– (a) shares held subject to the payment of the whole amount thereof in cash have been allotted to an amount not less in the whole than the minimum subscription; b) every director of the company has paid to the company full amount on each of the shares taken or contracted to be taken by him and for which he is liable to pay in cash; (c) no money is or may become liable to be repaid to applicants for any shares or debentures which have been offered for public subscription by reason of any failure to apply for or to obtain permission for the shares or debentures to be dealt in on any stock exchange; d) there has been filed with the registrar a duly verified declaration by the chief executive or one of the directors and the secretary in the prescribed form that the aforesaid conditions have been compli ed with and the registrar has issued a certificate referred to in subsection (2); and Companies Ordinance, 1984 101 (e) in the case of a company which has not issued a prospectus inviting the public to subscribe for its shares, there has been filed with the registrar a statement in lieu of prospectus. l) and after making such enquiries as he ay deem fit to satisfy himself that all the requirements of this Ordinance have been complied with in respect of the commencement of business and matters precedent and incidental thereto, certify that the company is entitled to commence business, and that certificate shall be conclusive evidence that the company is so entitled: Provided that, in the case of a company which has not issued a prospectus inviting the public to subscribe for its shares, the registrar shall not give such a certificate unless a statement in lieu of prospectus has been filed with him. 2) The registrar shall, on the filing of a duly verified declaration in accordance wit h the provisions of sub-section (3) Any contract made by a company before the date at which it is entitled to commence business shall be provisional only, and shall not be binding on the company until that date, and on that date it shall become binding. (4) Nothing in this section shall prevent the simultaneous offer for subscription or allotment of any shares and debentures or the receipt of any money payable on application for debentures. 5) If any company commences business or exercises borrowing powers in contravention of this section, every officer and other person who is responsible for the contravention shall, without prejudice to any other liability, be liable to a fine not exceeding one thousand rupees for every day during which the contravention continues. (6) Nothing in this section shall apply to a private company, or to a company limited by guarantee and not having a share capital.

Dramatic Literature Essay

In the realist drama â€Å"A Doll House†, Ibsen effectively employs dramatic conventions to expose the flawed value system of the bourgeoisie, regarding the institutions of marriage, prejudice gender roles and personal integrity. Moreover, the dramatic tension on the play is heightened through Ibsen’s subversion of the well-made play and the melodramatic denouement at the beginning of each act. In essence, Ibsen satirises the stifling moral climate of the bourgeoisie in conditioning an individual’s identity, in the pursuit for self-determinism. The imposition of prejudice gender roles are brought to life through the doll house metaphor, illuminating the entrapment of the bourgeoisie. Metaphorically, the doll house is a moral safeguard for values of social determinism, which Ibsen exposes the limitations of external forces in conditioning Nora’s existence as a doll. Her internalisation of the pre-determined housewife role and Torvald’s internalisatio n of the patriarch role maintains the illusory deception of the doll house. Nora’s objectification is enforced through Torvald’s gendered language, â€Å"my songbird†, â€Å"lark† and squirrel† and the diction of â€Å"my† connotes Torvald’s ownership of Nora in their superficial marriage. Simultaneously, Torvald’s strict adherence to patriarchal ideologies, limits his capacity to empathise with Nora’s cry for emancipation, evident in the subtext â€Å"give me pennies of my own†. Essentially, Ibsen successfully adopts the doll house metaphor to attack the mores of patriarchy, which forces Nora to compromise her identity and freedom to rigid social ideologies. The superficial institutions of marriage disfigure one’s sense of personal identity, justifying Nora’s cry for liberation from patriarchal ideologies which disempower women of her time. The combination of the stage direction â€Å"wagging his finger† and the patronising tone â€Å"was little Ms Sweet Tooth naughty?† showcases the detriments of social oppression in limiting one’s ability to undergo self-actualisation. The diction â€Å"little† connotes Nora’s submission to Torvald’s internalisation of dominant ideologies, mirroring the dis empowerment of women in the bourgeoisie. Moreover, the symbolic Tarantella dress reflects Torvald’s idealised perception of Nora as his â€Å"pretty little thing†, reiterating Nora’s objectification. The power imbalance within the Helmer marriage justifies Nora’s deceit, evident in the dramatic irony â€Å"I wouldn’t do anything you’d disapprove of†. This notion is juxtaposed with Nora’s statement â€Å"I saved Torvald’s life [by] signing my  father’s name [and] got the money†. Nora’s deception subverts Torvald’s strict adherence to the imposed social ideologies, which Kristine echoes these patriarchal sentiments, â€Å"a wife cannot borrow money without her husband’s permission†. The conflict of gender limitations drives the tragic force of the play in Act 1, ending at a climactic moment to heighten the tension in Act 2. In essence, Ibsen successfully generates a greater degree of empathy for Nora, as he mirrors the d isempowerment of the social and economic limitations of women in the bourgeoisie. Ibsen’s rich exploration of the bourgeoisie, inevitably results in Nora’s detachment from her doll metaphor. Kristine and Krogstad function as catalysts for Nora’s transformation, through illuminating the truth of the Helmer marriage, â€Å"no more lies, tricks†¦ they must understand each other†. While Krogstad initiates the tragic force of the play through his symbolic letter in Act 2. Ibsen establishes the juxtaposition of the authentic relationship of Krogstad and Kristine to the superficiality of the Helmer marriage, compelling Nora to transcend the limitations of the bourgeoisie. Moreover, the parallel of Nora and Krogstad subverts the values of social determinism, as Krogstad elevates himself through the social hierarchy despite being deemed â€Å"morally sick†. Essentially, an unexpected union of the two derives from a compromised understanding, as both characters are criminalised for their acts of personal integrity. Thereby, Ibsen invites the audience to evaluate their personal values, emphasising the importance of self-determinism overriding social confor mity. Ibsen exposes the flawed value system of the bourgeoisie, and forewarns of the detriments of an individual’s life being overridden by social morality. The dramatic irony of the Tarantella dance â€Å"anyone’d think your life depended on this dance† and Nora’s statement â€Å"31 hours to live† foreshadows the impending death of Nora’s doll metaphor. This is further accentuated through Finney’s statement of Nora’s cry for emancipation from the Tarantella dance, evident in â€Å"she returns from her frenzied state, back to the role of a wife and mother, only as a springboard from which to emancipate herself.† Moreover, Nora evolves from a doll identity in Act 1, evident in Rosenburg’s claims â€Å"Ibsen began with a maltreated stuffed Nora doll† to an awakened woman in Act 3. Her transformation demolishes the artificial foundations of the doll house, thus revealing the harsh winter landscape, embodying reality. Therefore, it is  best â€Å"to go out into the real world, and discover the truth for [herself] and [her] values†. Moreover, Ibsen’s subversion of the well-made play is evident in the final scene of the play, where Nora â€Å"slams the door† and leaves the audience with a climactic ending. Ibsen juxtaposes the beginning and final scene of the play to showcase the disparity of Nora’s transition throughout the play. Her first appearance connotes her disempowerment in the bourgeoisie lifestyle, which is then contrasted to the final scene, where she â€Å"puts on the cloak and turns on the lights†. The illumination of the truth compels Nora to extricate herself from the illusory deception of the door house, thus abandoning the false union of her superficial marriage and burden of motherhood. In essence, Nora is virtually unrecognisable by the end of Act 3, as Ibsen courageously abandons the doll metaphor, thus emphasising the importance transcending social limitations to maintain an identity. Mirroring Austen’s social satire â€Å"Pride and Prejudice†, Weldon grapples with the significance of context and questions of values in her didactic epistolary novel â€Å"Letters to Alice†. Moreover, both composers utilise form as a vehicle to socially critique their contemporaries, thus reinforcing the didactic purpose of invoking ideological change. This is achieved through the examination of the institutions of marriage, moral education, Literature, prejudice gender roles and social stratification. Weldon examines Austen’s social satire in exploring the changing facets of marriage, thus reshaping our perception of the connection that links the 18th century marriage customs to that of the modern martial practices. The contextualisation of a Georgian woman emphasises the gender injustices prevalent in the 18th century Regency England. Moreover, marriage was depicted as a social contract for economic survival, evident in Charlotte’s pragmatic char acterisation, who married Mr Collins out of practicality rather than â€Å"general similarity of feelings and taste†. Mrs Bennet also reinforces these sentiments, as the â€Å"business of her life was to get her daughters married†, therefore, Mrs Bennet and Charlotte’s strict adherence to social conventions of marriage reinforces its idealistic prospect of being the â€Å"only honourable provision†. Weldon justifies the Georgian woman’s outlook of marriage through the statistics â€Å"only 30% of women married† and  asserts Alice â€Å"you must understand the world in which Austen was born in†. Thereby, the modern audience is able to grapple with the significance assigned to marriage in Austen’s world, through Weldon’s insight. In essence, Austen satirises the flawed value system regarding the institutions of marriage through her adoption of caricatures and irony. Weldon acts as a facilitator for the modern audience to gain a holistic understanding of â€Å"P+P†, through her examination of the gender injustices prevalent in Austen†™s era. Patriarchy prevailed in the 18th century, meaning life was founded on the basis of marriage, as women were limited to the narrow confines of work, â€Å"women’s trade – millinery, embroidery, prostitution†¦ or you could get married†. Weldon’s satirical comment reveals the prejudice gender roles in disempowerment women in the 18th century, thus asserting â€Å"it was a horrible time to be alive†. This is further accentuated through Charlotte’s pragmatism, who â€Å"does not think highly of men or matrimony† and â€Å"sacrifices every feeling of worldly advantage† to accepting Mr Collin’s marriage proposal for financial security and social elevation. Moreover, Weldon’s satirical comment juxtaposed the perceptions of marriage in the 18th century to that of the modern context, â€Å"the stuff in our women’s magazine, but it was the stuff of their life†. The elevation of gender roles in the modern context emphasises the adversities women faced in Austen’s world, and this is achieved through the contrast of character foils Elizabeth and Charlotte. In essence, Weldon positions the audience to gain an appreciation for the transformation of gender roles in changing contexts, empowering women to become great contributors to society. Weldon’s hybridity employs Aunt Faye as a mouthpiece to examine the institutions of Literature in â€Å"P+P† and â€Å"LTA†. The emphasis of Literature’s value in society is evident in the hyperbole â€Å"very essence of civilisation†. According to Weldon’s didacticism, Literature should not be deemed as â€Å"just books†, as it embodies complex and dynamic concepts of the human condition. In essence, Weldon refers to Literature with a â€Å"capital L† and books by the sophistication of their characters, whose struggles in their fictional lives resonate to our own. Moreover, the use of imperatives â€Å"you must read Alice, before it is too late† reinforces Weldon’s didactic purpose of Literature catalysing self-actualisation. Compar ably, an accomplished Georgian woman â€Å"has a thorough knowledge of music, singing, drawing and dancing†. Austen however  satirises this limited perception of â€Å"good education† as it is â€Å"ineffectual† to foster independence and intelligence in women. Lady Catherine’s patronising tone in addressing Elizabeth as an â€Å"unfeeling, selfish girl† demonstrates her lack of moral education despite her aristocratic stature. It is Elizabeth however, who epitomises â€Å"good education† with her wit and independence, thus undergoing self-awakening, â€Å"til this moment I never knew myself†. In contrast, Weldon employs the extended metaphor of the â€Å"City of Invention† to promote connections, where writers can â€Å"cohabit and collaborate† with their â€Å"Houses of Imagination†. Moreover, our â€Å"carvings† on the â€Å"Rock of Eternity† symbolises our shared experiences and values, linking the past, present and future together. Thus, Weldon invites the audience to reach out to posterity, much like Austen through her canonical Literature. The â€Å"City† also enables connections between reader and writer, for us to â€Å"understand ourselves and each other†, thus gaining empathy through Literature. Weldon’s re-examination of â€Å"P+P† showcases the fundamental values predominant in classic texts, thus transcending their era of composition, and emphasising the importance of Literature in catalysing one’s sense of spiritual awakening. The underlying value prevalent in both texts of social stratification is enhanced by the contextualisation of fundamental values in both texts. Austen asserts the stability and order enforced through conformity to rigid social class structures, and family being a primary factor to determining one’s social standing, and consequently one’s chance of marriage. This is evident in Lady Catherine’s caricature, as she forewarns of the detriments of an individual’s subversion of the social class system, â€Å"you’ll be slighted and despised†¦ your alliance will be a disgrace†. Simultaneously, Austen introduces the unorthodox union of Darcy and Elizabeth to challenge the social class system because their relationship is founded on mutual respect and compatibility, thus invoking a positive change in the rigid social structure. Weldon accounts for Darcy’s decision â€Å"to marry where he loved, and not where he ought†, as Elizabeth â€Å"brought neither land nor money – but she brought vigour, intelligence and honesty†. In essence, Austen exposes the superficiality of the institutions of social stratification, and emphasises the importance of personal integrity overriding social morality. Shakespeare’s adaptation of Plutarch’s histories â€Å"Julius Caesar† utilises tragic form to exhibit the subjective nature of conflicting perspectives. Moreover, the linguistic techniques elicited through the power play of orations subvert the audience’s views of personalities, events and situations. Shakespeare presents multitude perspectives to explore the power vacuum and political machinations prevalent in Elizabethan England. In essence, the audience is positioned to accept the ambiguity of conflicting perspectives, through Shakespeare’s exploration of the volatility and temporary nature of power, political imperatives and the validity of truth. Similarly, Buttrose’s feature article â€Å"Et tu Julia† employs â€Å"Julius Caesar† as a historical framework to explore the dynamics of politics and represent the subjectivity of conflicting perspectives. Thereby, Buttrose grapples with the tension between the drive for altruistic and political imperatives, thus leading to the audience’s questioning of Gillard’s legitimacy as PM. Shakespeare’s construction of conflicting portraitures forewarns of the dangers of political machination superseding one’s capacity for objectivity and â€Å"truth†. Mirroring the political machinations of Elizabethan England, Shakespeare explores the dynamics of political imperatives at the expense of Brutus’ honour. Caesar’s deification â€Å"as constant as the northern star† and repetition of third person accentuates his hubris, through the establishment of the artificial distance between himself and his mortality. Through various representations, Shakespeare illuminates the fallacy inherent in Caesar’s noble character, leading to his tragic demise, thus revealing the fragility of power. The audience is able to recognise Caesar’s vulnerability through the act of political machination of Cassius compelling Brutus to conspire against Caesar, â€Å"as crowned, how that might change his nature†. Shakespeare’s juxtaposition of Caesar’s thrasonical assertions opposed to Cassius’ anecdotes of Caesar’s fragility â€Å"help me Cassius, or I sink† generates polarised perspectives of Caesar’s personality. Moreover, the combination of the extended metaphor â€Å"ambition’s ladder’ and the biblical allusion of â€Å"serpent’s egg†¦ if hatch’d would grow mischievous†, leads to the audience’s questioning of Caesar’s ambition. Ultimately, this robs Brutus of his foresight, compelling him to ext ricate the satanic creature to prevent a potentially despotic reign, ironically defying the natural order. Essentially, Shakespeare explores the dynamics of political machinations  overriding one’s noble perspective, thus stimulating conflicting ideologies in questions of â€Å"truth†. Simultaneously, Buttrose’s intertextuality â€Å"Et tu Julia† examines the justification of Gillard’s political machinations and the speculation of her credibility of her political machination. The condition clause â€Å"we have to see whether Julia Caesar is a reforming republican or imperial stooge† historically alludes to Caesar’s assassination, raising questions of ethics in the conspiracy. Buttrose mirrors Shakespeare’s criticism of the conspiracy, evident in the hyperbole â€Å"the political murder of Kevin Rudd† coupled with the violent imagery, â€Å"the coup came, the plotters bludgeoned†. Essentially, the Labour party is represented as despotic and immoral, leading to the audience’s questioning of Rudd’s dismissal and Gillard’s instatement, thus generating a greater degree of empathy for the fallen PM. Moreover, his support for Rudd is further accentuated through the use of idiosyncratic Australian colloquialism â€Å"[Rudd] wanted to buy back the farms from mining interests†, elevating his political stature through emphasising his altruistic imperatives for public good. Mirroring Antony’s assertions of Caesar’s benevolence, Buttrose similarly presents an anecdote of Rudd’s claims to â€Å"improve health services, education and housing†. Comparably, Buttrose represents a polarised perspective of Gillard’s legitimacy for her acts of political machination for the welfare of the Labour party. This is evident in denigrating Rudd’s credibility as PM through the slogan â€Å"Rudd the Dud†¦ not to be trusted† coupled with the polling statistics â€Å"losing electoral appeal† and â€Å"Liberal party lead of 9%†. Essentially reinforcing Gillard’s credibility as leader, the political jargon appeals to the audie nce’s logos, positioning them to accept the act of Rudd’s dismissal as a necessity for the Labour party. In essence, Buttrose represents the subjectivity of conflicting perspectives conditioned in the dynamics of politics. Shakespeare challenges the audience to postulate on the existence of truth through illuminating the power of rhetoric to influence meaning within different representations of perspectives. Political machinations are explored in Brutus and Antony’s orations, epitomising conflicting perspectives to the climax of Caesar’s assassination in Act 3. Brutus’ antithesis â€Å"not that I loved Caesar less, but that I loved Rome more† appeals to the Plebians’ patriotism, and the disjunction â€Å"but† enables the  audience to recognise Brutus’ moral sacrifice for the betterment of Rome. This is further accentuated through the anacoenosis â€Å"have Caesar live and die all slaves, than Caesar die to live all free men?† coupled with the strong affirmation â€Å"Caesar was ambition, so I slew him†, appealing to the audience’s logos, thus positioning to accept the necessity of Caesar’s assassination. Brutus instils fear of Caesar’s inherent tyranny in the Plebians through the diction of â€Å"slave†. Comparably, Shakespeare presents an alternative perspective of Caesar’s personality through Antony’s oration. Antony exploits the power of rhetoric through the condition clauses, â€Å"if Caesar was ambitious† to question the validity of Brutus’ claims. This is further negated through the recollection of memories â€Å"he thrice refused [the crown]†, leading the audience to question their personal truths in determining the credibility of Brutus’ justification of his political imperatives. Fundamentally, Shakespeare exploits the power of representations through the power of rhetoric to manipulate â€Å"truths†, thus leading to conflicting ideologies.

Writing a Good Business Essay

Writing a Good Business Essay Here is a short guideline on writing a business essay. For more information contact our writers, please. A Guideline on Writing a Business Essay 1. Analyze the subject. First, it will help you to define the topic and outline. Weve got a good article to help you pick essay topics effectively. Check it out Picking Essay Topics 2. Regardless the scope of the assigned topic, point out: The subject (general sphere of investigation) The limiting words (help you to narrow the subject) Direction words (guide your actions) 3. Plan your writing. 4. Prepare the outline. 5. Develop several perspective structures for presenting the main body of the business essay. After a while, choose the most appropriate and stick to it in the course of the essay. 6. Plan the macrostructure of the essay and then build up the microstructure of every paragraph. 7. Write a detailed outline, pointing out the keywords for each part of the business essay. 8. Write the first draft of the business essay. 9. Give a critical analysis of the assembled data. You must provide reasonable proof of your arguments and support it with the specific examples. In your essay, you must cover opinions for and against the presented argument. Make sure that the subject is discussed logically throughout the business essay. 10. Proofread for punctuation and spelling errors. Our proofreading services might be useful for you.

The Facts About Dry Ice

The Facts About Dry Ice Dry ice is the solid form of solid carbon dioxide, CO2. Here are some facts about dry ice that can help keep you safe when working with it- and are just fun to know. Dry Ice Facts Dry ice is solid carbon dioxide. It is sometimes called cardice.Dry ice is extremely cold (-109.3 °F or -78.5 °C). At this temperature, it sublimates from the solid state into the gaseous state or undergoes deposition from gas to solid. In order for dry ice to form liquid carbon dioxide, it needs to be placed in a high-pressure environment.The first published observation of dry ice was in 1835 by French chemist Charles Thilorier. He noted the formation of dry ice when a container of liquid carbon dioxide was opened.Dry ice resembles snow or water ice.  Its usually sold as chunks or pellets, which appear white because water vapor from the air readily freezes onto the surface. While it looks somewhat like ordinary water ice, its called dry because theres no intermediate liquid phase.Dry ice density usually ranges between 1.2 and 1.6 kg/dm3.The molecular weight of dry ice is 44.01 g/mole.Dry ice is nonpolar, with a dipole moment of zero. It has low thermal and electrical conductiv ity. The specific gravity of dry ice is 1.56 (water 1). Dry ice sinks in water and to the bottom of drinks.The white vapor released when dry ice sublimates does contain carbon dioxide, but its mostly water fog produced when the cool gas condenses water from the air.When dry ice is added to food, as when making ice cream or freezing fruit, the carbon dioxide carbonates the liquid and can react with water to form dilute carbonic acid. This adds an acidic or sour flavor.When dry ice sublimates, some of the carbon dioxide gas immediately mixes with air, but some of the cold dense gas sinks. Carbon dioxide concentrations increase near the floor of a room where a lot of dry ice is being used. Dry Ice Safety Contact with dry ice can result in frostbite and cold burns. Avoid allowing contact between dry ice and the skin, eyes, or mouth.Use insulated gloves when handling dry ice.Although dry ice and carbon dioxide are not toxic, the use of dry ice may present a respiratory hazard because it can sink and displace air near the ground. Also, when it mixes with the air, there is more carbon dioxide (less oxygen) in each breath. Use dry ice in a well-ventilated area.Do not eat or swallow dry ice.Do not seal dry ice in glass or other closed containers, since the pressure buildup may result in breakage or bursting.

The BRICS Nations in International Business Research Paper

The BRICS Nations in International Business - Research Paper Example The paper tells that the emergence and importance of the BRICS in international business is a reality that for years had been underestimated. The BRICS nations have important roles to play in international business as players and partners. It is, however, paramount that we first understand the term BRICS, before we can give a detailed description of each country’s economy. The word BRICS is an acronym for the world’s largest and strongest emerging economies. These countries are Brazil, Russia, India, China, and South Africa. They are now considered as significant as other global players are and have consequently shifted economic status, from developing to emerging economies. This is because of the rapid and exponential growth that is witnessed in these economies, with statistics indicating that their contribution to the growth of the world’s Gross Domestic Product (GDP) being very significant. In the past decade, the BRICS contributed to more than half of the wor ld’s growth in GDP. The population of these economies has also been singled out as a unique feature. These economies alone constitute half, or a little under half, of the world’s population. Analysts have however pointed to the fact that these economies rarely have anything in common. Their demographic compositions, governance styles, and type of economies, are all different. They may have one or two similarities in their economies but have very little in common. This is the beauty that has been associated with these economies, that despite having very little to share, they each have independently affected global business in ways that are not only noticeable but also strongly profound and significant. These impacts to international business include increased trade levels, increased funding of development or development financing, and donor funding, earlier only a preserve of the western countries. Having looked at the economies forming the BRICS in general, let us now examine them individually.