Problems surrounding Ritalin like parents and teachers wanting to Essay

Problems surrounding Ritalin like parents and teachers wanting to control children with drugs - Essay Example However, not all cases of patients with this disorder are required to take medicine. According to Dr. Fred Baughman, a certified child neurologist, one of the important grounds of actually resorting to pills for kids would be if ADHD is already putting the child’s life at risk (Null, G., n.d.). This relates to the severity of the condition wherein kids’ hyperactivity could put them in dangerous situations, hurt themselves, create unhealthy relationships with people around them and etc. With this said, carelessly judging a kid’s behavior and immediately concluding the need for medication is not beneficial. This is because of the fact that aside from the numerous side effects of which such as difficulty sleeping, dizziness, vomiting, loss of appetite, diarrhea, headache, numbness, irregular heartbeat, difficulty breathing, fever, hives, seizures, agitation, motor or verbal tics, depression, slows down growth, promotes weight gain, and could even cause sudden death, especially in children with heart problems, it can also create a culture that is totally dependent on drugs which will defeat the value of perseverance, hard work, and learning in the most natural ways which in turn are the most effective in inculcating different values among people through experience. For parents who might have problems with their kids having lack of focus in school or perhaps are just more active than their peers, it is best to not look at their behavior subjectively, instead, consider whether their behavior is already causing more trouble than turning to drug use which has a lot of risks. This is because of the numerous cases where ADHD is already causing their kids to physically hurt others or themselves, hindering them from getting a full meal resulting in lack of nutrition, or causing them violent reactions when doing the most routinary things such as taking a bath

Sheltering the Deep Essay Example | Topics and Well Written Essays - 250 words

Sheltering the Deep - Essay Example the use of a phrase or word with application of humour in order to empathise different meaning or different uses of the words that sound the same or are a like (James 4). In the article, the author uses pun in different paragraphs like, â€Å"underwater canyon, bottlenose whales". In this phrase, she uses â€Å"bottlenose whales† to make sure that the readers understand the meaning of the word whales. Another pun used is the â€Å"underwater communities†. Another example of a pun in the article is the illustration of "rich waters". She is trying to explain about the birds that uses water to find food and applies pun for the reader to understand. Assonance is also applied in the report in different parts. In many sentences, the author repeats vowel â€Å"e† and â€Å"i† in different sentences. She has used narrowed and swallowed in the same sentences stating that after the lagoon narrowed then even become shallower. Alliteration is used where by she says, â€Å"race

Causes Of The European Sovereign Debt Crisis Economics Essay

Causes Of The European Sovereign Debt Crisis Economics Essay Europe currently experiences a severe sovereign debt crisis. The debt crisis in some member states of the euro area has raised public uncertainty about the viability of European Economic and Monetary Union (EMU) and the euros future. While the execution of the euro in the year 1999 created many interest in regional monetary integration and even monetary unification in several corners of the world, the present crisis had the opposed effect, even raising expectations of the euro area breaking up. The crisis has illustrated the problems and tensions that will ineluctably arise within a monetary union when imbalances build up and become unbearable. The causes of the European crisis will be further review below. Also, we would describes why the Greece crisis could cause so much havoc to the global economy. CAUSES OF THE EUROPEAN SOVEREIGN DEBT CRISIS European countries had just weathered the 2008-2009 crisis and were set up hopes for recovery. However, on November 2009 George Papandreous newly elected Socialist government in Greece revealed that the predecessor government had lied to the public about the true picture of Greeces public finances, that the budget deficit for 2009 would be 12.7% instead of 4.6% of Gross Domestic Product (GDP), as previously reported. That revelation created a panic atmosphere among lenders or bondholders, as credit agencies lowered their ratings of Greeces sovereign debt, which is the first time in 10 years that Greeces rating falls below the investment grade. The country has then realized itself hardly to borrow or even roll over existing debt except at prohibitively high interest rates. The disclosure of the actual Greek fiscal condition raised serious doubts about the countrys ability to meet its obligation. The following downgrades rating and ever rising interest rates led to an exacerbation of Greeces capital markets access that made it even more difficult and nearly impossible for the government to refinance itself, leading a downward spiral for the Greeks economy. Therefore at that point, the government forced to appeal to its European Union members and IMF for bailout. However, the bailout failed to recover market trust in the Greek economy. In addition, it failed to cease contagion of the crisis to other nations in the euro area. Precisely, the crisis of Greek and the hesitant political response from the other European nations raised issues over the debt condition and the structural and competitiveness problems of the economically weaker periphery member countries of the euro area, named PIIGS (Portugal, Ireland, Italy, Greece, and Spain). As a result, the costs of borrowing for the PIIGS lifted significantly and the cost of insuring sovereign debt against default soared as their creditability to repay the debt have vanished. The crisis also creates awareness of the existing imbalances in the euro area, which form a serious problem. The below are the major causes of the crisis: Banking crisis fuelling sovereign debt crisis and vice versa It is wrong to assume that the European debt crisis is actually caused by thriftless government spending, especially because of the luxurious social security systems. Rather, the origins of the European debt crisis can be traced back to the global financial crisis occurred in 2008-2009, which spilled over into a sovereign debt crisis in various euro area countries in early 2010. In order to offset the rapid falls in output, euro area governments responded with counter-cyclical fiscal policies that lifted fiscal deficits. Then, fiscal positions become worse as the tax revenues fell and transfer payments grew larger due to the increased unemployment rate during the crisis. In many countries, government bailouts of banking systems also contributed to an increase in public debt. Private debt turned to public debt, be it through banking crises or the burst of housing bubbles, leading to the sovereign debt crisis. Between 2007 and 2010, the debt to GDP ratio of the euro area increased from 66.3% to 85.4%. Greece is a unique case in the sense that the Greek debt level had already been relatively high before the crisis, which is 107.7% of GDP in 2007. Greek debt, which has been on a continuous rise since 2003, has arrived at a level of 144.9% of GDP in 2010. Similar to Greece, Italy had a debt level more than 100% of GDP prior to the crisis, but the debt to GDP ratio fell between Italys adoption of the euro in 1999 and 2007. Among the countries in euro area, the most dramatic increase in public debt occurred in Ireland, where the countrys debt problems can be clearly arise to the countrys banking crisis. Ireland did not face a fiscal or debt problem until the year 2008. Accordingly, the Irish debt to GDP ratio fell gradually over this period from 64.3% to 24.9%, with Ireland being one of the EU countries with the least public debt burden. The condition changed in the course of the Irish banking crisis in September 2008 when the European governments and institutions and also the US government guaranteed most liabilities of Irish-owned banks. As a result, the Irish deficit ballooned and the debt to GDP ratio shot up from 24.9% in 2007 to 94.9% in 2010. The ensuing exacerbation of Irelands access to capital markets in the autumn 2010 led it to seek for international financial rescue package by the IMF and the EU of over à ¢Ã¢â‚¬Å¡Ã‚ ¬90 billion in November 2011 to finance its borrowing and bank recapitaliz ation needs. Similar to Ireland, Spain did not face a fiscal or debt problem before 2008. Spains destiny changed when the global financial crisis put a sudden end to the long cycle of high growth that had been accompanied by a construction and real estate boom. When output contracted in 2008, the Spanish housing bubble burst and hence destabilized the entire banking system. Even in Portugal, which had seen a steady rise of its debt to GDP ratio after joining the euro area in 1999, which its debt stood at 49.6% of GDP, which is so far the largest increase of public debt happened during and after the 2008-2009 crises, with debt soaring from 26.6% in 2007 to 94.9% in 2010. Therefore, the sovereign debt crisis has been directly connected to the global financial crisis and the ensuing problems of European countries banking sectors after the bankruptcy of Lehman Brothers. With exacerbating public finances, sovereign risk has increased and deteriorated banks balance sheets. The interdependence between sovereign credit and banking systems has been at the key of the crisis as sovereign debt of euro area countries are held in large quantities by euro area banks. Mispricing of risk and misallocation of capital A key element that led to the crisis was a mispricing of risk by capital markets and an ensuing misallocation of capital in the previous years before the outbreak of the crisis. European monetary unification brought about a convergence of interest rates among euro area members. Spreads of sovereign bonds of the PIIGS over Germany narrowed rapidly in the run up to EMU membership and almost gone once they had become the euro area members. Sovereign risk of all euro area countries, including the PIIGS, was priced more or less the same as German sovereign debt. This is due to the risk of euro area central government bonds was weighted at zero in regulatory capital calculations and because the Euro treated such debt as risk-free collateral when these were offered as collateral for repos and other collateral financing trades. It is now apparent that the availability of cheap credit brought to an unbearable accumulation of private (as in Ireland, Portugal, and Spain) and public (as in Greece and Portugal) debt in todays crisis countries. The decrease in real interest rates in the periphery countries after they join the euro area and the inflowing capital supplied unbearable developments, including excessive credit dynamics and real estate bubbles in Spain and excessive fiscal spending in Greece. It also decreased the tension for economic reform to enhance competitiveness within the monetary union as countries could simply finance their current account deficits through a plenty of capital inflow. Imbalances in the euro area A high level of public debt is not a problem, as long as the government can refinance itself and roll over its debt. This requires public debt and the interest burden to grow slower than the economy and the tax base. This is no longer the case in the PIIGS anymore. Current debt crisis in the PIIGS is hence not merely a debt crisis; it is first and governing a competitiveness and growth crisis that has contributed to structural imbalances within the euro area. The structural imbalances, caused by high current-account deficits of the periphery countries and matching surpluses in core countries, are at the origin of the current problems since a lack of competitiveness impedes the periphery countries chances of growing out of the crisis. Essentially, deficit countries need to become surplus countries to service their debt. However, the fact that the PIIGS are members of a monetary union and hence competitiveness cannot be recovered by means of currency devaluation makes the adjustment much difficult. Lack of trust in European governments crisis responses The crisis is not just an economic disaster, but also a political disaster, arises from erratic responses and pressures among euro area governments, representing surplus and deficit countries with contradictory interests. European leaders were believed that a balance of payments crisis was impossible within a monetary union. Since such a problem was not considered a priori, no crisis resolution mechanism had been taken into account. European policymakers hence faced the challenge of crafting a crisis response in the midst of crisis. The worries of the surplus countries, led by Germany, that an easy bailout of Greece would set a negative precedent and create moral hazard problems with other deficit countries, especially the larger euro area members Italy and Spain. Fears of moral hazard and a transfer union, where deficit countries would have to be financed permanently, made surplus countries also refused to advocate proposals such as those for Eurobonds. The slow negotiation processes between governments, which have needed to safeguard support from their domestic constituencies, have evoked the impression of a European political system was ill-equipped to overcome any financial crisis.

The European Monetary Union (EMU) - The Euro as a Single Currency Essay

The European Monetary Union (EMU) - The Euro as a Single Currency Liberalizing trade is nothing new to the world, but we have never witnessed such a vast economic integration between sovereign countries like the integration carried out in the European Union. Customs duties between European countries started to come down steadily in the early 1950s and were abolished in 1968 with the introduction of a customs union and the implementation of the common external tariff. The official proclamation of the single market on 1 January 1993 marked the ending of non-tariff barriers to trade between Member States. European Monetary Union will make it possible to complete European economic integration. The introduction of a single currency will mean price transparency, that is prices of goods can be directly compared on the markets of the participating Member States, which will merge into one market. Obstacles to trade such as the transaction costs, which add up to 0.4% of the EU GDP per year, and the exchange risk, will be eliminated. The competitive positions of companies can no longer be established by exchange-rate movements but will reflect productivity, inflation and cost differentials. This should permit a better allocation of capital and of available resources. The member countries will also be able to save administrative costs used for hedging operations. Over and above its positive effects on price stability and public finances, the single currency will make it possible to complete the single market and increase the benefits, which have already flowed from it. Monetary Union will create an area within which national financial markets will become an integrated, wider and more flexible market. Financial institutions and financial centers will face new competitive conditions. The size of a specific national market will lose its significance. Competition will increase and could lead to greater harmonization across the euro area. The introduction of the euro will have a great impact on the financial sector. This is because of three main reasons: Â · The European System of Central Banks will be operating the single monetary policy in euro. So, it will be necessary for financial institutions to be able to operate in euro. Â · Governments will issue all new debt in euro. Therefore, financial institutions, payment systems and clearing ... ...ch the problems associated with the changeover to the euro will be resolved. Second, the national currencies of the EMU members are no longer independent. They are fixed to the euro. A speculation between currencies of the member states is pointless because this is equal to speculation with a currency of the same type. The introduction of the euro in 1999 was an event, anticipated for a long time. Following, the euro has faced some problems due to the transaction period, but there is a strong belief that these problems will be easily overcome as the young currency accumulates power. Now that, the euro has become the official currency of the European Union (with some exceptions) there will be no more national currencies of the member states. In this way, we become witnesses of the highest level of integration among independent nations in the world history, when the European Union is expected to become the leader in the world economy. Bibliography: 1. Kreinin, International Economics, 1991, Harcourt Brace Jovanovich 2. Cecchini, The European Challenge, 1992, Wildwood House 3. European Central Bank’s web site: http://www.ecb.int 4. EMU official web site: http://www.emu.int

Neriagi Nerikomi

Neriage and Nerikomi are two ceramic techniques that have been used for many years by various ceramicists. Although the terms Neriage and Nerikomi are used interchangeably they are very different. Neriage is done on a potter’s wheel and means that the clay is being mixed and pulled up as it is thrown where as Nerikomi is done by hand and by pressing clay into a mold. Both methods are done with colored clays which are usually earth tones such as grey, reds, blues, and beige. Neriage and Nerikomi both originated from Japan and other areas of Asia where they have been practiced for a period of time. Neriage means to pull up and mix. This is what creates the pattern of colors within the clay. Two different color clays are mixed together to try and imitate the look of agate; that is why is it also called agateware. Agate is a variety of quartz that comes in a variety of colors. Neriage was brought into America and Europe in the twentieth century by the Mingei. The founder of the Mingei was Yanagi Soetsu. Mingei means art of the people and was an art movement in Japan. The goal was to create basic art made by ordinary people that still had an artistic flair. Nerikomi means to mix and press into. Nerikomi is done by hand rather than on a wheel. The same concept of mixing is used in Nerikomi as in Neriage. It is made by mixing metal oxides and stains into the clay to give it it’s color. The clay is then shaped into logs and then molded into forms. Each form is molded to a uniform thickness and an identical pattern is created on each side of the form. Nerikomi began in the Tang Dynasty in the seventh century and has been practiced by the Europeans and Egyptians. This technique is very complex but is very down to earth in the making process. It is made by hand and is very traditional. Nerikomi is a very difficult process but the end result is beautiful. Various artists throughout time have used these techniques. Matsui Kosei has used both techniques. Matsui Kosei is considered a master of Neriage. He researched the ceramics of Japan, China, and Korea to become a scholar of his trade. He was born in 1927 which was the start of the folk art movement in Japan. Being born in this time probably influenced him greatly because its main goal was to support the belief that ordinary people can do extraordinary things. He has made many pieces such as bowls, vases, vessels, and various other things. Rich Alexander is another artist that has been introduced to Neriage. He is from Clinton, Washington and aspires to create rustic pieces with a modern feel. His work is simple pots and vases. He chooses to use browns and beiges because of his closeness to nature. His signature designs and glazes include wood ashes to give the piece a more natural texture and color. Another artist is Thivo. Her work consists of Nerikomi and other ceramics. She was originally born in Vietnam but moved to France for professional arts training. After this she moved to New York City. Her main designs are flowers and abstract colors. Her bowls and vessels are odd designs and contain an almost mesh like pattern on the edges. Her pieces are also very symbolistic of nature. Neriage and Nerikomi are both ceramic methods that originate from Japan and other areas of Asia. Although the techniques are often confused they are very different and started over a hundred years apart. Neriage is a much younger art form compared to the ancient Nerikomi. Both techniques are very complex and take much study to perfect. Many artists such as; Matsui Kosei, Rich Alexander, and Thivo have reached a greatness within these art forms and many will continue to practice these timeless methods.

Pride and Prejudice by Jane Austin Essay

In the 1995 BBC adaptation of Austen’s novel, screenwriter Andrew Davies creates a Pride and Prejudice which upholds and celebrates the patriarchal institution of marriage. Davies pares down the multiple sub-plots which are representative of realistic female experiences and chooses, instead, to ignore Austen’s feminist intent. To the entirely female perspective of the novel, Davies adds a male narrative point of view as well as a male gaze and overt sexuality effectively to deny female subjectivity in the film. The paper also argues that popular culture has betrayed Austen’s intent by suppressing her subtle subversion of the marriage plot. Pride and Prejudice, which chronicles the courtship and eventual marriage of Elizabeth Bennet to Fitzwilliam Darcy, involves the education of both Elizabeth and Mr. Darcy, who must overcome their false impressions before they can respect and love one another. The novel’s opening line, â€Å"It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife† (51; ch. 1), alerts the reader from the outset that the plot centres around marriage. In the next sentence, Austen sets the stage for her ingenious disruption of the marriage plot by establishing the male rather than the female as the object of exchange: â€Å"However little known the feelings or views of such a man may be on his first entering a neighbourhood, this truth is so well fixed in the minds of the surrounding families, that he is considered as the rightful property of some one or other of their daughters† (51; ch. 1). Austen creates an intensely personal environment where the plot focuses on the relationships between the female characters within the domestic sphere as well as on the developing romance between Elizabeth and Mr. Darcy. Major differences exist between Austen’s novel and the 1995 BBC adaptation of Pride and Prejudice in regard to point of view, the male gaze and overt sexuality. In this women’s picture, aimed at a predominantly female audience, the â€Å"look† of the camera more frequently follows the narrative from the heroine’s perspective so that the spectator sees what the heroine sees. Although much of the BBC adaptation of is filmed from Elizabeth viewpoint, the camera’s gaze frequently switches to bring a male point of view and male experience to the forefront. While there are significant differences between Austen’s novel and the BBC adaptation in terms of its narrative point of view, the novel and the film employ the looks exchanged between characters in a similar fashion to accentuate Darcy’s attraction to Elizabeth. In both versions Elizabeth first falls under Darcy’s scrutiny at the Meryton assembly when he insults her by declaring that she is not attractive enough to render her acceptable as a dance partner. Upon overhearing his disdain, Elizabeth promptly gets up from her chair and removes herself from his critical notice. After this initial encounter, Austen’s narrative describes how Elizabeth quickly becomes an object of great interest to Mr. Darcy: Mr. Darcy had at first scarcely allowed her to be pretty; he had looked at her without admiration at the ball; and when they next met, he looked at her only to criticise. . . . Though he had detected with a critical eye more than one failure of perfect symmetry in her form he was forced to acknowledge her figure to be light and pleasing. (70; ch. 6) As the novel progresses, Elizabeth becomes increasingly cognizant of Mr. Darcy’s gaze. While visiting the Collins’ at Hunsford, Elizabeth once again encounters Mr. Darcy. While Elizabeth is seated at the piano conversing with Colonel Fitzwilliam during an evening spent at Rosings Park, Darcy â€Å"stationed himself so as to command a full view of the fair performer’s countenance† (206; ch. 31). Charlotte Collins suspects that Mr. Darcy is in love with Elizabeth and sets out to prove that her intuition is correct: She watched him whenever they were at Rosings, and whenever he came to Hunsford; but without much success. He certainly looked at her friend a great deal, but the expression of that look was disputable. It was an earnest, steadfast gaze, but she often doubted whether there were much admiration in it, and sometimes it seemed nothing but absence of mind. (214; ch. 32) In the BBC adaptation, however, Darcy’s gaze is far less ambiguous than it appears in Austen’s novel. The film has the advantage of being able to create a visual representation of the narrative, making it much more explicit to the spectator that Darcy’s constant observation of Elizabeth results from his desire rather than from his disdain of her. The screenplay offers the spectator a privileged position which allows him/her more knowledge than Elizabeth for, while Elizabeth naively suspects that there must be something horribly wrong with her to attract Mr. Darcy’s attention, the spectator understands that Darcy’s smouldering glances are the result of frustrated desire which he cannot conquer. In scene after scene, Darcy continues to fix his gaze on Elizabeth, watching from the window as Jane and Elizabeth depart in the carriage from Netherfield and scrutinising Elizabeth as she dances with Mr. Collins at the Netherfield ball. At times, Elizabeth seems completely unaware that she is being watched by Mr. Darcy while at others her awareness of his gaze makes her exceedingly uncomfortable. In the film adaptation of Pride and Prejudice, the interaction and conversations between Darcy and Elizabeth are most often filmed from such perspective that Darcy and Elizabeth rarely appear together in the same frame until the very end of the film. Although Elizabeth occasionally steals glances at Darcy when he is unaware, she does not return his regard until almost the conclusion of the film during a scene in which she and the Gardiners dine at Pemberly and Mr. Darcy smiles benevolently on her as she stands by his sister Georgiana at the piano. After his company has left, Darcy recollects with pleasure the eye contact he enjoyed sharing with Elizabeth earlier in the evening. Even when Elizabeth and Darcy are left alone to walk together, Elizabeth continues to avert her eyes from Darcy’s countenance. Despite the fact that she initiates the conversation which results in Darcy renewing his earlier proposal of marriage, she cannot meet his gaze. The film adaptation of Pride and Prejudice ends as soon as Elizabeth and Darcy are united in marriage and it is not until the final scene when Elizabeth and Darcy are leaving the church that Elizabeth can finally look into his eyes as they share a kiss to seal their union. The sexuality evident in the most recent incarnation of Pride and Prejudice on film represents a distinct departure from Austen’s novel. Unlike Austen, Andrew Davies introduces sexuality into Pride and Prejudice in his recent television adaptation, contending, â€Å"There is a lot of pent-up sexuality in Austen’s work and I have let it out† (quoted in Amis 34). In the film, male sexuality and desire are evident as the heroine falls under scrutiny of the male gaze. Several additions to Austen’s novel have been made in the section of the screenplay which recounts Elizabeth and Jane’s stay at Netherfield while Jane is recuperating from her illness. In one scene, Elizabeth, unfamiliar with the house at Netherfield, accidentally enters the wrong room and encounters Darcy playing billiards. As she turns to leave the room, he shoots her a brooding look and then, in a symbolic gesture, forcefully knocks a billiard ball into the pocket. A short time later, the spectator observes Mr. Darcy finishing a bath and then proceeding to look down from his window at Elizabeth romping in the yard with a dog. These cinematic images, instead of furthering the narrative, seem to have been included in the film adaptation primarily to establish Darcy as a sexual subject and set up Elizabeth as the object of his desire. Darcy vents his frustration in the physical activity of a fencing match during another portion of the filmic text invented for the screenplay. This scene demonstrates Darcy’s virility, and closes with a close-up of Darcy, glistening with perspiration from his â€Å"masculine† exertion, presumably referring to his love for Elizabeth as he proclaims to himself, â€Å"I shall conquer this. † Similarly, when Darcy makes an early return to Pemberly while Elizabeth is there on a tour, the camera focuses on Darcy striding back to his estate on horseback and then dismounting, undressing and diving into a pond on his property. Although in the novel Mr. Darcy does arrive unexpectedly at Pemberly to find Elizabeth there with the Gardiners, the film enhances the sexual tension between the two characters by embellishing an astonished and embarrassed Elizabeth’s encounter with a wet, partially clad Darcy. Although the screenplay positions Darcy as a sexual subject, female sexuality is virtually non-existent in the film except for a passive female desire characterised by waiting, frustration and misunderstanding. Despite the many differences between Austen’s novel and the screen adaptation of Pride and Prejudice, both versions portray female desire as essentially passive. The BBC adaptation of Pride and Prejudice reflects this feminist backlash characteristic of late twentieth century culture. By employing male point of view and the male gaze to transform Elizabeth Bennet into an object of Darcy’s sexual desire, the filmmakers have created a traditional ‘Hollywood’ picture. Although the BBC adaptation of Pride and Prejudice is. indeed, a â€Å"women’s picture,† it strays from Austen’s feminist intent. Although Austen ends her novel with the marriage of Elizabeth Bennet, she, nevertheless, skilfully empowers her heroine within the confines of the marriage plot. Despite the constraints imposed on her gender by the society of the late eighteenth and early nineteenth centuries, Jane Austen manages to some degree subvert the patriarchal ideology of the time period in which she lived. In addition, through her portrayals of unsatisfactory marriages and her references to the economic necessities which often left women with no options other than marriage, Austen creates distance between the reader and the heroine to prevent over-identification. By successfully inverting the male/subject and female/object roles at the conclusion of the novel, Austen convinces the reader â€Å"that Mr. Darcy was really the object of her choice† (385; ch. 59). Conclusively, a comparison of Austen’s Pride and Prejudice to the television dramatization of her novel illustrates how popular culture has betrayed Austen’s intent by suppressing her subtle subversion of the marriage plot. Although Austen never openly challenges the institution of marriage itself, she manages to be subversive by focusing the reader’s attention on the heroine’s personal growth and autonomy within marriage. Works Cited Amis, Martin. â€Å"Jane’s World. † The New Yorker 8 (Jan. 1996): 31-35. Austen, Jane. Pride and Prejudice. Ed. Tony Tanner. New York:Penguin, 1985. Pride and Prejudice. Dir. Simon Langton. Screenplay by Andrew Davies. Perf. Jennifer Ehle and Colin Firth. BBC/A&E, 1995.

Free Essays on Faulkner

Symbolism in William Faulkner’s â€Å" Barn Burning† In â€Å" Barn Burning† symbolism is used throughout the story. William Faulkner uses it to describe tones, and themes. His use of symbolism is very helpful to the reader to describe the feelings and moods of characters in the story. Using symbolism describes the place setting of the story and prepares the reader for the upcoming events. â€Å"Barn Burning† is a story about blood ties, and how they affect the son, Colonel Sartoris Snopes, better known as Sarty. The story begins in a store, which is also a courtroom. Sarty is reading the cans with his stomach, describing his hunger and his lack of education. His father to has taught Sarty dislike anyone at higher status, but he also wants to grow and be his own man. Abner Snopes is on trial for the crime of arson. Abner Snopes wants it to be known that nobody will cross him or his family at anytime. The Snopes have been kicked out of this small town, like they have been in other towns many times before. This can be known because when they walked out of the store, their wagons are already packed and ready to go. As they leave the town on there wagon nobody in the family asks where they are going, they never do, and they know there father has another house or small farming town to work. The fact that his father had set up another place to live and show his pattern of crimes. They arrive at the next small house and his sister says â€Å"likely hit ain’t fit for hogs.† (Faulkner, 12) She is describing the small, shabby house that they must live in again, like all of the others. Abner and Sarty leave to have â€Å"a word with the man that owns to begin tomorrow owning me body and soul for the next eight months.† (Billiglea,) Faulkner is describing the outlandish hatred his father has for the upper class. They arrive at the house, which Sarty stat... Free Essays on Faulkner Free Essays on Faulkner Symbolism in William Faulkner’s â€Å" Barn Burning† In â€Å" Barn Burning† symbolism is used throughout the story. William Faulkner uses it to describe tones, and themes. His use of symbolism is very helpful to the reader to describe the feelings and moods of characters in the story. Using symbolism describes the place setting of the story and prepares the reader for the upcoming events. â€Å"Barn Burning† is a story about blood ties, and how they affect the son, Colonel Sartoris Snopes, better known as Sarty. The story begins in a store, which is also a courtroom. Sarty is reading the cans with his stomach, describing his hunger and his lack of education. His father to has taught Sarty dislike anyone at higher status, but he also wants to grow and be his own man. Abner Snopes is on trial for the crime of arson. Abner Snopes wants it to be known that nobody will cross him or his family at anytime. The Snopes have been kicked out of this small town, like they have been in other towns many times before. This can be known because when they walked out of the store, their wagons are already packed and ready to go. As they leave the town on there wagon nobody in the family asks where they are going, they never do, and they know there father has another house or small farming town to work. The fact that his father had set up another place to live and show his pattern of crimes. They arrive at the next small house and his sister says â€Å"likely hit ain’t fit for hogs.† (Faulkner, 12) She is describing the small, shabby house that they must live in again, like all of the others. Abner and Sarty leave to have â€Å"a word with the man that owns to begin tomorrow owning me body and soul for the next eight months.† (Billiglea,) Faulkner is describing the outlandish hatred his father has for the upper class. They arrive at the house, which Sarty stat...