The Tell Tale Heart

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The Tell Tale Heart' is a story about a man who killed an old man just because he didn't like the way his eyes looked like. The main character speaks about madness as being a gift and not a kid of disability for example in paragraph one on page he says ' but why would you say that I am mad? The disease had sharpened my senses-not destroyed-not dulled them'. The mad man killed the old man and then cut him up and put him under the floorboards of the house.

'The fruit at the bottom of the bowl' is a story about a man (William Acton) who killed his neighbour (Huxley) because he thought that Huxley was having an affair with his wife. Acton strangles Huxley and then he cleans the Huxley's house so that there aren't any fingerprints in the house left so that the police can trace the murder back to Acton.

In 'The Tell Tale Heart' the main character thinks that he has done the right thing by killing the old man and that he got rid of the 'evil eye'. The main character is very confident about what he has done and think that he had a very good reason for killing the old man which was that he didn't like the way his eyes looked like and because he thought that the eyes were evil. We can see evidence of that in the nd paragraph on page where he says 'I think it was his eye! yes, it was this! One of his eyes resembled that of a vulture-very gradually- I made up my mind to take the life of the old man, and thus rid myself of the eye for ever.' In my opinion I think that this is no good reason for killing a human being the is like me killing someone because they have ginger hair whereas is 'The fruit at the bottom of the bowl' William Acton has a good enough reason about killing Huxley well maybe not a big reason, but at least a normal reason for killing Huxley and the reason is that Acton thought that Huxley was having a affair with his wife. I think Acton maybe feels a little bit guilty and is very paranoid about the whole murder unlike in 'The Tell Tale Heart' where the murder is very confident about what he had done and planned the whole murder whereas Acton didn't really plan to kill Huxley, but Acton in his mind thought that Huxley knew all along that he was going to get murdered. Acton thought that Huxley planned to get murdered and so told Acton to touch a lot of stuff in the house for example on page 8 Huxley said 'There's a bottle of burgundy, Acton. Mind fetching it from that cabinet? essaybank.co.uk wwcb cbw escbcbs aycb cbba ncb kccb cbuk. wweg egw esegegs ayeg egba neg kceg eguk. wwfd fdw esfdfds ayfd fdba nfd kcfd fduk;

Yes, fetch it. Handle it. Touch it. He did.'

Than Acton thought that Huxley was basically setting him up. Once Acton strangled Huxley he had started to clean the house of fingerprints. That was all fine and well but Acton didn't clean only the door knobs, glasses, cup and things like that which he touched he cleaned the whole house the walls, the couch absolutely everything which was a sign of big paranoia from Acton. wwaf afw esafafs ayaf afba naf kcaf afuk.

The character in 'The Tell Tale Heart' had a lot of conversations throughout the story but all the conversations were to himself. The things that the character talked about were very strange. He talked about how every night at midnight for the last week he came to check on the old man to see the 'evil eye' and to look up on the old man. The character talked about how cautiously he opened the door so the old man wouldn't here him. He would open the door 'just so much that a single thin ray fell upon the vulture eye'-as in paragraph one on page 4 whereas in the 'Fruit at the bottom of the bowl' Acton the main character had conversations with himself using flashbacks like on page 8 in the first paragraph were he looked back just before he killed Huxley and the things that happened. As Acton looked back he realised that Huxley was telling him to touch everything in the room the books, the bottle of burgundy, the burgundy glasses etc. as if Huxley knew that he was going to get murdered. Acton thought that Huxley was setting him up for what he was about to do. Acton now thought that his fingerprints were everywhere in the house and the he was set up by Huxley and in a way he thought that he was outsmarted by Huxley. When Acton went to look for the gloves so that there weren't any more fingerprints in the house he was a bit frustrated that he couldn't find the gloves and so was asking himself even more could Huxley have know that he was going to get murdered? Like on page 86 in the first paragraph Acton said 'Did you guess I was going to kill you?' and on the same page in the same paragraph he said ' Were you that cleaver and that mean?' The other conversations that Acton had were about how he could have done the murder better. Z7HS Visit essaybank ea co ea uk ea for more ea Do not ea redistribute Z7HS wwbb bbw esbbbbs aybb bbba nbb kcbb bbuk; wwgf gfw esgfgfs aygf gfba ngf kcgf gfuk.

In 'The Tell Tale Heart' the main can hear and see a few strange things. The character sees the old mans eye as evil. This maybe is not unusual because the old man could be looking at the character in a strange way and by looking that way at him the character may think that the old man has an 'evil eye'. After he has murdered the old man and when he is sitting down in the room where the old man is dead under the floorboards chatting with the police he all of a sudden starts to hear a heartbeat which is getting louder, louder and louder. This heartbeat may represent the characters guilty conscience and shows us that the character is actually nervous about what he had done. However it's that mad people don't have a conscience so this may support the characters argument about not being mad, but on the other hand hearing a heartbeat that no one else can hear is a little bit strange and points that he might be mad. So the heartbeat is the key point in answering the question is he or is he not mad?

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In 'The Fruit at the bottom of the bowl' Acton can see himself as an artist who has just made a piece of art (the dead body) and clearing all the evidence that points to him. This make Acton look not normal but a bit mad if he looks at a dead body and treats it like a piece of art. As the story goes Acton starts to see fingerprints all over the house. His fingerprints. This is a little bit strange, as you cannot see fingerprints with your naked eye unless you are really close and seeing fingerprints on an object is extremely hard. This is showing that he is a bit mad and a bit paranoid. wwbf bfw esbfbfs aybf bfba nbf kcbf bfuk.

Both characters start to see or hear things after they have committed the crime, which shows I think that they are guilty, but the heartbeat is ambivalent and the fingerprints are not. When the main characters start to see and hear things they start to fall and get very, very nervous which shows again that they are felling guilty. The seeing of the fingerprints was the reason why Acton started to polish the whole house and in my mind the reason why he got caught. wwfd fdw esfdfds ayfd fdba nfd kcfd fduk!

The characters reactions help us tell wheatear they are mad or not. Acton feels very passionate about his murder and treats it like a piece of art and so tries to make absolutely everything perfect. If you look as a piece of art like the Mona Lisa then I think that the person is completely mad. However the main character in 'The Tell Tale Heart' is not as thrilled as the Acton about the crime. The character is just happy the he got rid of the 'evil eye'. He treats it like a job so he is happy that the job was done successfully. Acton's reaction is a bit strange whereas the reaction of the main character in 'The Tell Tale Heart' is very normal it's like ok job done move on whereas Acton is trying to make it better and better as a true artist.

Once the characters have committed the murders they are starting to get rid of the evidence and in this part where they are meant to make everything normal in my mind they make us think that they are even madder then we thought at the beginning of the story. In 'The Tell Tale Heart' the character kills the old man and then he chops him off into pieces and putts the body under the floorboards of the room, which in a way is smart but also very sick and insane. Acton is even madder because he starts to polish the whole house so that he would get rid of the fingerprints he even polishes the walls and even the furniture. This shows that he is insane because he is saying that he is seeing the fingerprints and it is nearly impossible actually I think it is impossible to see your fingerprints with your naked eye on fabric, which shows that he is mad and paranoid. However it is normal to clean fingerprints to get rid of the evidence but the problem is that Acton took it over the edge. We can see that both characters are emphasising madness they are also showing us that they are a bit normal and smart. from www.essaybank.co.uk wwdc dcw esdcdcs aydc dcba ndc kcdc dcuk. wwff ffw esffffs ayff ffba nff kcff ffuk.

The two stories are told in different ways. 'The Tell Tale Heart' is told in the 1st person narrative whereas the 'The Fruit At The Bottom Of The Bowl' is told in the rd person narrative. I think that the story is better told if it's in the 1st person narrative because it lets you see the story from the characters point of view and it lets you engage with the thoughts and filings of the character. wwge gew esgeges ayge geba nge kcge geuk.

In the stories rhetorical questions are used. The use of the rhetorical questions is different in the stories because 'In the Fruit At The Bottom Of The Bowl' the rhetorical questions are used to create confusion whereas in 'The Tell Tale Heart' the rhetorical questions are used to express anger from the main character this is showing that the character isn't happy when people call him mad.

In the stories there was also strange use of punctuation to affect the madness. The character in 'The Tell Tale Heart' being mad to us a lot of repetitions like 'very, very' and louder, louder etc. There also is a lot of dashes so that the sentence is made longer and in a way makes us the readers think that the character is mad. There is a lot of short and long sentences in the stories. The short sentences were mainly used they to create a bigger impact on the reader whereas the long sentences were boring and mostly describing things. The short sentences were used in 'The Tell Tale Heart' when the main character was feeling tense especially when he started to hear the heartbeat of the old man. JSe0tJ from JSe0tJ essay JSe0tJ bank JSe0tJ co JSe0tJ uk

I think that the portrayal of Edgar Allan Poe is better because his technique was better than the one of Ray Bradbury. I think that because he wrote in the 1st person narrative this is because I could engage better with the character and get into his inner thoughts whereas the rd person narrative which was used by Ray Bradbury doesn't give you that kind of insight into the character and the 1st person narrative helps us understand the characters madness. The other good thing that Edgar Allan Poe did was that he made the madness of the character grow more and more as the story went on.

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Ekati Mines of Diamonds

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After a man endlessly searches for the perfect diamond ring for the love of his life, the wonder of where the jewel comes from always arises. Yet, the wonder is truly, undoubtedly not on where it comes from, but how it comes to be. The Ekati Mine in Canada's Northwest Territories, is one of the places where diamonds originate. But before diamonds become the shiny crystals that they appear to be, deposits must be located, ore must be processed to markets, and of course, environmental laws must be followed for the protection of the Earth.

Locating deposits in this mine is very simple. Due to the ancient volcanoes that erupted many years ago, magma had passed through the diamonds in the earth and brought them back up closer to the surface. As the glaciers formed over, they soon melted forming lakes in this mine. Under all these lakes are kimberlite pipes filled with diamonds 00 km under the earth.. Yet, getting to these diamonds is not an easy task. After Panda, the first kimberlite pipe was located, the draining procedure of the lake took months. After this procedure was finished, a dame had to be created to stop any water from flowing into the pit during extraction. Diamonds were very easily found at this time, and then sent out to be processed.

As one of the largest diamond mines in Canada, the Ekati Mine produces diamonds that are some of the purest. This may be why Canada has 6% of the world demand for diamonds. Yet, getting that perfect diamond takes processing. Processing the ore is one of the more complicated processes. One the ore is extracted, it must be sent to the processing plant. Once in the plant, the ore is put on a conveyor belt to be screened, scrubbed, pumped, screened to size, washed, separated, screened again, and then separated from the Earth. After this ore is completely stripped, it is sent to the sawing room where the diamond is then ground until it is cut completely in half. It is soon sent to the bruiting room where the diamonds pieces are formed into circles and than polished and examined to be sure the diamond is perfect.

Yet before that perfect diamond could even reach the stores to be sold, many environmental laws must be followed for the mine to be able to sustain. The federal government of Canada has been after the Ekati Mine for over twenty years claiming that any Northern Development projects have to be screened and tested for the impacts that may be caused socially and environmentally. In 14, the Ekati Mine was assessed by B.H.P, along with many other committees. Two years later, B.H.P, go the go ahead to be able to perform their duties. With that, the mine was able to produce wonderful diamonds for the world admire.

Truly, diamonds are a wonderment. Whether it be their looks, their origination, the methodical way they are created, and the way they do not harm the environment, which is very important to an everyday life. With the Ekati Mine in place, diamonds will be around for a very long time. After all, diamonds are forever.

After a man endlessly searches for the perfect diamond ring for the love of his life, the wonder of where the jewel comes from always arises. Yet, the wonder is truly, undoubtedly not on where it comes from, but how it comes to be. The Ekati Mine in Canada's Northwest Territories, is one of the places where diamonds originate. But before diamonds become the shiny crystals that they appear to be, deposits must be located, ore must be processed to markets, and of course, environmental laws must be followed for the protection of the Earth.

Locating deposits in this mine is very simple. Due to the ancient volcanoes that erupted many years ago, magma had passed through the diamonds in the earth and brought them back up closer to the surface. As the glaciers formed over, they soon melted forming lakes in this mine. Under all these lakes are kimberlite pipes filled with diamonds 00 km under the earth.. Yet, getting to these diamonds is not an easy task. After Panda, the first kimberlite pipe was located, the draining procedure of the lake took months. After this procedure was finished, a dame had to be created to stop any water from flowing into the pit during extraction. Diamonds were very easily found at this time, and then sent out to be processed.

As one of the largest diamond mines in Canada, the Ekati Mine produces diamonds that are some of the purest. This may be why Canada has 6% of the world demand for diamonds. Yet, getting that perfect diamond takes processing. Processing the ore is one of the more complicated processes. One the ore is extracted, it must be sent to the processing plant. Once in the plant, the ore is put on a conveyor belt to be screened, scrubbed, pumped, screened to size, washed, separated, screened again, and then separated from the Earth. After this ore is completely stripped, it is sent to the sawing room where the diamond is then ground until it is cut completely in half. It is soon sent to the bruiting room where the diamonds pieces are formed into circles and than polished and examined to be sure the diamond is perfect.

Yet before that perfect diamond could even reach the stores to be sold, many environmental laws must be followed for the mine to be able to sustain. The federal government of Canada has been after the Ekati Mine for over twenty years claiming that any Northern Development projects have to be screened and tested for the impacts that may be caused socially and environmentally. In 14, the Ekati Mine was assessed by B.H.P, along with many other committees. Two years later, B.H.P, go the go ahead to be able to perform their duties. With that, the mine was able to produce wonderful diamonds for the world admire.

Truly, diamonds are a wonderment. Whether it be their looks, their origination, the methodical way they are created, and the way they do not harm the environment, which is very important to an everyday life. With the Ekati Mine in place, diamonds will be around for a very long time. After all, diamonds are forever.

Please note that this sample paper on Ekati Mines of Diamonds 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 Ekati Mines of Diamonds, we are here to assist you. Your cheap custom college paper on Ekati Mines of Diamonds will be written from scratch, so you do not have to worry about its originality.

Order your authentic assignment from and you will be amazed at how easy it is to complete a quality custom paper within the shortest time possible!

Fashion

If you order your custom term paper from our custom writing service you will receive a perfectly written assignment on Fashion. 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 Fashion paper right on time.

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

The Color Purple is the story of a broke African American woman living in the south between World War 1 and World War . At this time, even though slavery had ended, many women, black and white, were still practically in oppression, and had to put up with several conditions that were reminiscent of the days of slavery. The problem was that they had to suffer being treated like an inferior being by their own families sometimes, as well as from the white community that lived there. It was a time that was filled with misery for many African American women, and they felt powerless to do anything about their situations. The novel focuses mainly on an African American woman named Celie, who has lived a hard life already when, at the age of 14 she begins writing notes to God to have someone to confide in, and tell her thoughts and secrets to. In her first note, she says I have always been a good girl. Maybe you can give me a sign letting me know what is happening to me. Already at that young age she has been taking care of her siblings, and has been working very hard at trying to get something of an education. She has been raped by her daddy repetitively because, as he says, You gonna do what your mammy wouldn't. She has had two children by him already, and he's taken both of them away right after they were born. She thinks he might have murdered one, but later finds out that he sold them to a couple in town. Celie doesn't do anything about her situation, because she's used to being treated like that. She's terrified, and she worries for her sister Nettie too, when her Pa starts looking at her the same way.

Sooner or later, a man referred to as Mr. comes along and wants to marry Nettie, but he's too old for her, and ends up marrying Celie. Mr. takes a couple of months to think it over, but goes ahead and marries her because he needs somebody to watch over his children. It's not so much he wants a relationship, he just wants someone to mind of things for him so he doesn't have to do much, and he wants something else when he wants it. Her father even tells Mr. that She ugly... But she ain't no stranger to hard work. And she clean. And God fixed her. You can do everything just like you want to and she ain't gonna make you feed it or clothe it. As soon as she is married, she is being abused by Mr.. She has to work the fields, raise his children (one of which splits her head open with a rock on the day she gets married), and suffer beatings whenever he gets angry about something and wants to take it out on her. One time when Mr. is asked by his son Harpo why he beats Celie, he tells him Cause she my wife. Plus, she stubborn. All women good for- he don't finish. She tells God about how He beat me like he beat the children.... Cept he don't never hardly beat them. He say, Celie, git the belt. The children be outside the room peeking through the cracks. It all I can do not to cry. I make myself wood. I say to myself, Celie, you a tree. That's how come I know trees fear man.

Life goes on, until she meets a couple of women that change her life around. The first woman she meets is Sophia, who marries Harpo. She isn't afraid to stand up for herself, even to a man. When Mr. asks Harpo if he ever beats her, Harpo is embarrassed, and says that he hasn't. So Mr. tells him he should, because Wives is like children. You have to let 'em know who got the upper hand. Nothing can do that better than a good sound beating. While he may have thought he gave his son some good advice, when Harpo tries it, Sophia knocks him right back into place by beating him up instead. When Celie and Sophia talk about Mr., Sophia tells her You ought to bash Mr. head open., but she knows she would never get away with it. She's just coping with things as they are because that was the way she'd always been raised and treated. It's almost common to her, but at the same time, she admires the way Sophia can take care of herself, and I think she wished she was fearless enough to do the same. Sophia eventually leaves Harpo because of the way she is mistreated, but Celie finds out that she's not so lucky when she shows her attitude to the Mayor and his wife in town one day. When she's asked if she'd like to be a maid, she replies Hell, no. When the mayor asks her what she said, she repeats it, and he slaps her. With that, Sophia hits him back, and ends up getting beaten up herself, and put in jail. She gets out after Mr. and some others come up with a plan, but has to spend the rest of her sentence as a maid, living under the house where she is working off the rest of her time. The lesson for Celie (and others) is that although Sophia got away with standing up to Harpo and other black people, she found out that she couldn't get away with it around everyone. The other person that changes Celie's life and finally gives her some self confidence is Shug Avery, a singer that coincidentally was in love with Mr. years before. They wanted to get married, but couldn't because he was forced to marry another woman that was prearranged for him. In another kind of twist, Shug is very mean to Celie when she first arrives at their house to get over being sick, and it is because she is to some extent jealous of Celie being married to the man she wanted to marry. Also, one of the reasons that Mr. beat Celie sometimes was because he was married to her, and she wasn't Shug. After some time, the two women get to talking and find that they do like each other, eventually ending up being just more than friends. They form a strong friendship, and Celie finally realizes what it is like to be in love with someone else, not like a sister, but more like a companion, even though Shug is not a man. Over the years they get closer and closer, and one night, even though Shug had gotten married to a man named Grady, they talk about Celie's life. She tells Shug that Mr. come git me to take care his rotten children. He never ast me nothing bout myself. He clam on top of me and fuck and fuck, even when my head bandaged. Nobody ever love me. Shug replies, I love you, Miss Celie. And then she haul off and kiss me on the mouth. With Shug on her side, and making her feel that she is worth something besides being a servant for everyone but herself, she finally starts to get some self worth. The last straw was when after years of not having any contact with her sister Nettie (she had run away after her father tried to get her, too, and ended up living with Celie for a short time until Mr. tried the same thing), she discovers all of the letters that Nettie had written her ever since she had left. Mr. had told her that she would never hear from Nettie again, and every time another letter would come for Celie, he would bury it in a strongbox upstairs, and not tell Celie about it. One day, Shug tells her to come with her after she'd gotten the key for the box, and they find ... way down under his tobacco, Nettie's letters. Bunches and bunches of them. Some fat, some thin. Some open, some not. Many years worth of letters, in which Celie finds out that Nettie became a missionary in Africa, and she has been watching over the children that Celie had years before, Adam and Olivia. She is also overjoyed to find out that her children are okay, and that it wasn't her Pa that had raped her when she was 14, but her stepfather, so her children won't be dunces as she's been told that children of incest are. When she knows that Nettie is still living, her attitude changes a little more. She writes one letter to God saying Now I know Nettie alive I begin to strut a little bit. Think, when she comes home us leave here. Her and me and our two children. She finally gets the courage to stand up for herself one day when Shug says that she and Grady are going to leave for Memphis, and then says that Celie is going with them. Mr. starts to protest, saying Over my dead body, but Celie finally tells him off, calling him a lowdown dog and informing him your dead body just the welcome mat I need. She tells him You took my sister Nettie away from me.. and she was the only person love me in the world. Celie ends up going with Shug to Memphis, living in her home with her, and starting her own business, finally finding some gladness. She waits for her sister to come back and be reunited with her, and wants to see her children again, too. While she is creating a life for herself there, she finds out that she has been left a house with a storefront when her stepfather died. It belonged to her real father, and after her mother died, her stepfather didn't say anything and kept it to himself. Now that he was gone, it came back to her and Nettie. She sets up her business there, sewing and selling clothing, and waiting for her sister to come home with her children. Celie has at last gotten her confidence and her independence when Sophia tells her about a change in Mr. after she left him. She says one day that I know you won't believe this, Miss Celie, but Mr. act like he trying to git religion. When Celie talks to him next, he is more civilized to her than he has ever been up to that point. They make some conversation and eventually get to talk about things (especially Shug, who'd run off with someone else to New Orleans for a last fling). After they talk a few times, Celie gets along with him better, and even gets around to using his name, calling him Albert, instead of Mr.. She notices the change in him and his attitude towards women, and one conversation helps her learn why. They are talking about Shug, and Albert tells Celie how she stood up to him one time. She say Albert, you been mistreating somebody I love. So as far as you concern, I'm gone. Albert and Celie have quite a few conversations where they get to know each other better than they probably ever had, talking about religion, kids, and going over things that happened in their past. He seems to be remorseful about the way he had treated her, and apologizes for beating her just because she wasn't Shug. Celie teaches him to sew clothing, and he starts to take pleasure in it. Took me long enough to notice you such good company he tells her, and she says, He ain't Shug, but he begin to be somebody I can talk to. After years of not seeing her sister, and then years of using the letters to God and then to Nettie as a sort of lifeline, Celie's life was finally getting in order. She finds that she can be joyful and satisfied having her own life, without being treated like a doormat by others. She is finally truthfully delighted with her life and the way it is going, apart from for one thing. Her life is absolute when, after years of wondering about her sister, and then years of waiting, Nettie finally comes home, bringing their children, and Adam's wife from Africa. As Celie puts it, I feel a little peculiar around the children. For one thing, they had grown. And I see they think me and Nettie and Shug and Albert and Samuel and Harpo and Sophia and Jack and Odessa real old and don't know much what going on. But I don't think us feel old at all. And us so happy. Matter of fact, I think this the youngest us ever felt. With her long lost sister, and her kids reunited with her after so much time, there really wouldn't be any other way to feel besides young again, except for maybe an urge to make up for lost time. Now that she's being treated like she should be, it should be easier to make up the time to her family, because she can be herself, and be contented about it. That's saying a bunch after all she's been through, and Celie will definitely make the best of her as of this point on.

Please note that this sample paper on Fashion 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 Fashion, we are here to assist you. Your cheap custom college paper on Fashion will be written from scratch, so you do not have to worry about its originality.

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Why Sammy Really Quits

If you order your research paper from our custom writing service you will receive a perfectly written assignment on Why Sammy Really Quits. 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 Why Sammy Really Quits paper right on time.

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Why Sammy Really Quits

At first glance, Sammy, the first-person narrator of John Updike's A & P, would seem to present us with a simple and plausible explanation as to why he quits his job at the grocery store mentioned in the title he is standing up for the girls that his boss, Lengel, has insulted. He even tries to sell us on this explanation by mentioning how the girls' embarrassment at the hands of the manager makes him feel inside and by referring to himself as their unsuspected hero after he goes through with his gesture (Updike 60). Upon closer examination, though, it does not seem plausible that Sammy would have quit in defense of girls whom he quite evidently despises, despite the lustful desires they invoke, and a more likely explanation of his action lie in his boredom with his menial job and his desire to rebel against his parents and society as a whole.

While it's true that Sammy finds the three scantily clad girls who enter the supermarket attractive, as would most nineteen-year-old males, what is most notable about his descriptions of the girls, and particularly of the leader of the group, is that Sammy holds them in contempt. Once we get beyond the descriptions of their bodies, we see nothing but derogatory comments directed at them, including the nicknames that Sammy assigns to them. Nowhere is this more evident than in Sammy's description of the leader, Queenie. The nickname assigned to her by Sammy points out the stereotypical snap judgment that Sammy makes about her personality and social status initially, and to which Sammy rigidly adheres despite no real evidence of its accuracy. From the description of her prima donna legs, to his imagining of the type of party thrown by her supposedly rich parents, to his interpretation of her facial expression when confronted by Lengel (she remembers her superior social status), Sammy consistently portrays the girl as a stuck-up, spoiled rich kid who is just out to shake up the middle-class A & P. The notion that he would quit his job in defense of this person that he so evidently despises is ludicrous. In fact, prior to the description of Lengel's encounter with the girls, Sammy as much as admits the validity of the exact same objection that Lengel has to them, their appearance in swimsuits, when he offers us a description of the A & P's location in the middle of town, miles from any beach, and where the women generally put on a shirt or shorts or something before they get out of the car into the street (Updike 606).

A more likely explanation for Sammy's abrupt resignation from his job is his complete boredom with it. This dissatisfaction with his work situation is plainly seen in his regard for a group that Sammy holds in even more contempt than the girls the regular, paying customers. His references to them as sheep, house slaves and pigs reveals his attitude toward the group that keeps his employer in businessand Sammy in a job that he hates. His diatribe at the story's beginning directed at the witch who points out to him that he rang up the same purchase twice shows the unreasonable nature of this contempt for the customers the mistake was quite clearly Sammy's, yet he lashes out at a customer who simply did what any reasonable person would have done in pointing out the cashier's mistake. Sammy's cash register song and his delight with the girls' breaking up the orderly shopping of the sheep, who are merely trying to buy the items on their grocery lists, further point out the scorn that Sammy has for his menial job. It is also clear from his mockery of Stokesie's ambitions to remain employed at the market and work his way up to manager some sunny day that he has no such long-term employment plans of his own. The embarrassment of the girls gives him just the excuse that he needs to do what he has evidently wished to do for a long time quit his job.

That Sammy needs an excuse to quit is evident in his revelations about his family and their desire to see him in the cashier's job; Sammy views quitting the job as his way to assert his own independence. After all, Sammy introduces the climactic encounter between Lengel and the girls by telling us that his family thinks that the events that culminate in his resignation constitute the sad part of the story, although he is quick to add that he does not share this assessment. Sammy also implies that it was his parents who got him this job in the first place through their friendship with Lengel He's been a friend of my parents for years (Updike 60). And Lengel's reminder to Sammy that he does not want to do this to [his] parents when he abruptly announces his resignation serves as yet another link between obedience to parents and employment at the A & P. This also explains Sammy's evident contempt for yet another fixture at the A & P Lengel. In Lengel's paternalistic reminder to the girls about the impropriety of their attire, as well as in his patient attempt to talk Sammy out of quitting his job, we can hear the voice of the parental figure. Lengel represents the middle-class respectability that Sammy so evidently despises in his own parents, as revealed in his description of the type of party that they throw, where cheap beer in cartoon glasses constitutes a racy affair. This is apparently the type of life that Sammy's parents have already mapped out for him in securing him a position at the A & Pthe type of life that Sammy so desperately wants to avoid. In saying no to Lengel's suggestion that he relent and keep his job, Sammy is actually saying no to his parents and their attempt to put him on the road to middle-class.

In the final analysis, it would seem that the most obvious explanation for why Sammy quits his jobthe one that he impliesis actually the least plausible. While Sammy would like to portray himself as the fearless defender of the delicate sensibilities of innocent girls, the reality is that Sammy's motives in quitting have far more to do with his own sensibilities than with those of the three girls.

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Classification of flexibility

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Classification of Flexibility

Although often the taxonomies presented are

the result of mixed logics, four different

classification logics can be found (1) horizontal or

by phases; () Vertical or Hierarchical; () Temporal;

(4) By the object of the variation. Among the mixed

logics, the most common is that which takes into

account both the time and the object of the

variation.Horizontal classification of flexibility

Horizontal classification of flexibility is aimed

at limiting the analysis. It makes reference to the

single manufacturing stages, and , in a wider sense,

to all the phases which constitute the 'value chain',

which also include upstream design and

purchasing; downstream distribution and

customer service. More simply, one may distinguish

between internal flexibility (product/process design

and production flexibility) and external flexibility

(purchasing and distribution flexibility). The later is

relative to the need to meet the requirements of

customers, whereas the former to the need to meet

them in an efficient manner. Therefore, in Lynch

and Cross's (11) pyramid, flexibility is in a

central position on its left there is customer

satisfaction, which is an external performance, and

on its right there is productivity, which is an internal

performance. There are also lower-level

performances product quality and delivery

reliability constitute the customer satisfaction;

delivery reliability and short process lead times

improve the flexibility; short process lead times and

process quality and cost influence the productivity.

Vertical classification of flexibility

The vertical (or hierarchical) classification of

flexibility concerns the degree of detail of the analyzed object flexibility may be estimated in

relation to the single resources of a system (micro

level) or to the whole system (macro level).

Gerwin (187) in particular describes four

levels at which flexibility may be analyzed and

measured plant and machine level; production

function and work department level; product or

product line level; global level of the firm.

Mair (14) distinguishes three levels of

flexibility a 'micro' level, characterized by the

flexibility of workers, machines and organization; a

level of factory flexibility; a level of flexibility of

the corporation's network.

On the other hand, Swamidass (188) makes a

distinction between machine-level and plant-level

flexibility the former is exclusively technological,

whereas the latter also takes into account the firm's

skills, the procedures adapted, managerial systems,

etc.

Temporal classification of flexibility

Zelenovich (18) was the first to consider

short-term or adaptation flexibility as well as

medium-long-term flexibility, which is typically

related to design adequacy. The first complete

classification of flexibility on temporal bases was

given by Merchant (18), who makes a distinction

between

(1) instantaneous flexibility, the ability to

immediately select the most suitable work

center for carrying out the operation

required by the work cycle of a certain

part;

() very short-term flexibility, the ability to

modify the sequence and mix of the parts

produced;

() short-term flexibility, the ability to modify

certain design specification of the parts of

the products;

(4) short-to medium-term flexibility, the

ability of the system to work at the

maximal levels of productivity when

production volumes are varied;

(5) medium-term flexibility, the possibility to

add or eliminate parts from the mix of

parts being produced.

(6) medium-to long-term flexibility, the

possibility to modify the manufacturing

capacity by adding or eliminating work

centers;

(7) long-term flexibility, the possibility to

adapt the system to new types of products or mix of components.

The classification of flexibility on temporal

logic found in literature usually follow the

above-mentioned lines.

Classification of flexibility by the object of

variation

A classification often cited in literature is that

by Browne (184) which, taking into account the

Flexible Manufacturing Systems (FMS), considers

eight different types or dimensions of flexibility

(1) Machine flexibility the ease of change to

process a given set of part types;

() Product flexibility the ability to change to

process new part types;

() Process flexibility the ability to produce a

given set of part types;

(4) Operation flexibility the ability to

interchange ordering of operations on a

part;

(5) Routing flexibility the ability to process a

given set of parts on alternative machines;

(6) Volume flexibility the ability to operate

profitably at varying overall levels;

(7) Expansion flexibility the ability to easily

add capacity and capacity;

(8) Production flexibility the universe of part

types that can be processed.

Classification of flexibility according to more

than one variable (mixed classification)

As previously mentioned, although

classifications of flexibility according to one

variable (phase, level of analysis, time horizon or

the object of the variation) are the most common in

literature, mixed logics are also adopted. The most

common are those which consider both the object of

the variation and time, or both the object of the

variation and level of analysis (vertical logics).

Conclusion

The paper gives a summary of the definition

and classification of flexibility. Based on the firm's

context and other disciplines separately, three kinds

of explanations of flexibility are induced. Then the

classification of flexibility is discussed. The

classification of flexibility can be generalized from

five aspects horizontal, vertical, temporal, the

object of variation and mixed.

In conclusion, flexibility is a important subject

with complex understandings and many questions,

which require a future effort both of theoretical and

empirical research.

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Sitar

If you order your research paper from our custom writing service you will receive a perfectly written assignment on sitar. 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 sitar paper right on time.

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The sitar is a musical instrument developed in India. India is isolated in location, bordered by the Himalayas, world's tallest mountains to the north, and to the south by the Indian Ocean. The music in India dates back to very ancient primitive times up to the present. In fact, Prajnanananda, a historian-musicologist of India, believes that there were very civilized people in India that were artistic and played instruments as much as 5000 years ago (). This considerable amount of time created a great deal of advancement and development in the evolution of India's musical concepts. Another Indian music historian, Bandyopadhya, believes that music evolved with the evolution of humanity (1). In fact, the oldest documents of music in India are a collection of Vedic religious hymns, called saman, which were meant to be performed during sacrifices around 4500 B.C. (Nijenhuis 1). Because of this isolation and the thousands of years of its evolution, Indian music developed a very different sound and feel from music of the rest of the world. The sitar, an instrument that when played by someone who has studied Indian music for many years, can beautifully demonstrate this eastern musical art.

There are many legends and myths that claim to portray the origins of Indian Music (Rosenthal ). It is taught that the Hindu holy trinity created music (Shankar 15). A legend that tells how music was learned on Earth is said to have taken place long ago, when the world was in chaos and everyone were, in the western sense, sinners. Seeing the chaos, some gods asked the supreme god, Brahma, to give the people a toy, which could be seen and heard. They also requested Brama to make the toy a distraction for the people, away from their bad ways.(Rosenthal 4) It was decided to give the celestial art of sangeet to mankind. A suitable human had to be found, one who was capable of receiving this gift.

Sangeet is a broader term, including the arts of vocal singing, or gayaki, instrumental music, or vadhya, and dancing, also known as nritya (Prajnanananda 4). The reason the word Sangeet includes these three art forms is because it was customary to perform mythological dramas (Rosenthal 4). These dramas used dancers to mime the story, instrumentalist to play the music, and a singer to tell and sing the story. According to the legend, Sangeet had previously only existed in the realm of the demigods (Rosenthal 4). A human of superior spiritual ability was required to convey this heavenly art to the human world. Narada, a sage, was chosen to be the first mortal recipient of this celestial art (Rosenthal 5). Narada is said to be responsible for the existence of Indian classical music.

Classical Indian music is believed to be more than just entertainment. For the people of India, it is a moral and spiritual redeemer (Bandyopadhya ). Therefore, there are heavenly qualities inborn in the education of the musician. They are guru, vinaya and sadhana (Shankar 11). This means teacher, humility, and discipline. The guru, is the teacher, a necessity in traditional Indian musical education. Music is said to be guru mukha-vidhya, which means wisdom and enlightenment must come from a teacher (Shankar 1). This enlightenment is thought to be the highest form of knowledge. Conventional teaching of this music is based upon the transfer of knowledge from the guru, to the disciple, also known as a shishya. This unbroken tradition is known as parampara (Shankar 14). This guru-shishya-parampara tradition extends back thousands of years.

The second aspect of education of Indian music is vinaya, humility (Shankar 1). This reflects the heavenly origins of the art, because vinaya is a divine quality. Classical music is said to be a worship that involves both the listener and the artist alike (Shankar 15). Humility is important because if you think you already know everything, then there is nothing to learn.

The last requirement for learning the classical music of India is sadhana, discipline and practice (Shankar 1). Sadhana is important for two reasons. In one way, the divine origins of sangeet require that the student must be prepared to receive this knowledge. From an educational standpoint, the music is so complex and elaborate that the student needs to spend many years practicing. Without this control and devotion for practice, the student certainly will not be able to master the music. These Qualities of Indian classical music have been passed on From Teacher to student for many years and has remained, for the most part, unchanged.

The art of the music itself has developed many different aesthetic qualities. Indian music is based on melodies and rhythm, but has no system of harmony or counterpoint (Shankar 17). The form for the melody has developed greatly. The way the melody works is through the concept of raga. The concept of raga was developed from parent scales called jati (Kuppudwami 4-5). The word raga comes from Sanskrit and means to color or passion (Shankar 17). The concept of Ragga, also called rag, may be thought of as a method of coloring the mind of the listener with an emotion (Shankar 0). Raga is the basis for Indian classical music, and can be played very beautifully on the sitar. Raga took the form used today in the seventeenth century (Nijenhuis 5). Raga is quite different from anything musically western. It is not a tune, melody, scale, or mode. It is a combination of different characteristics that form the rag.

The notes of the Indian music scale that make the rag are called saptaka, which means the series of seven (Nijenhuis 1). Therefore there are seven notes in the scale. The different notes have different levels of significance. A note that is strongly emphasized is called vadi (Nijenhuis 5). This note is the most important and shows the rasa, or the emotion of the raga (Shankar 17). Notes that are de-emphasized are referred to as durbal, while notes, which are excluded are called vivadi (Nijenhuis 5). There are also notes in-between the saptaka notes. They are microtones and are called shurits (Prajnanananda 16). The octave, or the distance between one note and the same note at one higher pitch, according to sitarist Ravi Shankar, can be divided into sixty six units (18).

In northern Indian music, where the sitar is played, the modal structure of the seven notes is called that. Generally there are ten accepted thats, twenty in widespread usage, out of a total of thirty-two possible (Prajnanananda 16). The word jati is also used to describe the number of notes used in a mode (Nijenhuis 5). The number of notes in the rag is significant, for not every one uses all seven notes. Normally, a rag will consist of five, six, or a full seven notes. Rags may be mixed jatis; there may be different jatis for the ascending and the descending structures (Shankar 155).

Tradition names certain rags to specific times of the day, seasons, or holidays; this is called samay (Shankar 4). There are some musicians who argue that a rag must be performed at the time of day that it is assigned; on the contrary, other musicians argue that one may play a rag at any time if one wishes to evoke the mood of that time (Shankar 4).

Another characteristic of raga is how it moves. The arohana is the pattern in which a rag ascends the scale, and avarohana is the way that the rag descends the scale (Shankar ). Both the arohana and avarohana may use certain distinguishing twists and turns. These twisting movements are examples of the pakad or swarup, which are defining phrases or a characteristic pattern for a rag (Shankar ). Sometimes the pakad is unique to the rag it is played in, and not implied by arohana or avarohana (Shankar ). Often the pakad includes a specific elaboration and ornamentation (Shankar 4). Not every rag has a clear pakad.

Ornamentation is essential for the correct performance of the rag, and makes notes seem alive (Shankar ). The ornamentation may be part of the pakad, or a performer may improvise them (Shankar ). Some common ornaments that can be played on the sitar are kampita, ahata, and tiripa. Kampita is a shaking sound, ahata is when more than one note is played with a single stroke, and tiripa is the stressing of a note in a phrase (Shankar ). In addition, notes may also be sharpened or flattened. Some rags use lower forms of some notes as part of their definition (Shankar 4). In many cases these ornaments have no theoretical significance and are just used to add to the composition.

The sitar is a very well known Indian instrument. It has a long neck, which is around thirty-five inches long (Cutchey). It has a varying number of strings, usually from seventeen to twenty. It has three to four playing strings and three to four drone strings, which rest on the separate bridges. The main bridge, which is as wide as the neck and approximately one inch high. This bridge is made of antelope horn, is slightly curved, and is responsible for the buzzing sound of the sitar (Cutchey). These strings are plucked with a wire pick, called a mizrad that one would wear over the right index finger (Cutchey). This wire pick is placed on the right index finger. There are also a series of sympathizing strings lying underneath the frets that rest on a smaller bridge. These strings are almost never played, but they make noise any time the identical note on a fretted or drone string is splayed (Cutchey). The frets are metal rods, which have been bent into crescents, and are perpendicular to the strings(Cutchey). These frets are tied on and can be moved to play different tunings. The main resonator is usually made of a gourd and there is usually an additional resonator that is attached to the neck. The right hand rests on the Gourd and balances the instrument (Cutchey). The right hand is used to control the rhythm of a composition, and the left controls the melody (Cutchey). The tuning of the sitar can vary. There is no fixed frequency for the notes, and the tuning, as well as the placement of the frets can vary from raga to raga (Cutchey).

One theory has the sitar evolving from the ancient veenas or vina (Kuppuswamy 14). Another theory is that the inventor of the sitar was Amir Kusrau, who lived in the fourteenth century (Cutchey). There has also been a study that put the date of the invention of the sitar at only the nineteenth century (Cutchey).

Today's sitar is widely used in the northern, hindustaini tradition. It took the place of then prevalent veenas, which are considered the national instrument of India (Shankar 6). The playing style of the hindustaini tradition is greatly influenced by singing and drumming techniques (Cutchey). It is evident that it evolved from the Persian lutes that had been played for thousands of years (Cutchey). Indian artists such as Ravi Shankar, Balram Pathak, Enayat Kan, and Budhaditya Mukherjee have made this instrument popular around the world (Cutchney).

Bandyopadhyaya, S. Indian Music Through the Ages. Delhi B.R. Publishing Corporation, 185.

Cutchey, Peter. About the Sitar. Buckingham Music. March , 00. httpwww.buckinghammusic.com/sitar/aboutsitar.html.

Kuppuswamy, Growry. Indian Music A Perspective. Delhi Sundeep Prakashan, 180.

Nijenhuis, Emmie Te. Indian Music History and Structure. Belgium Tuta Sub Aegide Pallas, 174.

Prajnanananda, Swami. A Historical study of Indian Music. Calcutta Sri Manoranjan Mazumar, 165.

Rosenthal, Ethel. The Story of Indian Music and Instruments. London William Reeves Bookseller Limited, 18.

Shankar, Ravi. My Music, My Life. New York Simon and Schuster, 168.

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Commercialism and Privacy

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Commercialism and Privacy

Summary

Industries gather information about consumers, and advertise to consumers that go greatly beyond what is acceptable. We do not own our own information, and Spam, like calls from telemarketers invade our privacy. However, there are market solutions to these problems that will hopefully allow us to regain what is ours.

Introduction

Commercialism has intruded into just about every part of our existence, and e-commerce has propelled this intrusion exponentially. Commercialism is not necessarily bad in itself, but because of industries' insatiable desire to gain the competitive advantage, they gather information about consumers, and advertise to consumers that go greatly beyond what is acceptable. Firms have invaded our privacy, and consumers are fed-up with this invasion. Consumer rebellion will open the doors for market solutions to these market problems.

Anonymity

Every time we sign up for a free email account, fill out a survey on line, or request free information, we give away a little bit of information about ourselves. Simply visiting a web site provides valuable information to industry about ourselves. Each incident in many cases is not significant, but the accumulative effects of the information can become serious intrusions on our privacy. The accumulation of this information provides firms profiles of existing and potential customers. Consumers are becoming very wary of this loss of privacy and anonymity, and feel that these profiles belong to the consumer, not the firm.

One method of gathering information about a consumer is the Internet Service Provider. ISPs knows who you are and knows every web site you visit. Consumers have complained about this, so some ISPs have advertised that they will not to sell your web surfing information. AOL at one time stated that they do not gather information on their customers web activity at all, but they may have changed their mind, because there is no evidence of this claim on line. As people become more concerned about their privacy, demand for ISPs that provide the consumer greater anonymity while web surfing will dramatically increase. ISPs are not the only companies that gather information. Other firms besides ISPs use various means to track consumers activities on the Internet for sell and use. Now, companies like Anoymizer.com and Evidence Washer sell software that protects your Internet privacy. The fact that these and many other companies sell this sort of software shows there is a growing demand for privacy protection. Using ISPs that do not collect information about you, and using software to prevent other companies from collecting information about your web activities are only two possible solutions.

The most powerful market solution to privacy on the Internet will occur when people stop voluntarily giving away information about themselves. Once consumers become wise to getting free service or information from a web site, they will stop giving up the information.

Spam

Email used to be one of the most efficient means of communications. One could read and reply to ten emails in the time it took to have one telephone conversation. Email was a great convenience because one could read and send emails at his leisure. Not any more. As more and more people began using email, businesses realized that email was a great advertising medium. It could reach millions of people almost instantly at virtually no cost. Because of commercial Spam, email now invades our privacy and wastes our time. This is a major problem.

Since reading email has become more of a burden than in the past, consumers may simply dramatically reduce or quit using email for communications. This solution will reduce the number of hits or reduce the number of available email addresses for Spam to be as effective. Because Spam email has an extremely low marginal cost, there does not have to be many people for Spam to be profitable. There is not much difference between one hit in one hundred thousand and one hit in two hundred thousand, when the cost remains about the same for both. But this solution may force many Spam advertisers to drop out of the market.

The market has provided other solutions for an attempt to stop Spam. Just about every ISP has an email option to reduce Spam with various filter and options. Also, email programs have filters to reduce Spam. Programs like Spamkiller and MailWasher have become market solutions to reduce the intrusion of Spam. Since Spam is still a very important tool that many advertisers want to use, Spam firms will make every effort to bypass Spam software and filters. There will be a constant battle for the anti-Spam software companies to keep up. This will also require users to constantly upgrade their software, which will generate profits for the anti-Spam companies. So, more Spam means more profit for anti-Spam companies. I suspect it would be profitable to be a Spam advertising provider and anti-Spam software provider, because the firm would generate revenue from both markets.

The United States Postal Service will soon start selling guaranteed email for a few cents. This could be yet another solution to the Spam email problem. With people applying software, filters, and exception lists to their email accounts, many legitimate emails may not get through. However, if FedEx, UPS, or USPS provides a guaranteed email service for a fee, users could allow the fee based emails to come through, because advertisers could not afford to send 50 million Spam emails. This would dramatically increase Spam advertiser marginal costs. Even if it only cost two cents to send a guaranteed email, the cost would be prohibitive.

Conclusion

Lack of on-line privacy, and unwanted emails invades our privacy because of excessive commercialism, is a serious problem. With a combination of paid for services, software, and a change in behavior, users can dramatically reduce information gathered on them and slow or eliminate Spam. This will costs firms, and will reduce their profits enough to force many of the them to drop out of the market.

Please note that this sample paper on Commercialism and Privacy 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 Commercialism and Privacy, we are here to assist you. Your cheap custom college paper on Commercialism and Privacy will be written from scratch, so you do not have to worry about its originality.

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