Harry Potter IS a Good Book

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The ¡§witchcraft and wizardry¡¨ of Harry Potter began taking over the world in 18 with the release of J.K. Rowling¡¦s first novel Harry Potter and the Sorcerer¡¦s Stone. It immediately grabbed the attention of children and young adults creating a craze among youngsters the literary world has never seen. Drawing more and more of a fan base with the release of the second-of-seven in the series, Rowling erupted onto the literary scene. Her magical creation eventually developed into a global phenomenon when Harry Potter started bewitching the hearts of quite a range of people from teens in their high school years all the way to adults of most any age. Through the release of the fourth and most recent book, her audience continued to grow by consistently outselling each previously released novel. The books have been an inspiration to the majority of its readers, rousing a newfound creativity and imagination unprecedented by any work of children¡¦s literature. Children are fascinated by the mystery and wonder of the secrets of Hogwarts and Gringott¡¦s, while parents are enthralled by the clever wit and conflict. Even now Rowling¡¦s success is continued with the colossal pre-sales of the unreleased fifth book, Harry Potter and the Order of the Phoenix, which have already superceded those of her previous release.

Despite Rowling¡¦s immense and continuously growing accomplishments, there are critics who argue that Harry Potter is not indeed a good book. One in particular is Jack Zipes, author of Sticks and Stones The Troublesome Success of Children¡¦s Literature from Slovenly Peter to Harry Potter and a professor of German at the University of Minnesota. Zipes, regarded as one of the most elite dignitaries in the field of children¡¦s literature, criticizes the Potter novels by implying that they are ordinary and simply-written (Zipes 171). Eventually moving from a literary to a social critic, he feels he has ground enough to say that Harry Potter is part of the eternal return to the same-and, at the same time, part of the success and process by which we homogenize our children (Amazon.com ).¡¨ Giving inadequately supported evidence, he attacks the cultural value of Harry Potter for children and children¡¦s literature by constantly attempting to instill the idea that children¡¦s literature cannot be good if it is successful (Zipes 17). ¡§What criteria can one use to grasp the¡Kvalue and quality of J.K. Rowling¡¦s books, which have allegedly helped readers of all ages to read again with joy, just because they are so successful (Zipes 17)?¡¨ He continues to argue that readers measure the excellence of the books based upon the ¡§witchcraft phenomenon.¡¨ Zipes explains that the phenomenon, not blamed on Rowling but simply brought to the lime light by her, is what has captivated such a vast and wide-ranging audience. It is not the measure of the success of Harry Potter, he supports, but the examination of her works ¡§as critically as possible¡¨ which can determine the quality of her literature (Zipes 17). When asked about what she thinks of critics of her work, Rowling replied ¡§I think they are...misguided. Everyones entitled to their own opinion, but not to impose their views on others (Harrypotter.com 1).¡¨

The problem derived from such extremely sided views is that it inhibits the true essence of what literature is supposed to bring to a society, focusing now primarily on industrialized literate nations. Novels and books provide an artistic and innovative way to diversify the imagination and to open the mind to the unordinary and everyday. This serves as an outlet from what usually and eventually becomes a boring and dull world. People yearn for assortment and variety, and while literary works offer this selection, negative advancements on the question of value of these effects inhibits the ability of literature to provide these advantages. Why must people like Zipes feel it necessary to find fault with these works simply because of their success? In doing so, he has shown no positive repercussion and has given no examples of any greater literary feat that should instead be the apple of the eye of the literary world.

Why does a man, no matter how historically eminent, have the audacity to attack children¡¦s literature, especially Harry Potter, in the first place? One could determine that although easily disagreeable, Zipes¡¦ fervor of the subject entails him the opportunity to construct bold and censuring ideas. One writer from the Library Journal reviews his book by saying, ¡§While not every reader will agree entirely with Zipes thesis, [people] need to be aware of his point of view (Amazon.com ).¡¨ When his viewpoint contributes no obvious erudite benefit to the greater part of his literary audience, how can he just command the role of this almighty scholar that assumes the right to attack such a breathtaking and global phenomenon like Harry Potter? It seems as if his views and arguments are extracted from some misconstrued idea that our society needs a figure to decipher the good and bad, and that this, he presumes, is what the population will then base their decisions upon what to read. He taxes our ability to properly raise the coming generations, arguing that ¡§our investment in children is paradoxically curtailing their freedom and creativity (Amazon.com ).¡¨ No more wrong could this assumption be, for it is a wake up call to very few that we are becoming even more so independent and self-assuring of our individual ability to choose and make assessments.

Custom Essays on Harry Potter IS a Good Book Exactly who then should determine whether or not a book is good? An intellectual and somewhat evident way of analyzing the worth of a novel is by questioning the interpretation of the reader. Should it not be left to the consumer, who economically sustains approximately half of the relationship between the demand and supply of the Harry Potter market, to determine what she feels is laudable of such appreciation? If such a conjecture were correct, then theoretically Harry Potter could irrefutably be deemed good based solely on the theories from which the United States democratically prides itself.

As a democracy, the United States bases the largest part of its policies on the opinions expressed by the majority of its people. By having implemented such a structural market economy, the US has developed into a nation currently dominated by a flourishing middle class. Since the middle class essentially determines the key political and economical ideas and activities respectively displayed by our nation, it is equivocal to deduce that the immeasurable popularity of Harry Potter in the U.S., determined by both the blockbuster success of the two released films as well as the record sales of Rowling¡¦s four books, is a direct result of the opinion of the middle class that the four novels are most certainly good. Since the structure of the government and economy in the United States is quite complex, accepted, and institutionalized, Zipes¡¦ attempt to bash this much adored children¡¦s fiction is sharply countered. For all sake in the matter, any pursuance of such claim lacks the true importance of what characters like Harry Potter really give to a culture, society, or generation.

Literature is the product of imaginative or creative writing that presents a door of unpredictable opportunity for a reader. Rowling¡¦s collection undoubtedly meets this criterion. The reader, however, is left to open this offered door, for it is the world in which she creates for herself that determines her attitude toward what has been read. No single judgment concerning the ability of a book to compete with other undoubtedly notable works should stigmatically disconcert the ownership of insight that belongs to each individual reader. This insight is what should be taken from a work of text, not a critique. It is what makes literature special, especially children¡¦s literature¡Xthe unique ability to change and contort to individual variation. What makes Harry Potter great, though, is that the books are able to do that with great ease. Even better is that they have managed to do so by captivating a far greater range and number of people all over the world than any work by Jack Zipes ever has, and probably ever will º.

Works Cited

Amazon.com. Editorial Reviews Sticks and Stones. 000 http//www.amazon.com/exec/obidos/tg/detail/-/04158117/00-67471- 6807?v=glance&s=books

Harrypotter.com. ¡§The Daily Prophet News and Events The Harry Potter author speaks!¡¨ September, 001, Interview transcript.

Rowling, J.K. Harry Potter and the Sorcerer¡¦s Stone. New York Scholastic, 17.

Zipes, Jack. Sticks and Stones. New York Routledge, 00.

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Beloved

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It is the ultimate gesture of a loving mother. It is the outrageous claim of a slave(Morrison 187). These are the words that Toni Morrison used to describe the actions of the central character within the novel, Beloved. That character, Sethe, is presented as a former slave woman who chooses to kill her baby girl rather than allowing her to be exposed to the physically, emotionally, and spiritually oppressive horrors of a life spent in slavery. Sethes action is wrong She has killed her child. Sethes motivation is not so clearly defined. By killing her Beloved child, has Sethe acted out of true love or selfish pride? The fact that Sethes act is irrational can easily be decided upon. Does Sethe kill her baby girl because she wants to save the baby from slavery or does Sethe end her daughters life because of a selfish refusal to reenter a life of slavery? By examining the complexities of Sethes character it can be said that she is a woman who chooses to love her children but not herself. Sethe kills her baby because, in Sethes mind, her children are the only good and pure part of who she is and must be protected from the cruelty of slavery(Morrison 51). In this respect, her act is that of love for her children. The selfishness of Sethes act lies in her refusal to accept personal responsibility for her babys death. Sethes motivation is that she displays her love by mercifully sparing her daughter from a horrific life, yet Sethe refuses to acknowledge that her show of mercy is also murder. Throughout Beloved, Sethes character consistently displays the double nature of her actions. Not long after Sethes reunion with Paul D. she describes her reaction to School Teachers arrival Oh, no. I wasnt going back there[Sweet Home]. I went to jail instead(Morrison 4). Sethes words suggest that she has made a moral stand by her refusal to allow herself and her children to be dragged back into the evil of slavery. From the beginning, it is clear that Sethe believes that her actions were morally justified. The peculiarity of her statement lies in her slip of the horrifying fact that her moral stand was based upon the murder of her child. By not even approaching the subject of her daughters death, it is also made clear that Sethe has detached herself from the act. Even when Paul D. learns of what Sethe has done and confronts her with it, Sethe still skirts the reality of her past. Sethe describes her reasoning to Paul D., ... So when I got here, even before they let me get out of bed, I stitched her a little something from a piece of cloth Baby Suggs had. Well, all Im saying is thats a selfish pleasure I never had before. I couldnt let all that go back to where it was, and I couldnt let her or any of em live under School Teacher. That was out(16). Sethes love for her children is never-ending, yet she still shifts the burden of responsibility away from herself. She acknowledges that it was a selfish pleasure to make something for her daughter, yet Sethe refuses to admit any selfishness in her act of murder. She is frustrated with Paul D. confronting her Sethe knew that the circle she was making around the room would remain one. That she could never close in, pin it down for anybody who had to ask. If they didnt get it right off-- she could never explain. Because the truth was simple, not a long-drawn-out record of flowered shifts, tree cages, selfishness, ankle ropes and wells. It was simple. She was squatting in the garden and when she saw them coming and recognized schoolteachers hat, she heard wings. Little hummingbirds stuck their needle beaks right through her head cloth into her hair and beat their wings. And if she thought anything, it was No. No. Nono. Nonono. Simple. She just flew. Collected every bit of life she had made, all the parts of her that were precious and fine and beautiful, and dragged them thought the veil, out, away, over there where no one could hurt them(16). Sethes frustration is a product of her different way of reasoning. She views her children as an extension of her life that needed to be protected, at any cost. Sethes concept of loving and protecting her children becomes synonymous with her killing Beloved and attempting to kill the rest. Sethe can see no wrong here. Placing her children outside the horror of slavery, even if it meant taking their lives, was in her mind a justified act of love, nothing more. Ironically, it is Paul D. who reveals the contradictions that Sethe refuses to see in her own logic This here Sethe talked about love like any other woman; talked about baby clothes like any other woman, but what she meant could cleave the bone. This here Sethe talked about safety with a handsaw. This here Sethe didnt know where the world stopped and she began. Suddenly he saw what Stamp Paid wanted him to see more important than what Sethe had done was what she had claimed. It scared him(164). Paul D.s character suggests that although the killing act might have been committed out of a irrational, hysterical, loving mothers need to protect her children, Sethes claim that she was and is justified in those actions can not be accepted. Paul D. recognizes what Sethe can not. When Paul D. calls into question her thinking, Sethe still refuses to see her own role in what has come to pass What you did was wrong, Sethe. I should have gone on back there? Taken my babies back there? There could have been a way. Some other way. What way? You got two feet, Sethe, not four... (165) Sethes problem is rooted in her inability to recognize the boundaries between herself and her children. Paul D. stabs at the heart of this problem by suggesting that Sethe had overstepped her boundaries by killing her child. The concept that Sethe equates her life and self-worth with her connection to her children is most graphically illustrated in her mad ravings to the reincarnation of Beloved. Sethe details a defense for killing her baby to the woman she believes is her reincarnated, murdered daughter. Within this defense, Sethe explains in the greatest detail her reasoning for cutting her childs throat. Sethe pronounces that the worst thing in life was that anybody white could take your whole self for anything that came to mind. Not just work, kill, or maim you, but dirty you. Dirty you so bad you couldnt like yourself anymore. Dirty you so bad you forgot who you were and couldnt think it up. And though she and others lived through and got over it, she could never let it happen to her own. The best thing she was, was her children. whites might dirty her all right, but not her best thing, her beautiful, magical best thing-- the part of her that was clean.(51) Sethes words suggest that the only part of herself that she cares for is her children. Indeed, the only reason that she killed her daughter is because Sethe refused to let School Teacher or any other white person dirty her children as Sethe herself had been dirtied. Sethes nobility is apparent. She loves her children to much to let them be tarnished by slavery. Unfortunately, Sethes nobility is tainted by the fact that she can not recognize absurdity of the murderous act she has committed. Even in her shameful defense, Sethe is proud. Sethes undaunted pride is illustrated by her words, And no one, nobody on this earth, would list her daughters characteristics on the animal side of the paper. No. Oh no. Maybe Baby Suggs could worry about it, live with the likelihood of it; Sethe refused- and refused still(51). Toni Morrison, in an effort to describe the motivation and pride of Sethes character, made the statement, To kill my children is preferable to having them die (Morrison 187). Saving her children from slavery and the promise of spiritual and emotional death that such an institution imposes is the rational of love that Sethes character clings to. The truth that Sethes character selfishly avoids is the actual physical death that she has inflicted upon her child. understanding why a woman would kill any child, let alone her own baby, is at best an enigma. Sethes character is no exception. Sethes motivation does not fit into a simple schematic. Sethe is presented as a woman who loves her children so much that she is willing to kill them rather than allow them to be broken by an evil institution. Love is, then, Sethes primary motivation for killing her baby. However, Sethes love for her children does not preclude her responsibility for Beloveds death. Indeed, Sethes selfish fault lies in the fact that she has shifted the locus of responsibility from herself to the institution that has spawned her. Ultimately, it is Sethe who is responsible for her childs death, not slavery. Sethe kills her daughter to demonstrate her love. Sethe exhibits her selfish pride by repudiating her own guilt. Does Sethe realize her fault? Perhaps. When presented the notion that Sethe, and not her children, is her own best thing, her reply takes the form of a question, Me? Me?(7). Morrison leaves the reader with the sense that Sethe might realize that she has loved her children too much, and herself not enough.

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Berlioz's Symphonie Fantastique

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Beethoven's Fifth Symphony & Berlioz's Symphonie Fantastique

Throughout the course of history there have been many distinct musical periods. Evolving out of some of these timeframes came many musical geniuses such as Mozart, Haydn, Bach, Schubert, Handel, Berlioz, and Beethoven. Each artist carried with them their own sense of style when creating their music. These decisions were a reflection of the musical period in which they were categorized. The two works I chose to analyze in this paper are Beethoven's Symphony No. 5; first movement, and Berlioz's Symphonie Fantastique; fourth movement. Each falls under the category of either the Classical Period (Beethoven) or the Romantic Period (Berlioz.)

It is debated whether or not Beethoven's Fifth Symphony is the most memorable musical phrase of all time. I chose the first movement because this is where the rhythmic idea of the three short notes followed by the long note is introduced. This particular part in the symphony is very important because it is the one and only element that dominates the entire symphony. There are two rhythmic themes in the first movement. Already mentioned is the " short notes and a long note" followed by the second theme which contains all quarter notes. This theme contrasts the beginning theme in that it has a smooth contour compared to the expressive and accented rhythm of the first theme.

In this movement we hear a simple melody that will be heard and developed throughout the entire movement. In actuality the first theme rhythm is heard in almost every bar of music in the first movement. The second melody of this theme contrasts the first. The second theme has a smooth line with an overall shape. There are no sudden changes in key or tonality in this piece; although, this is not to say that Beethoven did not use dissonant chords, he just doesn't resolve them like any other normal resolution we might hear of the time.

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A symphony is a long orchestral work that is organized into four movements. The first movement is almost always organized into sonata-allegro form. Sonata-allegro form consists of four main sections exposition, development, recapitulation, and coda. This is the form that Beethoven's Fifth Symphony; first movement follows. Beethoven got his musical ideas across by using dynamics to create and shape the piece. The tempo of this movement is fast and spirited. The combination of the tempo and the dynamics were the elements that basically shaped the first movement in this symphony.

Beethoven uses a symphonic orchestra in this piece. Some of the instruments used include flutes, oboes, clarinets, bassoons, french horns, timpanis, and probably one of the most important sections in this piece; the strings. Beethoven introduces, then reintroduces themes one and two throughout the movement. The strings introduce the first theme with their low plucking, then the horns pick up to lead into theme two. Beethoven mainly uses the horns to introduce new parts of the movement. For example, the horns introduce both the second theme and they are responsible for the introduction into the development of the movement. Beethoven alternates the woodwinds, brass, and strings to create a feeling of tugging between the three orchestral sections. There is also a time when the oboe is used as a countermelody to the " short notes and a long note" motive. The closing theme at the end of the movement gives the audience a different feeling than the closing theme in the first part of the movement because it has switched to C major mode.

The next piece to be discussed is Berlioz's Symphonie Fantastique; fourth movement. This particular piece falls into the Romantic Period and is categorized as a program symphony. The fourth movement portrays the story of the character's "March to the Scaffold." The form that Berlioz uses in this movement is loose ternary. In this movement Berlioz uses syncopation (upsetting a meter by accenting a weaker beat) throughout to create the steady march rhythm, hence the title "March to the Scaffold." Berlioz also forms what is called an ide fixe throughout this piece. The ide fixe is a very important part of the symphony because it serves as the symphony's recurrent theme. In each movement its appearances are varied in harmony, rhythm, meter, tempo, dynamics, register, and instrumental color.

Berlioz's uses a large orchestra in this piece, unlike Beethoven who used the symphonic orchestra. Some of the instruments included in this movement are flutes, piccolos, clarinets, french horns, bassoons, trumpets, cornets, timpanis, bass drums, bells, and strings. The instrumentation itself is a novel- harps, cornets, ophicleides, and a battery of percussion. Berlioz also specified many innovative effects, an oboe to imply distance, violins played with the wood of their bows to invoke terror and a strikingly modern minimalist (twentieth century) passage of chords for solo timpani to suggest echoing thunder. Each of these plays an important role in the overall mood of the movement.

In the opening of this movement we hear syncopation of horns, timpani, and low strings which give the implication of a dark mood. The first theme is then introduced in a minor scale played by low stings which descend the scale. The second theme is then introduced and includes brass and woodwinds. The whole opening section is then repeated. The development arises and the first theme is reintroduced except this time it is ascending the scale, rather than descending. The movement closes with the ide fixe with the melody played by the clarinet, followed by a loud chord that cuts off the melody.

This movement is played in G minor and follows a quadruple meter. There is a mix of textures in this movement, but one that I was able to pick out quite easily was the somber theme in basses and cellos which is polyphony. The dynamics in this movement range from p to fff, beginning with p in the opening of the movement to f in the end of the movement.

Structurally this movement forms a companion piece to the waltz with the marching theme. With the menacing introduction by the percussion and deep brass, the two themes alternate, the first possessing an eerie quality, the second one stridently pronounced on cornets and trumpets with trombones "growling" beneath. After the first theme builds to a tremendous climax, the ide fixe theme, once more on the clarinet, makes a momentary appearance before being peremptorily cut off by massive and conclusive brass chords.

The classical and romantic period both have certain styles associated with them. Some composers, such as Beethoven, are considered late classical early romantic, so in many ways they are very similar. These two pieces are probably one of the most well known pieces of their time. Beethoven's polyphonic/homophonic style and the ever so famous " note and then a long note" motive will live forever in the subject of classical music. On the other hand, Berlioz's piece Symphonie Fantastique donates the unique use of program symphony with the entire work unified by the ide fixe. Both men are enormous contributors to the history of classical music.

Please note that this sample paper on Berlioz's Symphonie Fantastique is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Berlioz's Symphonie Fantastique, we are here to assist you. Your cheap custom college papers on Berlioz's Symphonie Fantastique will be written from scratch, so you do not have to worry about its originality.

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Improvement Objectives

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CONFIDENTIAL

Internal Project Team Use Only!

JPS IMPROVEMENT OBJECTIVES

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The following information is a compilation of improvement objectives to fix the major problems for JPS. The objectives defined below will be incorporated into the eventual design of the to-be system for JPS. Remember this information is confidential and for your eyes-only. This is very sensitive material and cannot be viewed by any JPS employee or any Umbrella Corp. employee not involved in the JPS analysis.

I. In order to assist JPS' cash flow problem we would like to implement a Management Information System (MIS) geared towards Fred. This MIS would provide periodic reports about topics such as operation efficiency, effectiveness, and productivity. We hope this system will help Fred monitor, plan, and control the management processes at JPS to make better decisions. This way JPS won't be forced into a tight crunch with cash flows. Reports generated might consist of routine, scheduled reports, ad hoc reports, or exception reports.

II. Our objective is to create a database with all inventory computers and then apply the Economic Order Quantity (EOQ) model to this database system. With this model management will be able to determine the level of inventory acceptable and then the information system will be able to track inventory and when it falls below the reorder point, the inventory software will automatically generate a purchase order. In order to accomplish we plan on implementing a Materials Requirement Planning (MRP) software system. This will be an integrated system and will link functional departments like the office operations, the preservation lab, distribution/inventory, and promotion/corporate accounts at JPS. The new MRP II system will allow JPS to establish a just-in-time system that works with the reorder point to deliver products exactly when needed.

III. Using suggestions from Martha and Clifford we plan on creating an online order form for customers or corporations to quickly and easily order from the website and eliminate email requests. This should eliminate the down-time that the email would create while waiting for someone to receive the order. With this new online form the customer's request will proceed directly into the MRP system and automatically be placed in the system for processing.

IV. Another objective we have on the Umbrella Corp. JPS team is to work hand in hand with D.B. Wiederholt, Martha, and Willis to create a standardized pricing base for estimation to help the process of order taking and efficiency at JPS. This will hopefully eliminate any confusion customers have on how much orders will cost each time and clear up confusion with Mr. Wiederholt's "gut feeling" system of estimation. Regulating these prices should make for a faster compilation of a customer's estimates and a way to be positive that JPS is making money with each order.

Please note that this sample paper on Improvement Objectives is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Improvement Objectives, we are here to assist you. Your persuasive essay on Improvement Objectives will be written from scratch, so you do not have to worry about its originality.

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Unchanged, Unchanging

If you order your custom term paper from our custom writing service you will receive a perfectly written assignment on Unchanged, Unchanging. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality Unchanged, Unchanging paper right on time.

Our staff of freelance writers includes over 120 experts proficient in Unchanged, Unchanging, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your Unchanged, Unchanging paper at affordable prices! Unchanged, Unchanging.

To state that people continue on an unchanged and unchanging journey is of course absurd and preposterous in almost all circumstances. Various composers today have created texts which express and emphasise the concept that change is ever present in our world.

Composers such as Skrzynecki, Hulub, Robert, Vellis and the Wachowski brothers all display texts in which change and changing perspectives are examined in a variety of ways. In context, there is substantial evidence in the texts which supports the concepts that change is undeniable and unstoppable.

Text 1 "Crossing The Red Sea" by Peter Skrzynecki

Write my Essay on Unchanged, Unchanging for meRight away we see change. In the title "Crossing The Red Sea" the word crossing represent change, changing from one place to another.

There is also a change in time. In the first stanza it is the afternoon, the sun is setting and the people are discussing their past. In the fourth stanza it is night time and the peoples perspective on life has changed as they dream of a better life in their uncertain future. In the fifth stanza it is dawn and peoples perspectives change again as they awake from their dreams.

"Daybreak took away

The magic of dreams."

But of course the biggest change would have to be where the poem is set on a migrant boat travelling from their homeland to Australia. They are going to the other side of the world, to a country where they don't speak the language or understand the culture.

Text "10 Mary Street" also by Peter Skrznecki.

Within the first couple of lines change is outlined.

"We departed each morning, shut the house"

This represent change in several ways. One he departs the house, changing location but also a change in cultures, leaving his European culture at home and moving out into the Australian culture.

"We lived together -

Kept pre-war Europe alive

With photographs and letters,

Heated discussions

And embracing gestures

Visitors that ate

Kielbasa, salt herrings

And rye bread, drank

Raw vodka or cherry brandy

And smoked like

A dozen puffing billies."

Later Skrznecki is looking to the future and what will happen when the house is pulled down.

"Inheritors of a key

That'll open no door

When this one's pulled down."

Text "Post Card" again by Peter Skrznecki.

In the beginning Skrnecki is speaking as if it is a photograph which of course it is.

"Red buses on a bridge

Emerging from a corner-

High-rise flats and something

Like a park borders

The river with its concrete pylons.

The sky's the brightest shade.

Then his tone changes and he speaks as if it is a place.

"Warsaw, Old town,

I never new you

Excepted in the third person-

Great city

That bombs destroyed."

His tone again changes and he speaks as it is a person.

"I repeat, I never new you,

Let me be."

"And refuse to answer

The voices of the red gables."

"A lone tree

Whispers

"We will meet

Before you die."

The way he relates to the postcard changes from a photographic image to a place to a person.

Text 4 "The Door" by Mroslav Holub..

What is outside the "Door" will continually change - because of the responders frame of mind, because of the social context in which the "Door" is opened and because of when the responder opens the "Door". The poem does not change its language or its context but asks the responder to open their mind to other possibilities and look at it of a different perspective. Perhaps the responder will open new "Doors" to new possibilities.

Text 5 "Sky-High" by Hannah Robert.

Within this text there are two main changes. One time relating to age and the other her perspective, mainly towards the clothes line.

"The ultimate quest of the washing line."

"The best climbing tree in the backyard."

"It's an older, more age-warped washing line, I reach up to now. My hands easily touch the sagging wires."

"Where I was once the curious onlooker, I now write my own semaphore secrets in colourful t-shirts and mismatched socks."

She now hangs her own washing out and has many more pressing problems to solve that how to climb the clothesline.

Text 6 "The Wog Boy" by Aleksi Vellis.

The Wog Boy has some excellent instances that expresses change.

The first instances is right at the beginning of the movie when Steve's (the Wog boy) parents moved to Australia from Italy. This is represented by them arriving on a large ship similar to the one in the poem "Crossing The Red Sea". Also, black and white film is used to help the responder know it was a long time ago. The film then changes to colour to let the responder know that it is now the present. Another significant change occurs then Steve is denounced

by Dirren Hynch as Australia's biggest dole bludger. Steve shrewdly manipulates the situation to his advantage on national TV in a clever scene of role reversal. In no time, children are rapping to Wog Boy tracks and packing snacks in Wog Boy lunch boxes. Steve is famous!

There is one point in the movie which no doubt illustrates change and that is when Steve and his best friend Frank have a fight.

Frank "You've changed !"

Steve "Don't say that."

Frank "I saw you. You were loving it."

Steve "No, you're the one with the problem Frank. You haven't changed."

Frank "See you admit it. You have changed."

What could be a better example of change than that.

Another example of change is when Frank falls in love for the first time showing he cares about someone besides himself.

Of course the final big change is the public's perspective towards Raelene (The Minister for Employment) when a tape is played showing Raelene and her chauffer taking part in sexual bondage.

Text 7 The Matrix by the Wachowski brothers.

The Matrix expresses change very differently to other texts. It is not obvious at times that there is change. However when we do realise that change has occurred it is very intense, dramatic and frightening.

In the beginning Neo (Mr Anderson) has two lives. By day he is a computer programmer for a respectable software company and the other life is lived by night where he goes by the name Neo and is guilty of almost every computer crime known.

The next real change is not until Neo is awoken from reality (the Matrix) into the real world. The context then changes and time changes.

Morphos "More important then what, is when".

Neo "When?"

Morphos "You think it's the year is 1 but in fact it's closer to 1."

Morphos tries to change Neo's perspective of reality and life.

Neo "I know what your trying to do."

Morphos "I'm only trying to free your mind".

The texts also relates to other texts such as the "Door"

"I can only show you the door. You have to talk through it".

But the biggest change is that of Neo when he changes into the "One" the prophecy.

Morphos "He's beginning to believe."

Trinity "How did you do that. You move like they do. I've never seen anyone move that fast."

Tank "I knew it. He's the one."

All of these texts do a good job of outlining change and only confirm the way in which change affects every part of everyday life no matter how big or small, how obvious or subtle.

Some change is positive and some is negative but change is the reality of life. Change is an never ending process and we should be striving to make changes as positive as possible. Authors will continue to write about change because change is what life is all about.

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To what extent can the reigns of edward and mary be regarded as forming a mid tudor crisis

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To What extent can the reigns of Edward and Mary be regarded as forming a mid Tudor crisis

The reigns of both Mary and Edward were both responsible for a period full of turmoil and controversy. So naturally the debate of whether there was a crisis will be presented. There were various aspects throughout both reigns that have to be analysed to see if there was a crisis or not foreign policy, economic policy, government, laws, politics and religion, since these are the only fields that a noticeable crisis would take place.

remained was that Edward was too young to provide a proper leader for a nation and somebody who wasn't royalty would have to take his place. In order to prevent this from happening, Henry left in his will that there would be a council of sixteen men all with equal power left to rule the country. One man Edward Seymour who was currently the Earl of Hertford already a member of the council soon emerged as leader through discovering loopholes in henry's will (although it was more likely altered) the governing sixteen had been named but were able to dispose of power as they saw fit. So he took Edward VI his nephew to London and was given the position of Lord protector of Edward VI via the council. Later he was to discover further loop holes in which he implemented a vague clause in Henry's will concerning gifts that henry was supposedly going to give to the members of the council. Councillors were raised in the peerage. Seymour's gift was to become duke of Somerset. All needed gifts of land also to secure their new status Somerset managed to use this to buy off opposition and secured his position holding sole power he was now no longer merely a councillor but he was in practise a substitute king.

Somerset's short reign was one of failure he had a fixation on war he continued to pour vast amounts of funds into a relatively pointless war with Scotland which was lost any way. He distanced himself from the other councillors and essentially isolated himself from them, this would undoubtedly cause the creation of an opposing faction who disagreed with what he was doing. This caused a period of instability in the government with internal conflict. Not what I would say was a crisis since no undesirable outcomes from the conflict it was in fact in my opinion a good thing since it removed Somerset who was damaging England with his poor foreign policy. The duke of Northumberland led the opposing faction, which brought the duke of Somerset down. The duke of Northumberland's reign was much more successful than that of Somerset's he had a much more peaceful foreign policy but was responsible for some unforgivable acts that have for ever tainted his name and one of which was responsible for his death. Firstly he surrendered Boulogne to the French and sold it for a fraction of what it was worth. Secondly when he discovered Edward's illness he tried to position Jane Grey his daughter-in-law as queen. His interfering with the order of succession was a viewed a terrible crime by Mary and her followers as a result Northumberland was executed. Had Mary's followers not spoken out the reign of the Tudors would have ended there and then. At this point there was what seemed a possible crisis with the order of succession but it never occurred so although a crisis was imminent it never happened.

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After Edward VI's death Mary was next in line for the throne she was the first woman ever to solely rule England. It was a big responsibility and challenging position and many believed she wasn't up to it because of her being a woman. This was in a society where women were second class citizens with no real influential power. To worsen the matter she married a foreign prince from Spain, Prince Philip. Her government disagreed with Her, as did many other people. There was in fact a rebellion sparked up by a man Named Wyatt as protest to the marriage. The uprising was crushed and no more followed. The idea of a foreign Prince and the possibility of England being drawn into wars that had nothing to do with England did not please the people. Mary insisted on the Marriage and her and Philip were wed. Mary's government was a particularly bad corrupt one with untrustworthy members within it, split between them and the trustworthy loyal members. Although suprisingly the government did manage to pull together to right up the marriage treaty of Mary and Philip which was the work of Mary herself, Paget, Gardiner and Renard, and Paget and Gardiner where in opposing factions at that time. Although they all disagreed with the marriage they had to support Mary for fear of losing patronage. Again there was no actual crisis here but there seemed to be possibilities of a crisis breaking out with the instability and corruptness of Mary's government. And that the marriage to Philip would cause trouble for the English. Little harm came from neither.

One of the other main Debates for a Mid-Tudor crisis is that of Religion. At this point in time the religion situation in England was a particularly unstable one with the change from Catholicism to Protestantism and back to Catholicism all in the space of Twenty-five years. Henry had established the Protestant church in England and abolished the Catholic Church. Edward was a devout Protestant and Protestantism followed in his reign. Although it was not followed very securely throughout Somerset's partial rule he was to pre-occupied with war to be bothered about religion although he did what he had to retain patronage with the young king. Northumberland enforced religion much more forcefully then Somerset and Catholicism was not tolerated at all. When Mary came to power She was a devout Catholic and changed England's religion back to Catholicism which proved a problem since so many people had followed the Protestant religion since it had been enforced, it was a difficult time for the masses in which religion to devote yourself to. To do so at that period could be life threatening. The constant changing of Religion at that period caused much confusion within England although I am led to believe that there was never really a crisis, although it seemed like there was. As it was the constant cause of conflict.

The economical situation throughout these reigns was a rather unstable one. Throughout Somersets reign the situation was terrible he was spending thousands of pounds on the war with Scotland his actions led England further into a recession. The French saw this as their time to attack England when it was weak. Boulogne an English settlement within France was attacked. Somerset refused to give up and continued to pour more money into the fight for Boulogne. To worsen matters a bad harvest followed and taxes had to go up inflation also went up as the result of debasement of the coinage and food prices doubled but people's wages didn't. Northumberland restored some order to the economic state of England but unfortunately his reign was to short to make a significant difference and Mary's reign had bad economics also. There were bad harvests again and food prices rocketed, there was severe famine and many died. I would say at this point that if there was a crisis during the mid-Tudor period it was now. Things were at an all time low in England.

England's Foreign policy was particularly poor at the beginning of these reigns when Somerset was in power. His war policy with the French and the Scottish was a bad one, which cost England lots of wasted money and lives. Northumberland's policy was more peace related and was without war as was Mary's in which foreign relations improved heavily with the alliance of English and Spanish through the marriage of Mary and Philip. England had come off better than the Spanish from the marriage as a result of the marriage treaty. And new trade links had been formed. Other then Somerset's reign foreign policy was not too bad other the loss of Boulogne and Calais on Mary's behalf when she was persuaded into a war by Philip I feel there was no real crisis at that point.

Throughout the Mid-Tudor period I feel there was lots of turmoil and lots of situations where it looked like a serious crisis was about to happen although one never actually happened. I think it is safe to say that there was definitely a series of minor crisis that occurred throughout the period that may of raised doubt as to whether there was a mid-Tudor crisis, for example the war situation with France and Scotland. And the economy situation throughout all of the reigns.

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Free Will and "The Story of An Hour"

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What is freedom?

Freedom is an independent person=s greatest gift freedom to dream, to assert oneself, to drink the Aelixir of life@ Kate Chopin reveals in AThe Story of an Hour@ how relationships and marriage in specific can suffocate one=s freedom and ability to live life with the liberating impulse of their own being. Mrs. Mallard=s free will is stifled by her dull marriage to Brently Mallard. Mrs. Mallard suffers not only from a physical heart ailment , but also from a broken heart as a result of an imprisoned free spirit. By depicting Mrs. Mallard as a broken, weak and imprisoned women, Chopin suggests that marriage can chain down the Astrongest impulse@of an independent women her free will.

Chopin characterizes Mrs. Mallard as a passive (broken)women with a heart so weak that it could stop beating at the slightest shock. (The first indication that Mrs. Mallard is broken and weak occurs in how Chopin sets the mood of a nursing home. ) AKnowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband=s death.@ Her sister Josephine and her husband=s friend Richards view Mrs. Mallard as weak and broken down and they worry that all the news at once might be too much for her to handle. AIt was her sister Josephine who told her, in broken sentences, veiled hints that revealed in half concealing.@ Josephine is tantalizing with her hints because she believes Mrs. Mallard is too weak and feeble and that the initial shock may be too much for her. Richards Ahad only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.@ Richards cares for Mrs. Mallard greatly and he feels that he has to be careful and tender in the way he bears the sad message. He=s afraid that if a more careless friend lets Mrs. Mallard know, she may not be able to handle the sad news. However, Mrs. Mallard does not respond to the news of her husband=s death like most typical women would Ashe did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister=s arms.@ Chopin is suggesting that Mrs. Mallard did not love her husband as much as people would expect. In fact , her sudden wild abandonment points more to a buoyant release from a heavy weight than an immobilizing shock of grief . Mrs. Mallard did not react in a traditional way because her love was not completely real Ashe had loved him-sometimes. Often she had not.@ In short, Mrs. Mallard=s actions and reactions following the news of her husband=s death imply that her spirit and will to live have been imprisoned behind the bars of her marriage. Her will has been bent Aby the powerful will of another@ , and now the news of his death has set her heart free.

(The second indication that Mrs. Mallard=s will is chained down occurs in how )Chopin uses the imagery of springtime to symbolize new life for Mrs. Mallard after she has heard the news of her husband=s death. The suggestion is that Mrs. Mallard was not free before her husband=s death, and now as she looks out the Aopen square@ before her, she sees the Atops of trees that were all aquiver with the new spring life.@ Symbolically, this Anew spring life@ represents the new and free life that Mrs. Mallard begins to birth out of her Avacant...fear A of the unknown. Her senses begin to awaken and her Ahaunted@ physical exhaustion begins to Aquiver@ with new sights and sounds. She surrenders to her heart=s A sound of a distant song@ and she begins to drink in Aa delicious breath of rain@. Furthermore, Mrs. Mallard sees Apatches of blue sky showing here and there through the clouds.@ Her will to be free is beginning to appear like the heavenly blue patches of sky , uncovered from the clouds of her life. (Also, the image of blue sky appearing through the clouds implies that Mrs. Mallard=s own will used to be covered up like the clouds that cover up the blue sky. )

(The third indication that Mrs. Mallard=s free will has been chained down by marriage comes from the diction the Chopin employs in describing Mrs. Mallard after the news of her husband=s death.) Chopin highlights Mrs. Mallard=s new gift of freedom by sequencing words such as Aopen@ , Aabandoned@ and Aescaped@. First, she uses the word Aopen@ in describing the window. It is important to note that this diction is applied immediately following the news of Brently Mallard=s death. It can be inferred that Mrs. Mallard=s will was always closed and suffocated inside of her as a result of her obligations in marriage to Mr. Mallard. After the news of the death, Mrs. Mallard=s life begins to change. Everything she sees and experiences is open and full of life like the Acountless sparrows (that) were twittering in the eaves.@ AOpen@ symbolizes that Mrs. Mallard is beginning to open up her heart to this new Aelixir@ of life she is experiencing. In addition, Chopin uses the word Aabandoned@ to imply that Mrs. Mallard is abandoning all the physical boundaries that have been pressing in on her. In the ephiphany of an hour, Mrs. Mallard is abandoning herself to her imagination, and she begins to dream of what it is like to be free and full of life AWhen she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath Free, free, free!=@ Lastly, Chopin uses Aescaped@ to suggest that Mrs. Mallard is escaping from the physical boundaries of her marriage and from her weakened body Ashe saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome.@ The use of this specific diction takes the reader into the imagination of Mrs. Mallard during her hour of freedom as she realizes that Athere would be no one to live for during those coming years@ but herself and that Athere would be no powerful will bending her in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow creature.@

AStory of an Hour@ (demonstrates how a free will can be smothered by marriage and it) offers ironic twists regarding freedom and marriage. Mrs. Mallard=s freedom and joy in her new free will lasts only an hour. As she walks downstairs Alike a goddess of victory@ the physical door opens and her physical husband walks in. Her heart cannot take the shock of her old physical reality because she had been imagining her new spiritual freedom for an hour. It is ironic that when faced again with her physical reality, she has to die to truly experience the freedom she had been imagining for an hour. (Chopin is implying that 1th century marriages can chain down an independent women=s freedom and ambition so drastically that death is the only way to discover true freedom. ) Mrs. Mallard=s brief ephipnay lit is poignantly echoed by the Romantic poet William Blake To see the world in a grain of sand/and Heaven in a wild flower/To hold infinity in the palm of your hand/And eternity in one hour.

Please note that this sample paper on Free Will and "The Story of An Hour" is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Free Will and "The Story of An Hour", we are here to assist you. Your cheap custom college paper on Free Will and "The Story of An Hour" will be written from scratch, so you do not have to worry about its originality.

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