The External/Internal Conflicts in aP - 778 Words

Roel Luna Jr. June 9, 2013 Essay 1 Mr. Cardenas The External/Internal Conflict in Aamp;P by John Updike After reading John Updike’s short story â€Å"Aamp;P†, it is clear that conflict is present from beginning to end. The general conflict carried throughout the story is centered on conformity. A few examples of conflict presented in this story include Sammy versus his opposition of the store’s structure and community’s mindset, Lengel verses the girls and Sammy versus himself. As the story opens, we are introduced to an opinionated, observant, sarcastic and hormone-driven 19-year old boy who works as a cashier in a grocery store of a small town. As he describes the store and his surroundings, the reader begins to sense Sammy’s†¦show more content†¦He had officially entered adult-hood. This is an incredibly powerful story because every time you read it, you take away something new that you hadn’t previously realized. Sammy’s act of â€Å"bravery† definitely left a lasting impact on everyone involved and everyone who reads it too. One can use their own experiences to discover themselves and how they react to social expectations and living in a conformist society. It was never really about the girls, rather seeing their reaction to the norms which triggered his reaction to the same norms. WORK CITED Updike, John. â€Å"Aamp;P.† Literature: An Introduction to Fiction, Poetry, and Drama. Ed. X. J. Kennedy and Dana Gioia. 9th ed. New York: Longman, 2005.Show MoreRelatedThe Conflict I Experienced With Raven Will Be Analyzed By The Psychodynamic Theory And The Attribution Theory1362 Words   |  6 Pages Analysis of the Situation The conflict I experienced with Raven will be analyzed by the psychodynamic theory and the attribution theory. The theories will be defined according to textbooks, peer reviewed scholarly articles, as well as an outside source book. 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The Importance Of Human Resource Management For Any...

INTRODUCTION This report provides the understanding and importance of Human Resource Management for any organisation. The report shows how HRM contributes in any organisational achievements. In this report HR planning and development methods are examined in detail and the way to improve HR performance are suggested. COMPANY BACKGROUND The Coca-Cola Company is one of the world’s top soft drink makers. Coca-Cola owns the best-known soft drink brands such as, Coca-cola, Diet Coke, Fanta and Sprite. this is an organisation with a history starting from 1892. The company’s flagship product, Coca-Cola was invented by a pharmacist John Stith Pemberton (The Coca-Cola Company, 2010). Coca-Cola is headquartered in Atlanta and it is currently offering 500 different brands in 200 different countries worldwide. TASK 1. HUMAN RESOURCE MANAGEMENT 1.1. Human resource Management activities, within Coca Cola Company, their objectives and how they are achieved According to Miller (2010) efficient and effective human resource management is essential for every business unit and it is a challenge to all human resource professionals. Staffing, training and helping to manage people so that the organization is likely to increase the performance level is imperative to work in a productive manner. Human resource functions include capabilities, skills, data, personal histories and payroll records (Miller. S, 2010). Effective human resource management is essential for Coca cola as a large andShow MoreRelated HR roles and responsibilities Essay1121 Words   |  5 Pagesoverall success of the organization. The ability to plan and execute an effective strategy is only as good as the people that are placed in the positions to make these decisions. 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Carmen Electra Pretender free essay sample

F. Sionil Josà © or Francisco Sionil Josà © was born on December 3, 1924. He spent his childhood in Barrio Cabugawan, Rosales, where he first began to write. Josà © was of Ilocano descent whose family had migrated to Pangasinan before his birth. Fleeing poverty, his forefathers traveled from Ilocos towards Cagayan Valley through the Santa Fe Trail. Like many migrant families, they brought their lifetime possessions with them, including uprooted molave posts of their old houses and their alsong, a stone mortar for pounding rice. He attended the University of Santo Tomas after World War II, but dropped-out and plunged into writing and journalism in Manila. In subsequent years, he edited various literary and journalistic publications, started a publishing house, and founded the Philippine branch of PEN, an international organization for writers. Josà © received numerous awards for his work. The Pretenders is his most popular novel. It is the story of one mans alienation from his poor background and the decadence of his wifes wealthy family. Throughout his career, his writings espouse social justice and change to better the lives of average Filipino families. Probably the most critically acclaimed Filipino author internationally, he is much underrated in his own country because of his authentic Filipino English and his anti-elite views. Sionil Josà © also owns a bookshop, Solidaridad Bookshop, which is located in Padre Faura Street, Ermita, Manila. The bookshop offers mostly hard-to-find books and Filipiniana reading materials. It is said to be one of the favorite haunts of many local writers. Characters: 1.Antonio â€Å"Tony† Samson- who gained a doctorate degree in Harvard University 2.Carmen Villa- wife of Antonio Samson; a typical rich girl; daughter of Don Manuel Villa and Mrs. Villa 3.Don Manuel Villa- father of Carmen; husband of Mrs. Villa; a rich and influential man 4.Mrs. Villa- wife of Don Manuel Villa; who against to Carmen and Tony’s wedding 5.Father of Tony- who was punished by being imprisoned for life 6.Dean Lopez- head of the University; who helped Tony to study abroad 7.Ben De Jesus- wife of Nena De Jesus; business partner of Carmen Villa; who had an affair with Carmen Villa 8.Senator Reyes- executive of the Villa’s influenced 9.Betty- sister of Tony who paid for Tony’s schooling 10.Emy- cousin of Tony; who had a relationship with Tony before going abroad 11.Nena De Jesus- wife of Ben De Jesus; Carmen best friend 12.Godo- old college friend of Tony 13.Charlie-friend of Tony 14. Bettina- Tony’s cousin Summary Antonio Samson, a smart guy from Rosales who fortunately reached Manila after his father made a crime in their town. He, together with his mother and sister lived in Manila for a long time. His mother died, and his Manang Betty is his only companion who sacrificed for his study. He was fortunately given the chance to take his doctorate studies in the United States through the help of Dean Lopez, the head of the university. Antonio Samson (also called Tony) returned to the Manila and visited his father in prison to tell that he is going to marry a girl named Carmen Villa. He met Carmen while he was studying in the United States. Carmen Villa introduced Tony to her parents. But because Tony belonged to lower class of the society he wasn’t accepted by Carmen’s mother. But Don Manuel Villa, Carmen’s father likes him for he saw the potential of him in the business field. They were secretly married because Carmen was already pregnant. Tony did not want the arrangement at first, but Carmen confessed that it is he her father who planned about the marriage. Tony was a teacher in a University but he quit after a quarrel with the head of the University, Dean Lopez. Dean Lopez was the one who helped Tony to get a scholarship in the United States. After his leaving in the university he accepted the job offered by his father-in-law. But this job transformed him into someone he does not want. He meets influential people, he had a large salary, his office is conducive for working and his job is not that heavy compare to his work in the university. They lived in a cottage built for them by Don Manuel. Carmen aborted her pregnancy without Tony’s knowledge. They had a small discussion that started their coldness. Tony was depressed on the child being killed by Carmen because he really wants to have his own baby. One day, Bettina, his cousin, visited him. From her, he found out that Emy, his first cousin and his first love, had been raising a son for the past six years. Emy did not tell him about the baby because she wants Tony to concentrate on his studies. Tony then visited Emy to prove if the child was his or not. He was introduced to their child but Tony did not owe the courage to say that he was the father. He then introduced as a close relative by Emy instead. He tried to get his son, for him sure that he can give his son a better living than what Emy can’t give. But Emy refused for this is the only one left for her after her father’s death. Tony confessed to Carmen about his son after his comeback to Manila. But Carmen reacted none with his confession. Tony then realized that Carmen really does not want a baby. One night after partying with his friends, he saw Carmen leaving the Villa mansion with Ben de Jesus, the husband of Nena, who happened to be Carmen’s best friend. He saw them kiss, followed them and saw them entering in a motel. Tony went home, straight in his room not minding that his mother-in-law had a party on-going. While packing his things, Carmen arrived. Tony told her about his discovery and told her he’s leaving for good. At first, Carmen tried to defend herself but she could do nothing. Tony saw Mrs. Villa before he leaves. Mrs. Villa convinced him not to leave, but tony has decided. He went to his Manang Betty’s house in Tondo wherin they had a sort of conversation. Tony made a lot of thinking. He thought about his father, what he did, about telling Carmen that his father is dead; what he did to Emy and to his son, his realization of love still to Emy; his degrading of his friends and Dean Lopez; his wife’s infidelity; and for being one of the oppressor of the poor, and traitor of his own kind and root. After his realization, he committed suicide by letting his head run-over by a train. Carmen felt guilty after knowing the destined of his  husband. She blamed herself for being unfaithful that causes his husband’s death. After his death, Lawrence Bitfogel visited Manila; he was surprised of Tony’s death. He doesn’t believe that it was an accident. But still the Villa’s claim it as accident. After the funeral, Carmen went to the place where her husband faced death. She again felt her guilt to what happened to Tony. She also went to her husband’s office and there she found the ledgers of Tony and started reading them. Plot Antonio â€Å"Tony† Samson is a poor folk hailing from rural area resident of Cabugawan Village in Rosales, Pangasinan, who was able to earn a college degree and PhD from Harvard University in New England of the United States. When Antonio Samson had just returned from United States after finishing his PhD. He visited his father in prison after coming home from US. His father is serving a life time sentence for burning down the municipal building of their hometown, and killing three soldiers and a hacendero. Antonio Samson was unable to fulfill the plan of marrying Emy because he became engaged with Carmen Villa. Antonio told his father that he will be soon be married to Carmen Villa, a member of an affluent family in Manila, whom he met in the United States. Exposition Antonio Samson is a poor folk hailing from Rosales, Pangasinan; who was able to earn a college degree and a PhD from Harvard through his talents, perseverance and hardwork. He has noble dreams, noble virtues, and noble intentions. Theme â€Å"Money makes the world go round†, in this novel it is proven. It is the reality of the society, that whoever owns more money holds more power and less fortunate will remain powerless. It what exactly happens to Antonio Samson, his transformation from being a poor son of farmer who became rich and unsympathetic. It shows that everyone in the society, especially the poor can still have the chance to gain a better life. Through hard works and patience success can still be possible. Tony’s success through his achievements is strange. Being married to a rich woman is unusual; it  depicts a modern day Cinderella story. It is not bad to aim for a better life as long as the way through it is morally good, and lawfully accepted. But in the case of tony, he uses a woman to attain it. He took advantage over a girl who really doesn’t care about anything and everything. Maybe at first Tony did was not evil, but the mere fact that he has changed and he became one of those rich who praises money and power, it was then that he went evil. He married Carmen without assurance of his own feelings. Money must not be interfering between two lovers. Societal status must not be a hindrance of a relationship, and beliefs must not challenges lovers understanding. But in their relationship money is the reason of their union. Money represents the most valued element in the story. It plays the center of conflicts of all the characters. Don Manuel used his wealth to gain power in the society, to get what he wants, he made impossible to possible, good to bad and bad to good. He used his money to dictate other person. â€Å"Don’t think of them as people, just think of them as business partners† – Don Manuel to Tony. Mrs. Villa also used money to get glamour and respect of the society. She believes that money gives her the power despite the fact that she is also a poor before, and she succeeded because she is now recognized in the society. Godo also used money to save his wife from possible death. Though it is beyond his beliefs, still he made it. Senator Reyes, Ben De Jesus, Dr. Santos, Mr. Gomez and more uses money to uphold power in the society. Even Tony’s believe that money can uplift their life, that money can change their societal status. That money can give equality in the society. It is also a story of social injustice; it was seen in the life of Tony’s father and ancestors. They put the law on their hand when law couldn’t protect their rights. In reality, the poor is always the victims of these social injustices. The poor are always behind of the rich, and always below them. Social injustice in different aspects of life, poor are always wrong, they are blinded by the truth and voiceless of their own words. â€Å"Pride is not for us. It’s for the wealthy†- Manang Betty. The poor are always bare with their own rights and privileges. Life is always sad for the poor, only death makes us equal. The poor are life’s happy victims. Setting The story sets in two categorical places. The first category is in Tondo, and Cabugawan while the other category is Sta. Mesa and United States. Tondo and Cabugawan as describe in the story and as shown in reality is a place of less fortunate. It is a place where most residents lack education and poverty is rampant. These places left behind in terms of development, while the other categorical places, Sta. Mesa and United States are places where the rich and powerful resides. These places describe development and established society. It’s identical with the description of the places in the story the differences of the poor and of the rich. The huge gap of the lifestyle of two identical categories, gives a better realization that the story wants to give. The comparison and contrast of these places signifies the comparison and contrast of the poor and the rich. Carmen Villa always compares the United States to the places here in the Philippines, Baguio’s amazing atmosphere, smell and coldness was compared to the scenery in Washington. Tony also compares the scenery in Rosales, the innocent beauty of the field where he came from to the scenery in Antipolo. It’s time setting probably at around 1950’s after the World War II. It is stated that the construction business of the villas became in demand because of the destruction made by the war. And in the end part of the story Ramon Magsaysay was stated.

Is Romeo and Juliet an effective piece of drama Essay Example

Is Romeo and Juliet an effective piece of drama? Essay One of Shakespeares earlier plays, Romeo and Juliet never achieved a standing as one of the four greats; it was his first fictional tragedy and was written with poetic naivety. Nevertheless, the purpose of this essay will be to assess what merits it does have as well as those it doesnt. Firstly, the plot: of the seven basic stories agreed on by most drama commentators this is the lovers; and the universal appeal of this subject makes it a pretty secure crowd-puller. There are plenty of diversions from this feminine foundation the play is rather bare where comic interludes are concerned but there is plenty of violence, Tybalt and Romeos fight the prevalent example. Rather disappointingly, Shakespeare didnt actually come up with the basic plot to this script: it was a common yarn which can be traced back to Luigi Da Porto in 1530. Shakespeares adaptation has many original characters, Benvolio and Mercutio for example, but this blatant plagiarism (which wasnt a crime in the 17th century) is a let-down to modern audiences. We will write a custom essay sample on Is Romeo and Juliet an effective piece of drama? specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Is Romeo and Juliet an effective piece of drama? specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Is Romeo and Juliet an effective piece of drama? specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Quite inventively for the period Shakespeares play has two protagonists (Romeo and Juliet) a technique which is effective in a number of ways: the events can be revealed from the perspective of both characters (e.g. if Juliet isnt in a particular scene we still have Romeo to empathize with), and viewers of both sexes have a personality to identify by. Romeo matures as a person throughout, progressing from his childish attachment to Rosaline (the precious treasure of his eyesight) who decides to live in chastity (what she told him, anyway) to the more subtle metaphors of his affection to Juliet (doth enrich the hand of yonder knight; which sounds as if hes making more of an effort to say the same thing); and whos strengthened love towards Juliet is enough for suicide, whereas the loss of Rosaline, albeit in a different fashion*, provoked a scenes worth of moping. Maybe the gradual improvement of a characters qualities as opposed to the slow deterioration of Lear and Macbeth is what detracts from R+Js standing as a great tragedy; or maybe the more interesting deaths of the former two emphasize the event of their expiring and clarify the genre. Juliet undergoes less of a transition, as we only see her romantic traits focused on one man (parting is such sweet sorrow), but there is obviously a decline in her situation as she is rejected by her parents (do as thou wilt, for Ill have done with thee) and an augmentation when she repents later (this is as t should be), but probably not up to the same level as before: she has exposed their true feelings towards her in the previous argument. Hers being a fatality of greater pain and irony (therefore interest) we might be tempted to be affected most by it; this gradual increase of sorrow at mortalities (Tybalt, Romeo, Juliet) counteracts the decrease brought on by the frequency of them. The two characters feelings for each-other form the basis for the whole play (somewhat inferred in the title); and a close analysis of the metaphors used in their contact reveals Romeo to be the most passionate, comparing her to a jewel (doth enrich the hand of yonder knight); the skys earring (or the moon); for earth too dear; and, finally, a divinity (if I profane with my unworthiest hand), while Juliet imagines the former as a flower (a rose by any other name would smell as sweet); (bud of love). Alternatively, Juliet could be the most realistic of the pair, less inclined to exaggerate, with Romeo retaining some of his Rosaline-induced immaturity. This is further established when Juliet undertakes a much more painful and daring suicide than Romeo, requiring extra guts and a stronger depression at the loss of her partner (we dont know if Romeo wouldnt have done, though). Conversely, this contrast in romantic language could be a result of the characters genders flowers more womanly than divinity (Christianity pretty much universal in England, their deity usually personified as a man; women dont usually get the best treatment in scriptures) either by Shakespeares stereotypes or tailored to the audiences. The category of dastardly fiend who gets it in the neck in the end is filled by Tybalt, Juliets cousin and Romeos arch enemy. Every good drama has to have a villain, providing a necessary relief for the men in the audience, who may tire of all the adoration. This role gets all the best pantomime lines (come in spite, solemnity this night) and is a bit of a caricature, although the distance from the audience required a more exaggerated sense of expression as gestures were obscured. Rhyme may have served the same purpose the predictability of lines preventing misinterpretation when scarcely audible. No effective drama can be produced without tension built from contrast, and there is plenty of this in Shakespeare. Firstly, there is a deliberate variation in scene length (which is quite drastic considering this was four-hundred years before the process was facilitated by television) in the play, for example in the first act there is a clear pattern of two long scenes (14 pages, 16 pages) followed by two roughly half their length (5,8) and back (18). The acts are opened by prologues another method of varying section durations. The effect of this is to prevent the audience foreseeing the action if all the scenes take up roughly the same amount of time spectators will guess with a reasonable degree of accuracy when a significant event will take place (not usually in the middle of a Scene). Another way in which Shakespeare achieves contrast is by changing the mood not always relevantly. He does this at the beginning of Act one Scene 5. The aforementioned Scene commences with a busy and exited comic interlude involving the servants of Capulet the attempt at humour is not as obvious as in Shakespeares typical interludes (the porter in Macbeth, for example, which seems rather immature for our revered bard) but in itself is an effective piece of drama; how relevant this scene is in the context of the tragedy is debatable however: it does dilute the atmosphere somewhat, but you have to sell-out a bit to fill the cheap seats I suppose. Anyway its not that funny, the skiving dishwasher with the amusing name (wheres Potpan?) the furthest it goes; the variety and colour, along with the insight into the party take priority as far as dramatic continuity is concerned. The foreshadowing used in this play is not exactly up to Arthur Conan-Doyle standard, although in act three scene five there is an ironic comment spoken by Juliet about wishing Romeo poisoned (if you could find out but a man to bear poison I would temper it that Romeo should upon receipt thereof soon sleep in quiet) but this is almost pointless: the events are revealed immediately in the prologue. Instantly this seems like a dismal disappointment; but it allows the audience to concentrate on the more subtle messages of the play: marriage in those days was more of a business proposition than a joining of lovers, and the fact that Juliet is willing to leave everyone she knows to marry someone she is affectionate towards rather than a rich and handsome set-up (it is an honour I wish not of); but the fact that Pride and Prejudice was still making the point two-hundred years later says something about the influence of literature. Yet any sort of social comment could make you a cocktail st ick in Shakespeares day. Some slight psychological connotations can be found in the text. The famous quote whats in a name can be associated with the ideas on stereotyping by sociologists such as A. H. Halsey, and the inter-group relations of the two families also fit into this category. Another point worth mentioning regarding the significance of the play (however Im not sure if its relevant) is that in the book I Claudius Robert Graves names two Gods, Roma and Julius, in pairing. Its probably a coincidence, seeing as Roma (Romeo) represents the female soul of the Roman Empire; Julius (Juliet) is a proposed God for Julius Caesar but you never know. They both got knifed. The is an apparent rarity of stage and set directions in this play (for example, throughout this Scene the only directions in attendance either dictate the movement of actors on and off the stage or the recipient of a line ([To Juliet]), with the exception of one notice, instructing a dance to kick off; in terms of set descriptions, a typical short sentence (the street, beside the gardens of the Capulet house) is given) could be said to exhibit a blasà ¯Ã‚ ¿Ã‚ ½ approach to dramatic impact. Conversely, it seems to me that hes shrewdly facilitating the endurance of his work: barring the language, the play has a fairly anonymous date to it most of the themes are pretty universal: love, death, fate, conflict; although another one, religion, has lost some of its power nowadays. The lack of instruction for speaking lines (e.g. aggressively, or with a lisp) means that the play can be performed completely differently every time (the scene with the servants alone could be anything from slapstick to brutality); this means (like Beethovens 5th) the same theatre-goer can watch the play many times and be assured of a different and interesting performance. With the timeless set descriptions (the street, beside the gardens of the Capulet house, could be set anywhere between 900ad and a hundred years in the future) the play can be adapted in almost unlimited ways -set in a gang-dominated beach town, for example (B Luhrman, 1996). Shock techniques form an essential part of any drama (or at least ITV ones, anyway), and these age quicker than most things (why some of Shakespeare can seem so tame nowadays); and the religious metaphors used by the flirting youths come into this category, the comparisons drawn between teenage love and love for God (if I profane, if saints have hands) were then almost blasphemous. Not that Im comparing Shakespeare to Bernard Manning I think he shocked for a reason, in this case to broaden the plot a bit: not just any teenage attraction, a fate-driven (star-crossed lovers), almost holy romance (not your average chick-flick). Studying the language used when discussing love a strange pattern emerges seemingly innocent and sincere expression turns out to have a second meaning, usually a sexual one. Obviously the innuendoes would be clearer to audiences in Shakespeares day, but I like to think they were more subtle (the worlds best playwright stooping to the level of late afternoon American sitcom isnt an attractive notion). For example, raise a spirit in his mistresss circle contains three insinuations, and even the nurse is at it (for her sake rise and stand). Shakespeare has a command of his language however, and there are some pretty dominant implementations of poetry into the script (for example the prologues are sonnets), the most obvious of which is the recurring use of sonnets to suggest love, sometimes even dividing them between two characters in duet form. In the several poems of Act 1 Scene 5, where Romeo declares his love for Juliet, the language is considered even for Shakespeare the two lovers striving to out-hyperbole (the speaking in a perpetual hyperbole is comely in nothing but love: Francis Bacon) each other (I suppose thats all they could do before marriage), Romeo compares her to a jewel (doth enrich the hand of yonder knight); the skys earring (or the moon); for earth too dear; and, finally, a divinity (if I profane with my unworthiest hand). This (melo)dramatic communication of love continues throughout the play, carried by the running metaphors of light, faith, and the stars (a perfect example occurs when Juliet uses Phoebuss lodging to signify the west, where Romeo is situated, referring to a sun god: a symbol for light, divinity, and a star). Im dubious as to whether the heavily considered use of speech makes for an effective piece of drama, for even when reading the play many of the phrases can be almost incomprehensible. Admittedly four-hundred years is a long time and many of the expressions spoken in Elizabethan times will have long since died (e.g. the word die used to have a sexual connotation) but the lack of visual stimulation (props, lighting) coupled with the lower average intellect of the audience in Shakespeares day (no reality tv) makes you wonder what the people in the cheap seats gained from the performances except a hangover (the men usually drank beer there), and the social intercourse.

Definition and Examples of Interior Monologues

Definition and Examples of Interior Monologues In both fiction and nonfiction, an interior monologue is the expression of a characters thoughts, feelings, and impressions in a narrative. An interior monologue may be either direct or indirect: direct, in which the author seems not to exist and the interior self of the character is given directly, as though the reader were overhearing an articulation of the stream of thought and feeling flowing through the characters mind;indirect, in which the author serves as selector, presenter, guide, and commentator. (W. Harmon and H. Holman, A Handbook to Literature, 2006) Interior Monologues in Fiction   I looked into the reception room. It was empty of everything but the smell of dust. I threw up another window, unlocked the communicating door and went into the room beyond. Three hard chairs and a swivel chair, flat desk with a glass top, five green filing cases, three of them full of nothing, a calendar and a framed license bond on the wall, a phone, a washbowl in a stained wood cupboard, a hatrack, a carpet that was just something on the floor, and two open windows with net curtains that puckered in and out like the lips of a toothless old man sleeping.The same stuff I had had last year, and the year before that. Not beautiful, not gay, but better than a tent on the beach.(Raymond Chandler, The High Window, 1942)How much better is silence; the coffee cup, the table. How much better to sit by myself like the solitary sea-bird that opens its wings on the stake. Let me sit here for ever with bare things, this coffee cup, this knife, this fork, things in themselves, myself being m yself. Do not come and worry me with your hints that it is time to shut the shop and be gone. I would willingly give all my money that you should not disturb me but let me sit on and on, silent, alone. (Virginia Woolf, The Waves, 1931) Interior Monologue in Tom Wolfe's Nonfiction [I]nterior monologue is appropriate with nonfiction, provided theres fact to back it up. We cant get into a characters head because we suppose, or imagine, or deduce thats what he or she would be thinking. We have to know!See how Tom Wolfe does it in his book about the space program, The Right Stuff. At the outset he explained that his style was developed to grab the readers attention, to absorb them. . . . He wanted to get into the heads of his characters, even if this was nonfiction. And so, at an astronauts press conference, he quotes a reporters question on who was confident about coming back from space. He describe the astronauts looking at one another and hoisting their hands in the air. Then, hes into their heads: It really made you feel like an idiot, raising your hand this way. If you didnt think you were coming back, then you would really have to be a fool or a nut to have volunteered at all. . . . He goes on for a full page, and in writing this way Wolfe has transcended usual nonfiction style; hes offered characterization and motivation, two fiction writing techniques that can bring the reader in lockstep with the writer. Interior monologue provides a chance to see inside the heads of characters, and we know that the more familiar a reader is with a character, the more the reader embraces that character. (William Noble, Writing Nonfiction- Using Fiction. The Portable Writers Conference, 2nd ed., ed. by Stephen Blake Mettee. Quill Driver, 2007) Stylistic Characteristics of Interior Monologue Sentence fragments may be treated as interior monologue (direct speech) or regarded as part of an adjoining stretch of free  indirect speech.Interior monologue may also contain traces of non-verbal thought. While more formal interior monologue uses the first-person pronoun and finite verbs in the present tense, He [Stephen] lifted his feet up from the suck [of the sand] and turned back by the mole of boulders. Take all, keep all. My soul walks with me, form of forms. [. . .] The flood is following me. I can watch it flow past from here. (Ulysses iii; Joyce 1993: 37; my emphasis) In Ulysses James Joyce conducts more radical experiments with the form of the interior monologue, especially in his representation of the thoughts of Leopold Bloom and his wife, Molly. He eschews full sentences with finite verbs in favour of incomplete, often verbless syntagms which simulate Blooms mental leaps as he associates ideas: Hymes jotting down something in his notebook. Ah, the names. But he knows them all. No: coming to me. - I am just taking the names, Hynes said below his breath. What is your christian name? Im not sure. In this example, Blooms impressions and speculations are confirmed by Hynes remarks. (Monika Fludernik, An Introduction to Narratology. Routledge, 2009) Stream of Consciousness and Interior Monologue Although stream of consciousness and interior monologue are often used interchangeably, the former is the more general term. Interior monologue, strictly defined, is a type of stream of consciousness. As such, it presents a characters thoughts, emotions, and fleeting sensations to the reader. Unlike stream of consciousness more generally, however, the ebb and flow of the psyche revealed by interior monologue typically exists at a pre- or sublinguistic level, where images and the connotations they evoke supplant the literal denotative meanings of words. (Ross Murfin and Supryia M. Ray, The Bedford Glossary of Critical and Literary Terms, 2nd ed. Bedford/St. Martins, 2003)

Discuss the financing hierarchy view of corporate liquidity Essay

Discuss the financing hierarchy view of corporate liquidity - Essay Example Considering this relationship predicted by the hierarchy view, it is different from the trade-off view which argues that the relationship between the level of cash and investment maintained by an entity is direct. The hierarchy view also holds that firms raise their levels of cash reserves when they are confident about their future profitability and the fact that new opportunities will require excessive cash reserves (Tirole 2006). The empirical evidence in relation to the corporate policies on liquidity, based on the survey conducted by Deutsche Bank (2006), suggests that a significantly high level of companies surveyed, i.e. 18 percent, maintained liquid cash reserves which were more than 20 percent of their assets, whereas 38 percent survey participants had established credit lines over and above 20 percent of their assets’ value. On the other hand, one interesting finding from the survey revealed that about 50 percent of the participants signified their indifference towards changing liquidity position, had there been no new opportunities in the market (Servaes and Tufano 2006). Thus, holding of cash cannot be deemed for availing new investment opportunities and this is where empirical evidence departs from hierarchy view of corporate liquidity

Existentialism Theories Essay Example | Topics and Well Written Essays - 1500 words

Existentialism Theories - Essay Example Individual choices were circumscribed in order to achieve the more egalitarian distribution of goods and services like education and health care. In some contemporary Islamic nations, individual freedom must conform to religious practices. Individual behavior is also restricted by religious belief in Israel on the Jewish Sabbath and religious holidays and in some communities in the United States on Sundays because of Christian beliefs, On the other hand, religious conservatives often want governments to severely limit the options available to women who want to terminate pregnancies and oppose extending certain legal rights, including health benefits for partners and the right to marry the person they choose, to homosexuals (The Meaning of Freedom in the Modern World, Winter-Spring 2001). When we talk of existentialism, we talk of freedom, choices and action in connection with being human. Christine Daigle stated that â€Å"Existentialism is a philosophy that focuses on human existen ce in its concrete occurrence and on the fact that the human existence is radically free and must make choices and a philosophy that preoccupies itself with themes such as intentionality, being and absurdity, and angst and death. (Existentialist Thinkers and Ethics, 2006). Jean-Paul Sartre, commonly considered the father of Existentialist philosophy and arguably the best known philosopher of the twentieth century (Jean-Paul Sartre, 2011), defines freedom as â€Å"not a being; it is the being of man-i.e. his nothingness of being. If we start by conceiving of man as a plenum, it is absurd to try and find in him afterwards moments or psychic regions in which he would be free. As well look for emptiness in a container which one has filled beforehand up to the brim! Man cannot be sometimes slave and sometimes free; he is wholly and forever free or he is not free at all† (Being and Nothingness, Tr. Hazel E. Barnes (New York. 1966), p. 539). For him, man is freedom. He is always fre e and that it is impossible for man to be â€Å"not free†. A human being responds to specific situations they are faced with and is free to choose as to how to act on them. But in freedom man has some things that he cannot do. He says that we cannot refuse freedom, which is kind of conflicting to his statement that â€Å"man is freedom† if we take it at face value. When he says we cannot refuse freedom, by opting not to choose, man is still choosing, thus exercising freedom. We also cannot escape responsibility. For we are to take responsibility for the consequences of our choices and actions as role models, that others may act accordingly and that every choice he makes not only affects his future but the future of humanity as well. Responsibility is the price that freedom exacts from mankind. According to Existentialism in two plays of Jean-Paul Sartre: One of the most famous claims of ‘Being and Nothingness’ by Sartre is that, we are aware to some extent of our freedom, and the responsibility that comes with it, but we try to hide this from ourselves. We are aware, claims Sartre,