The Ultimate Strong Verbs List Thatll Instantly Supercharge Your Writing

The Ultimate Strong Verbs List Thatll Instantly Supercharge Your Writing 249 Strong Verbs Thatll Spice Up Your Writing Do you ever ask why a syntactically right sentence you’ve composed just lies there like a dead fish? I sure have. Your sentence may even be brimming with those descriptive words and qualifiers your instructors and friends and family so respected in your composing when you were a child. Yet at the same time the sentence doesn’t work. Something basic I gained from The Elements of Style years back changed the manner in which I compose and added verve to my writing. The writers of that little authoritative guide of style stated: â€Å"Write with things and action words, not with modifiers and adverbs.† Indeed, even Mark Twain was cited, with respect to descriptive words: â€Å"When in question, strike it out.† That’s not to state there’s a bad situation for descriptive words. I utilized three in the title and first section of this post alone. The fact is that acceptable composing is progressively about all around picked things and solid action words than it is about descriptors and intensifiers, in any case what you were told as a child. There’s no snappier success for you and your composition than ferreting out and taking out of shape action words and supplanting them with lively ones. Step by step instructions to Know Which Verbs Need Replacing Your first insight is your own inconvenience with a sentence. Chances are it includes a nap prompting action word. As you sharpen your brutal self-altering abilities, train yourself to misuse chances to swap a powerless action word for a solid one. Toward the finish of this post I propose a rundown of 249 clear action words you can try different things with to supplant tired ones. Need a duplicate of the 249-action word rundown to peruse, spare, or print at whatever point you wish? Snap here. What comprises a drained action word? Here’s what to search for: 3 Types of Verbs to Beware of in Your Prose 1. Condition of-being action words These are latent rather than ground-breaking: Is Am Are Was Were Be Being Been Have Has Had Do Does Did Will Will Ought to Would May Might Must Can Could Am I saying these ought to never show up in your composition? Obviously not. You’ll discover them in this piece. In any case, when a sentence lies limp, you can wager it contains in any event one of these. Deciding when a condition of-being action word is the guilty party makes an issue and finding a superior, all the more remarkable action word to supplant it-is the thing that makes us authors. [Note how I supplanted the condition of-being action words in this paragraph.] Fight the temptation to counsel a thesaurus for the most intriguing action word you can discover. I counsel such references just for the ordinary word that conveys power however won't ring a bell. I would propose even that you counsel my rundown of ground-breaking action words simply after you have depleted all endeavors to concoct one all alone. You need Make your writing to be your own creation, not yours in addition to Roget or Webster or Jenkins. [See that they are so natural to spot and fix?] Models Inept: The man was strolling on the stage. Incredible: The man walked along the stage. Inept: Jim is an admirer of nation living. Incredible: Jim treasures nation living. Inept: There are three things that cause me to feel the way I do†¦ Ground-breaking: Three things persuade me†¦ 2. Action words that depend on intensifiers Incredible action words are sufficiently able to remain solitary. Models The fox ran immediately ran through the backwoods. She menacingly looked frowned at her opponent. He covertly listened spied while they talked about their arrangements. 3. Verbs with - ing additions Models Previously: He was walking†¦ After: He walked†¦ Previously: She was cherishing the thought of†¦ After: She cherished the thought of†¦ Previously: The family was beginning to gather†¦ After: The family began to accumulate The Strong Verbs List Ingest Advance Exhort Change Correct Enhance Assault Inflatable Slam Hitter Bar Meat Gab Impact Jolt Lift Brief Communicate Brood Burst Transport Bust Catch Catch Charge Chap Chip Catch Climb Grasp Impact Order Collective Fall down Snap Crash Long for Smash Dangle Run Destroy Leave Store Distinguish Go astray Eat up Direct Observe Find Disassemble Download Drag Channel Dribble Drop Spy Lock in Overwhelm Extend Catch Wrap Delete Escort Extend Detonate Investigate Uncover Expand Concentrate Eyeball Battle Fish Excursion Fly Grimace Circuit Distortion Look Glare Glimmer Shimmer Sparkle Eat Oversee Handle Float Hold Moan Grab Snarl Guide Spout Hack Hail Increase Totter Drift Rush Touch off Light up Investigate Educate Increase Entwine Grant Bump Excursion Lash Dispatch Lead Jump Find Reel Prowl Amplify Imitate Mint Groan Change Duplicate Dream Mushroom Confuse Notice Advise Acquire Persecute Request Paint Park Peck Look Friend See Picture Pilot Pinpoint Spot Plant Thud Pluck Plunge Toxic substance Pop Position Force Prickle Test Prune Figure it out Discuss Backlash Refashion Refine Expel Report Retreat Uncover Resound Rejuvenate Alter Rotate Tear Rise Ruin Surge Rust Walk Hasten Output Burn Scratch Scratch Scribbling Seize Serve Break Shepherd Gleam Sparkle Stun Wilt Sizzle Skip Lurk Slice Slide Lurk Slip Droop Guzzle Crush Destroy Tangle Growl Sneak Snowball Take off Spam Shimmer Game Sprinkle Gaze Starve Take Steer Tempest Strain Stretch Strip Walk Battle Falter Supercharge Supersize Flood Review Swell Swipe Swoon Tail Snitch Meander Transfigure Change Travel Treat Trim Excursion Walk Tussle Reveal Uncover Unwind Reveal Usher Cover Howl Weave Wind Pull back Wreck Wrench Wrest Wrestle Wring Yank Punch Zap Snap here or underneath to download the extended rundown (presently 249 amazing action words!), alongside the three sorts of action words to look for in your composition. Recommend in the remarks three (just) distinctive action words that ought to be added to my rundown.

Drawings for King Lear :: William Shakespeare Plays Literature Essays

Drawings for King Lear While in Paris in 1843-4, Ford Madox Brown outlined a lot of eighteen pen-and-ink reads for King Lear. Two structures he later created as completed works of art - Lear and Cordelia (1848-49) and Cordelia's Portion (1866)- - and a third he transformed into an oil-sketch, Cordelia Parting from Her Sisters (1854). Sixteen of the drawings were appeared in 1865 at his Picadilly Exhibition, and Brown composed the subtitles that show up underneath the drawings for the display inventory. The sixteen portrayals with inscriptions are claimed by the Whitworth Gallery in Manchester, and the two without subtitles are in the City Museum and Art Gallery of Birmingham. The drawings are done in pen and sepia ink over pencil on paper; they are around 11 x 14 creeps in size. The possibility of an arrangement, for example, this was not unique with Brown; the German craftsman Moritz Retzsch had finished his arrangement of diagrams of Shakespeare's plays (1828-46), which remembered an arrangement for King Lear, and Eugã ¨ne Delacroix had distributed his arrangement of thirteen lithographs for Hamlet in 1843, a year prior to Brown executed his drawings. Pundits think Brown knew crafted by the two specialists and was impacted by them. Earthy colored viewed these representations as close to plots, writing in the index that went with his 1865 review display that they were rarely expected however as impolite first thoughts for future progressively completed structures (19). In spite of their incomplete quality, they capably summon what Lucy Rabin portrays as a dubiously remote authentic period (52), a period spoke to by Shakespeare as post-Roman yet at the same time pre-Christian. Portage Madox Hueffer, the painter's grandson, proposes that the crudity of the representations was, truth be told, purposeful - Brown's endeavor to depict in intense, practically level structures the barbarity of Lear and the period where he lived (53). Earthy colored uncovers in these straightforward portrayals a comprehension of King Lear that far outperforms anything the pundits needed to state about a play that was not in the least famous in the nineteenth century. Charles Lamb watched from the get-go in the century that Lear is basically difficult to be spoken to on a phase, and toward the century's end - as in, for instance, a survey of Sir Henry Irving's King Lear at the Lyceum Theater- - the pundits were all the while citing Lamb and affirming that King Lear would not go on without serious consequences for an hour whenever delivered without the name of Shakspere (Illustrated London News 101:637). Little miracle that Sir Henry Irving was supposedly apprehensive and on edge when he created this disliked play at the Lyceum in 1892.

Is Gatsby Great Analyzing the Title of The Great Gatsby

Is Gatsby Great Analyzing the Title of The Great Gatsby SAT/ACT Prep Online Guides and Tips Regularly, your first feeling of a book is your response to its title. The best titles make books sound secretive, energizing, or intriguing, drawing in perusers. All around picked titles likewise give perusers a feeling of what they can hope to discover inside the pages of the book. Simultaneously, a title is generally an author’s method of proclaiming what is and isn’t significant in the book. A title can mirror a work’s topic or center, bringing up the correct temper for perusing. So how does the title of The Great Gatsby work? What is it indicating us about the book that we are going to peruse - and how does our comprehension of the title move as we clear our path through the story? Is Gatsby extremely incredible? In this article, I’ll analyze the various implications of this title and clarify different titles that Fitzgerald was thinking about when he was composing the book. What Can We Learn From The Title of The Great Gatsby? So as to truly investigate the manners in which that this title mirrors the novel, let’s first cut it into its parts, and afterward think about them back to front. The Title Features the Name of a Character For the most part, when a novel is titled with the name of one of the characters, that either implies that we’re going to peruse a life story or that the named personis the primary character (for example, Jane Austen’s Emma or J.K. Rowling's Harry Potter). Along these lines, here, the way that â€Å"Gatsby† is in the title gives us that the focal point of the story will be on him. For this situation, this center goes the two different ways. The epic is true to life, which means, the novel is the tale of Gatsby’s life. Yet additionally, Gatsby is, truth be told, the hero of the story. It’s supportive for the title to give us this, since in this book the principal individual storyteller turns out not to be the principle character. Amazing? Fantastic! Amazing. Presently let’s research four potential readings of the second piece of the title, which all rely upon the significance of the word â€Å"great.† 1. Shallow and Straight-Faced This rendition takes â€Å"great† as a clear commendation, which means â€Å"wonderful.† In this form, Gatsby is incredible on the grounds that he is the most extravagant, coolest, handsomest fella, who drives the best vehicle and tosses the most slamming parties. In this take, the title implies all out profound respect: Gatsby is only significance. This perusing of the title applies best in the start of the novel, when Gatsby is all puzzling bits of gossip, twirling achievement, and inconceivable extravagance, and when Nick is in his bondage. 2. Taunting and Ironic Then again, we could be managing the â€Å"oh, that’s just great.† form of this word. As we - and the novel’s characters - become familiar with Gatsby, the underlying interest with him transforms into frustration. In this perusing, the â€Å"great† turns unpleasant. Truly, Gatsby’s cash originates from wrongdoing. His gatherings, house, and material riches don’t fulfill him. He’s an ethical bankrupt who is pursuing a wedded lady. What's more, he loathes his genuine self and has made an entirely different phony persona to experience a young dream. This perusing of the title works when Gatsby appears to be a dismal, shallow shell of â€Å"greatness† †he’s like a big name brand with no there. 3. Profound and Soulful Another chance is that â€Å"great† here methods â€Å"intense and grand.† After all, despite the fact that Gatsby is an empty shell of a man who’s propped up by laundered cash, Nick immovably accepts that he stands head and shoulders above theold cash set since everything Gatsby does, he accomplishes for the most genuine of genuine affection. Scratch, who begins being going back and forth about Gatsby, comes to think about his adoration for Daisy as something that lifts Gatsby. For Nick, this affection marks Gatsbyas the one in particular who matters of the considerable number of individuals he met throughout that mid year (They're a spoiled crowd....You're worth the entire damn pack set up (8.45)). 4. Showy The last chance is that this â€Å"great† seems like the stage name of an entertainer (like â€Å"The Great Cardini,† ace card illusionist). This form of Gatsby is additionally totally fitting: all things considered, he truly changes into an entirely unexpected man over a mind-blowing span. Also, it wouldn’t be the last time that the novel was keen on the way Gatsby can make an exhibition, or the manner in which he is by all accounts following up on a phase as opposed to really living. For instance, Nick says Gatsby helps him to remember a â€Å"turbaned ‘character’ spilling sawdust at each pore† (4.31), while one of Gatsby’s visitors thinks about him to David Belasco, an acclaimed theater maker (3.50). The Title Is a Timeline So which of these forms is the right one? Every one of them. A fascinating aspect regarding this novel is that the title’s significance shifts relying upon how far we’ve read, or how much time we’ve spent thinking about what we’ve read, or what we eventually decide to accept about Gatsby’s motivationsand driving aspiration. Which adaptation of the â€Å"great† Gatsby advances to you? Gatsby: constantly somewhat overwhelming. Acclaimed Alternate Titles Did you realize that Fitzgerald really was not a tremendous enthusiast of the title The Great Gatsby? It was pushed on him by Max Perkins, his supervisor, who was confronting a cutoff time (and likely by his better half Zelda also). Fitzgerald had a rundown of titles he really liked to this one, and every one of them uncovers something about the novel, or possibly about Fitzgerald’s feeling of what the novel he composed was about. Not at all like the real title the novel wound up with, the substitute titles change in how zoomed in they are onto Gatsby. Let’s experience them to perceive what they uncover about Fitzgerald’s origination of his work. Trimalchio, or Trimalchio in West Egg This was Fitzgerald’s most loved title - it’s what he would have named his book if Max Perkins hadn’t meddled to state that nobody would get the reference. Perkins may have been correct. Trimalchio is a character in The Satyricon, a book by the Ancient Roman author Petronius. Just pieces of this work endure, yet fundamentally, it’s a parody that taunts Trimalchio for being a nouveau riche opportunist who tosses uncontrollably intricate and prominently costly evening gatherings (sound recognizable?). Trimalchio is haughty and revolting and excited about showing his riches in shabby manners. In the piece we have, Petronius depicts one gathering finally. It closes with the visitors carrying on Trimalchio’s burial service as an inner self lift. It’s essential to take note of that in The Great Gatsby, Fitzgerald refers to Gatsby straightforwardly as Trimalchio at a certain point: ...as unclearly as it had started, his profession as Trimalchio was finished (7.1). Since The Satyricon is a parody, this substitute title proposes Fitzgerald initially needed to introduce Gatsby as a figure to be derided instead of to show up progressively great/baffling. This demeanor towards the novel’s principle searcher of the American Dreampaints Gatsby’s aspiration to join first class society in a much darker and less complimenting light than the noveldoes now. Among The Ash Heaps and Millionaires, or On The Road To West Egg These titles work out, away from Gatsby and toward the geographic, social, and financial condition of the book. Both of these titles do this by giving us a feeling of being between things, fundamentally the spots with cash and those without. Character-wise, these titles appear to be more Nick-centered, since he is the person who shows us the contrasts between these two universes. Likewise, by alluding to the physical space that isolates Manhattan and the Long Island towns where the affluent live, both of these titles legitimately reference the book’s climactic passing, which happens out and about back to West Egg, directly at where the luxuriously symbolicvalley of remains is. Gold-Hatted Gatsby, or The High Bouncing Lover These dismissed titles are the two references to the epigraph that opens the book: At that point wear the gold cap, if that will move her; If you can ricochet high, skip for her as well, Till she cry â€Å"Lover, gold-hatted, high-bobbing sweetheart, I should have you!† by THOMAS PARKE D'INVILLIERS. Thomas Parke D'Invilliers is an optional character in Fitzgerald’s semi-self-portraying first novel, This Side Of Paradise. In the novel, D’Invilliers is a writer who gets to know the principle character and whose verse appears to be never to mirror the darker real factors of life. The sonnet offers guidance to a darling why should willing go to frantic lengths to get the lady he is keen on to restore the inclination (once more, stable recognizable?). A title dependent on this sonnet would put the novel’s accentuation decisively on Gatsby’s longingforDaisy, reorienting our feeling of Gatsby as a striver to his capacity as an adoration intrigue. Under The Red, White, and Blue As opposed to referencing any piece of the book - a character, a spot, or even a thought - this title rather widens the reader’s point of view to a devoted or nationalistic perspective on the United States. The impact is that we could without much of a stretch be taking a gander at a war story, or some political tract - there is essentially nothing in this title gives us any feeling of what the hidden novel may be about. On the off chance that Fitzgerald had gone with this title, we would peruse this novel substantially more decisively as a more straightforward prosecution of America, or possibly the fantasy of the American Dream. This is absolutely one of the suffering topics of the novel, yet since Nick winds up differentiating the midwest and the east coast’s very surprising thoughts regarding achievement and the American Dream, this title would really weaken Fitzgerald’s objection by making the entirety of the U.S. co

Role and Responsibilities of a Teacher in Montessori Essay Example

Job and Responsibilities of a Teacher in Montessori Essay Example Job and Responsibilities of a Teacher in Montessori Essay Job and Responsibilities of a Teacher in Montessori Essay The Montessori instructor assumes a significant job in the Montessori condition. The instructor needs to gain a more profound feeling of the pride of the youngster as an individual, another energy about the noteworthiness of his unconstrained exercises, a more extensive and intensive comprehension of his needs. The most basic piece of the educator is that the instructor ought to experience otherworldly arrangement. The ethical arrangement is fundamental before one is fit to be depended with the consideration of the kids in a guideline heretofore essentially limited to individuals from strict requests. As indicated by Montessori such planning ought to be initial phase in the preparation of each instructor whatever nationality or doctrine. She should clean her heart and render it igniting with good cause towards the youngster. She should figure out how to acknowledge and should assemble every one of those small and fragile sign of the initial life in the Childs soul. The instructor must be started, he should start by contemplating his own deformities, his own underhanded propensities instead of by being too much pre busy with a â€Å"child’s inclinations, â€Å"with the way of â€Å"correcting a Childs mistakes,† or even with the impacts of unique sin. â€Å"First expel the bar from your own eye and afterward you will see obviously how to expel the bit from the eye of the child†. The mystery of adolescence. pg. no. 149. The initial step an expecting Montessori educator must take is to set herself up. She should consistently keep her creative mind alive and whe n she starts her work she should have a sort of confidence and she should liberate herself from every single assumption concerning the levels at which the kids might be. (Which means they are pretty much veered off) must not stress her. The educator, when she starts work in our schools, must have a caring confidence that the youngster will uncover himself through work, she should liberate herself from every assumption concerning the levels at which the kids might be. † The Absorbent Mind pg. 276. In The Absorbent Mind (pp. 277-81), Maria Montessori offered some broad standards of conduct for educators in the Montessori study hall. * The instructor turns into the manager and overseer of the earth. She takes care of this as opposed to being diverted by the childrens fretfulness. . . All the contraption is to be maintained fastidiously in control, wonderful and sparkling, in flawless condition. . . . This implies the educator additionally should be appealing satisfying in appearance clean and perfect, quiet and stately. . . . The teacher’s appearance is the initial step to picking up the Childs certainty in light of the fact that the offspring of this age admires his mom. The instructors first obligation i s along these lines to look out for the earth, and this overshadows all the rest. Its impact is aberrant, however except if it is all around done there will be no compelling and lasting consequences of any sort, physical, scholarly or profound. * The instructor must . . . lure the youngsters. . . . The instructor, in this first period, before fixation has shown itself, must resemble the fire, which cheers all by its glow, animates and welcomes. There is no compelling reason to expect that she will intrude on some significant clairvoyant procedure, since these have not yet started. Before fixation happens, the Montessori educator may accomplish pretty much what she thinks well; she can meddle with the childrens exercises as she regards important. . . She can recount stories, have a few games and singing, use nursery rhymes and verse. The instructor who has a present for beguiling the kids can have them do different activities, which, regardless of whether they have no extraordinary w orth instructively, are valuable in quieting them. Everybody realizes that an energetic educator draws in excess of a dull one, and we would all be able to be enthusiastic on the off chance that we attempt. . . . In the event that at this phase there is some youngster who determinedly pesters the others, the most useful activity is intrude on him . . . to break the progression of upsetting movement. The interference may appear as any sort of outcry, or in demonstrating an exceptional and loving enthusiasm for the irksome youngster. * Finally the opportunity arrives in which the youngsters start to look into something: ordinarily, in the activities of Practical Life, for experience shows that it is futile and hurtful to give the kids Sensorial and Cultural mechanical assembly before they are prepared to profit by it. Before presenting this sort of material, one must hold up until the youngsters have obtained the ability to focus on something, and typically . . this happens with the activities of Practical Life. At the point when the kid starts to show enthusiasm for one of these, the educator must not interfere, in light of the fact that this intrigue compares with normal laws and opens up an entire pattern of new exercises. . . . The educator, presently, must be generally cautious. Not to meddle implies not to meddle at all. This is the second at which the instructor frequently turns out badly. The kid, who up to that second has been extremely troublesome, at long last focuses on a bit of work. . . Applause, help, or even a look, might be sufficient to interfere with him, or pulverize the action. It appears to be a peculiar comment, yet this can happen regardless of whether the youngster simply gets mindful of being viewed. . . . The extraordinary rule that carries accomplishment to the educator is this: when focus has started, go about as though the youngster doesn't exist. . . . The obligation of the educator is possibly to introduce new things when she realizes that a kid has depleted all the conceivable outcomes of those he was utilizing previously. A significant errand of the instructor is cautious perception. The educator should direct every youngster, presenting materials, and helping where required and she should ensure that all the material vital for kids at a specific phase of advancement is accessible for them to utilize. This enables the educator to set up the earth in view of the child’s intrigue. The educator is continually aware of the heading in which the youngster is going, and effectively attempts to enable the kid to accomplish their objectives. The Montessori educator encourages the homeroom exercises, cautiously arranging nature, and pushing progress starting with one movement then onto the next. The instructor must know about the requirement for everyday planning of the earth. They should ensure the room is perfect and new, and it is sufficiently warmed in winter, and cool and vaporous in summer and there ought to be different pictures shown on the dividers, blossoms are changed day by day or not and the schedule is changed consistently. Montessori experts are prepared to manage every youngster separately. This is frequently called following the youngster. A Montessori educator regularly remains back while the youngster is working, permitting them to pick up fulfillment in their own revelations. Montessori instruments advance engine aptitudes just as improvement of the psyche. This thought permits understudies to ponder the arrangement, instead of simply sit back the recipe or strategy that their educator directed. The Montessori instructor encapsulates these thoughts and makes in the youngster the sentiment of certainty and achievement. Montessori instructors are not the focal point of consideration in the study hall. Their job focuses on the arrangement and association of learning materials to address the issues and premiums of the Montessori kids. The attention is on youngsters learning, not on educators instructing. Dr. Montessori accepted that the educator should concentrate on the kid as an individual as opposed to on the day by day exercise plans. In spite of the fact that the Montessori instructor designs day by day exercises for every kid, she should be aware of changes in the child’s intrigue, progress, temperament, and conduct. Montessori instructors are logical spectators of youngsters. They abstain from utilizing prizes and disciplines for good or poor work. Montessori educators never censure or meddle in a child’s work. It is just in a confiding in climate that a child’s character has space to develop. Kids must have the opportunity to pick their own exercises and figure out how to carry on without limitation. Dr. Montessori figured this was genuine work and that the youngster would uncover his/her actual nature once he/she looked for some kind of employment that told his/her complete consideration. Anne Burke Neubert, in A Way of Learning (1973), recorded the accompanying components in the unique job of the Montessori instructor: * Montessori educators are the dynamic connection among youngsters and the Prepared Environment. * They efficiently watch their understudies and decipher their necessities. They are continually testing, altering nature to meet their view of every childs needs and interests, and equitably taking note of the outcome. * They set up a situation intended to encourage children’s autonomy and capacity to uninhibitedly choose work that they find engaging, choosing exercises that will speak to their inclinations and keeping the earth in immaculate condition , adding to it and evacuating materials varying. * They cautiously assess the adequacy of their work and the structure of the condition each day. They watch and assess each child’s singular advancement. * They regard and ensure their understudies freedom. They should realize when to step in and set cutoff points or loan some assistance, and when it is in a childs eventual benefits for them to step back and not meddle. * They are steady, offering warmth, security, soundness, and non-critical acknowledgment to every kid. * They encourage correspondence among the youngsters and help the kids to figure out how to impart their contemplations to grown-ups. They decipher the childrens progress and their work in the study hall to guardians, the school staff, and the network. * They present clear, fascinating and significant exercises to the youngsters. They endeavor to connect with the child’s intrigue and spotlight on the exercises and exercises in the earth. * The

Finding my place at MIT

Finding my place at MIT I saw going to college as a rebirth. I really disliked high school. College was a chance to both remake myself in a friendlier mold and to build up the friend circle I never had in high school. What I didnt realize is that a social circle is not something magical that you discover once and then sticks around forever. At least, not for me. A social circle is something that Ive had to work to seek out and keep and occasionally something I have to rebuild. I was a pretty lonely high schooler. I didnt have many friends, especially senior year. I was really focused, especially on academics and atypical hobbies that didnt revolve around the high school community. As a result, I didnt fit in with the other people in my class and I consistently felt like my priorities were at odds with those of the people around me. Id be lying if I said that none of the situation was my faultIm a natural introvert and boredom and frustration made me aloof. I didnt want college to be a repeat of high school. I knew that the environment would be really differentId be around smart, multifaceted people who were focused and ambitious like me, and I could choose my friends instead of spending the whole day around the same people. That gave me hope. And I also decided that I needed to change my attitude. I was going to be more positive and open and I was going to try hard to build the friend group that I craved. And for my first year and a half at MIT, that worked spectacularly. For most of freshman year I was on a huge social high. I was let loose in a candy shop of interesting, down-to-Earth, welcoming potential friends. (Fun fact: I still think that MIT students are especially down-to-Earth and non-judgemental.) REX was one of the best weeks of my life. I found an awesome friend group first semester. I was so happy to be around people that I liked and that liked me back that I didnt mind that MIT was a lot of work and I used the term pset-party unironically. I started wondering if I was an introvert at all because I started loving meeting people and making small talk. Its true that I missed my family sometimes and took some stressful classes and still experienced some social FOMO that was left over from missing out on everything in high school. But overall it was a really great time. I thought that this was what college was like. I expected it to last forever, and it didnt. Second semester of sophomore year I grew apart from most of my freshman year friend group and I went through a breakup that I took pretty hard and I still didnt feel connected to my living group. I felt like I was back at square one. I was lonely and, in retrospect, probably a little depressed. For a while I felt like I didnt belong at my own school any more. I was afraid that I was watching high school repeat itself, that I was closing myself off, that people no longer made me happy, that I was doomed to be solitary. I remember being apprehensive to go back for Junior year because I felt like Id regressed from where I was the year before. Fortunately, that perspective turned out to be way too fatalistic. What I didnt fully recognize at the time was that while I was shedding most of my freshman year friendship circle I was also building up the next stage of my life at MIT. That same sophomore spring, by happenstance, I found my labthe same lab Im working with now, two years later, thats been a huge part of my life since. Junior fall, I moved living groups againit was the third living group Id been in, Id already changed once, and I was nervous about it and starting to think Id never find the warm live-in community that so many people seemed to have in collegebut I ended up making friends with the people on my floor and finding a really solid community. My interest in languages and my humanities concentration in French introduced me to people outside of my year and department. And even through the whole mid-college-crisis, my still-best-friend from freshman year was there for me, so I was never really alone. I spent Junior year building a new friend circle. I made a bunch of friends in my lab and my supervisor became my mentor and role model and still is to this day. Working in my lab gave me a sense of teamwork and belonging that came not just from social acceptance but also from skills that I could contribute to a group of motivated, driven people. I challenged myself to hang out more with my entry (thats the MacGregor-specific term for a floor) and got closer to the people I lived with. My interest in languages led me to take classes with people I wouldnt have met otherwise and eventually led me to the Language Conversation Exchange, where I still volunteer. Senior fall rocked. First, I had a great summer interning at my goal company in Seattle and hanging out with a bunch of friends from MIT. And then I came back to school and that rocked too. I learned a lesson from the ridiculous course load I inflicted upon myself Junior spring and took a relatively chill schedule, which meant I had more time for socializing and sleep. I spent a lot of time with people from my dorm and learned how fun it was to have friends living down the hall. There were a bunch of Senior events planned which means I even partied a little bit (:O yes three years late). I took on more responsibility in my labI even got to train some new UROPs. I finally cross-registered for a really cool Spanish class at Harvard and I volunteered and participated in the language exchanges. Winter break was awesome too. I spent finals week in Washington D.C. with the only person I know whos a bigger U.S. history nerd than memy brotherand I spent IAP in Andorra which was AMAZING, expe rientially and linguistically. Me and my brother Max visiting Lincolns memorial in D.C. This is one of the most respectful pictures we took during our trip. Most of the time, we tried to imitate the statues we were taking pictures with. We thought that maybe that wasnt appropriate given the gravity of the monument. I thought Id finally cracked it. I thought Id finally found my people! I thought that Freshman and Sophomore years had been a misstep, and that Id moved on and finally found my place. And I waswrong. In the past couple months, things have shifted again. Over winter break I lost two of my good friendships in pretty quick succession. That was a kick in the gut. As a result, some of the social groups I relied on arent the same any more. The first couple weeks of the semester were rough. Since then Ive been throwing myself into my research. My research situation has changed a lot too, but largely in a positive way. Im now technically an MEng, or Masters of Engineering student, which is MITs one-year Masters program. Im super fortunate that my professor has money to fund me as a Research Assistant, which means Im only taking two classes this semester and spending the rest of my time researching. Its really excitingIm learning a lot and I *finally* have time to focus on research in a way that was not possible as an undergrad (I submitted my first conference paper last week!!!) Its also taking some getting used to. An RAship is more like having a job and less like being a student, which means Im learning to negotiate the challenges of workplace responsibilities and relationships. So basically this semester, a lot of the pleasure and meaning in my daily life is coming from my work instead of my social life. I love having important work to do and I love that Im finally a fully-fledged member of my lab. But, as you probably gathered from the fact that I just wrote a whole blog post about it, my social connections are really important to me and Im bummed and taken aback that Im losing some of them, again. And I think Im taken aback because my assumptions about how social connections work are wrong. I never assumed I would be friends with the exact same group of people throughout college, but I guess I did assume that there was a place waiting for me somewhere here that I just had to find and then Id be welcomed and comfortable and part of that group for basically ever. And thats not true. Sometimes you leave peoples lives and sometimes they leave yours. Social connections ebb and flow. I knew that I had to work for my relationships, but I didnt realize that even then, sometimes they dont work out. Im never going to find my place. Im going to find a place. And Im going to have to work hard to keep it and sometimes, maybe often, lose it and find another one. It sounds exhausting. But at least when this happens I now know that I dont have to look back at high school and wonder if theres something wrong about me thats dooming myself to a life of loneliness. This stuff happens. Things will come back together again. My parents have always been there for meno matter whats going on at school. So has my best friend Yida, who Ive known since freshman year and who has been a wonderful part of being at MIT 3 Finding my place at MIT is something Im still working on, and, I now realize, something Ill never stop having to work on. Post Tagged #finding your place #friends #social life

Natural Elements An Exploration of Extramarital Sex and Class Division in Miss Julie - Literature Essay Samples

Strindberg recurrently uses symbolism drawn from nature to great effect throughout his play Miss Julie, accentuating the impact of the act of sexual intercourse on the shifting class divisions between Julie and Jean. The evocative imagery Strindberg uses as the play progresses highlights the protagonists’ deviation from the socially acceptable behavioural norms of the time. Already in the stage setting, the air is heavy with sexual tension. Egil Tà ¶rnqvist (1999) writes, ‘To a Swede, the birch leaves in the kitchen indicate it is Midsummer, Midsummer Eve being the one day in the year when â€Å"all rank is laid aside†, when masters and servants come together – and when drinking and love-making are carnivalesque’ and ‘there is a link between the lilacs on the kitchen table and the lilac bushes outside, suggesting that the two groups share the same sexual needs (lilacs as aphrodisiacs). The combination of Cupid, lilacs and phallic-shaped poplar s speaks for itself.’ Strategically placed symbols, which are repeated throughout the play, illustrate and provide added emphasis on the chasm between the social classes of the time contributed by the escalating seduction. Near the offset, both Jean and Julie describe dreams, which are an immediate exposà © of their desires in terms of class and thus success or personal freedom. Whilst Julie feels ‘dizzy’ at the ‘top of a high pillar’ due to her secluded position in society, Jean is ‘lying under a tree, in a dark forest’. The sense of being trapped in dense woodland creates an atmosphere of suffocation; being kept in the ‘dark’ reveals the extent to which Jean’s servant class limits his opportunities. He desires to ‘climb and climb’ higher up the tree to rob ‘the nest with the golden egg’, however ‘the trunk’s so thick, slippery, the first branch is too high, too high†¦Ã¢â‚¬â„¢ The ‘slippery’ trunk may be perceived as a phallic symbol, with the ‘golden egg’ being a yonic representation of Julie’s pure virginity that he longs to ‘steal’. The nest symbolise s female genitalia, enclosing an egg made of the most perfect metal gold, symbolic of rich treasure and status. Clearly, climbing the tree symbolises Jean’s desire to rise in society as well as a sexual act. According to Sigmund Freud (1920), ‘Ladders, ascents, steps in relation to their mounting, are certainly symbols of sexual intercourse.’ Through using the concept of theft, Strindberg also illustrates the forbidden nature of Jean’s desires. Stealing the innocent egg infers he will steal Miss Julie’s virginity through coition. The branch is part of Julie herself in this case. However it is too ‘high’ as she has not let herself ‘fall’ to the ‘ground’ yet; she has not lowered herself by consenting this act, which would result in her ‘falling from Grace’. It is further implied that Jean’s purportedly long-lived yearning to have sexual relations with Julie is in order to elevate his class thr ough the sentence; ‘if we slept on nine midsummer flowers tonight, our dreams would come true’. Bestowing to Swedish tradition, it is said that if an unmarried woman picks seven or nine types of flowers and places them under their pillow, they will dream of their future husband1. However, as any audience of the time would have known, Julie marrying the servant would automatically spell her own social undoing. She would, indeed, ‘fall’ from her ‘pillar’ due to scandal even if Jean would gain a literal leg up from the branch he has not yet ‘grabbed’. Una Chaudhuri (1993) writes that the crude symbolism of these dreams, their imagery of high and low, up and down, climbing and falling, offers a convenient and schematic key to interpreting the plot, inviting us to read the sexual encounter as a moment of class reversal. There is a sense of inevitability through Jean’s belief that he will then ‘shin up the rest like a ladder ’ and Julie’s overtly provocative interest in him as a man. Religious symbols in relation to nature are also particularly telling in revealing Julie’s previous innocence, the ramifications of the sexual act on this chastity, and the division between the two characters’ class positions. Jean’s reminiscence on their childhood is a potent device used by Strindberg to highlight Julie’s juvenile purity and thus acknowledge the extent to which she will ‘fall’ after the act. Jean implies her wholesomeness through describing the white and scented ‘jasmine bushes’, the colour signifying this pureness. The description of Julie residing in ‘the Big House’ in ‘The Garden of Eden’ with ‘Apple trees’ suggests a biblical environment. Her statement that ‘all boys steal apples’ again implies inevitability in the sexual act to come, but further casts her as the temptress, Eve, guided by Satan. Jean’s reference to ‘The Tree of Life’ lend s this first part of the play further heavy, biblical symbolism. The antithesis between the lush and bountiful ‘Garden of Eden’ and Jean’s youth – a ‘wasteland†¦ not even a tree’ colours the divide in class between the two characters. The scent of flowers is used by Strindberg to emphasise the contrast in class divisions on several occasions. When Jean is recounting his hiding in the sweetly-scented Turkish pavilion before escaping through the stinking privy, Strindberg includes in his stage directions Jean breaking off a lilac twig and holding it out for Julie to smell, flowers that are sometimes said to symbolise youthful innocence, but which in Sweden (and by Strindberg himself in his preface) were considered aphrodisiacs. Anna Westerstà ¥hl Stenport (2012) considers this a ‘deodorising’ act. Nevertheless, Julie ‘has taken the lilac, and now lets it fall on the table’. This action could be seen as a willingness on her part to let herself ‘fall’ into the dirt. Jean describes how, when he watched Julie as a child in the ‘rose-garden’, he ‘dived into the compost heap†¦ thistles, mud, stink’. Through this comparison, it is made clear that she is ‘higher up’ than him in terms of class whereas he is a ‘peasant’, not merely low in physical position, but in the filth, assaulted by the stench from his escape through human excrement and scratched by the thistles. As a young innocent child, Julie has not yet ‘fallen from grace’ and is still ‘pure’. However, once the sexual act has occurred, Jean describes Julie as ‘worthless’, illustrating this opinion with ‘I’m sorry you’ve sunk so low, lower than your own cook. I’m sorry the flowers are trampled, trampled in the autumn mud and rain’. It is evident here that the roles have reversed; the repetition of the metaphor of mud, now used to depict Julie’s social position instead of Jean’s, emphasises the extent to which inappropriate sexual relationships were once a significant determining factor in class position. Furthermore, the white flowers being ‘trampled in the m ud’ denote the desecration of her purity and the fact that she has now joined Jean in the ‘dirt’. The repetition of metaphors is especially prevalent with regards to Jean’s dream; in the first description, although it is implied that Julie is literally ‘his first branch’ to give him a ‘leg up’ in the class system, this concept is not yet fully portrayed. However, after the power balance has been overturned through the act of sexual intercourse, Julie has a revelation and realizes this truth with the very same image, saying ‘so I was your lowest branch’. Jean agrees without hesitation, with the reply ‘and how rotten this was!’ Not only was this act considered ‘rotten’, one may infer that this word was also used to depict decaying wood, therefore perhaps highlighting Strindberg’s view on Miss Julie ‘rotting’ and becoming damaged as a result of her ‘sin’. This image further reveals the deceptive gloss and hypocrisy of the upper classes and especially Julie, depicted as a feminist . Whilst a dying branch may look sturdy and polished at first glance, once stepped on it collapses, revealing its true fragile and impaired nature. In conjunction with Jean’s description of Julie’s feminist mother as having ‘manicured nails’, which are ‘black underneath’ and carrying a ‘dirty perfumed handkerchief’, Strindberg makes it clear here that class can be simply an illusion, as is the deception of decomposing wood of appearing stable on the outside. In conclusion, the organic symbols used by Strindberg are indeed an efficacious mechanism that magnify the effect of extramarital sex on the shifting class divisions between both characters. Initially, it is revealed through their dreams that they are unsatisfied with their current societal positions and almost wish to ‘swap’ these with each other in order to grasp their goals. It is made evident that Jean’s view on achieving his climbing up the social ladder is through coition with Julie, revealed through the reference of her being his ‘first branch’. Symbols of religion are successfully used to provide a clear distinction between Julie’s previous upper-class purity and her later ‘filth’, thus increasing the effect of one act of sex on this aspect. Reiteration of botanical symbols further heightens this impact, foreshadowing the devastating fate of Julie as a consequence of her fall. Bibliography Chaudhuri, U., 1993. ‘Private Parts: Sex, Class and Stage Space in Miss Julie’. Theatre Journal 45 (317-332) The John Hopkins University Press Freud, S., 1920 A General Introduction to Psychoanalysis. New York, NY, US: Horace Liveright 1 http://www.graphicgarden.com/files17/eng/sweden/midsum1e.php Stenport, W. A., 2012. The International Strindberg: New Critical Essays. Northwestern University Press Tà ¶rnqvist, E., 1999. Ibsen, Strindberg and the Intimate Theatre: Studies in TV Presentation. Amsterdam: Amsterdam University Press

Corporate Ethics Theory And Stakeholder Theory - 1309 Words

One of many duties of a director is set under s131 of the Company Act 1993. This section of the act let know that directors must act in good faith and in what the director believes is the best interest of the company. Traditionally, the word company foretold under this section have been regarded to devote solely to the company’s shareholders. However, this notion is seen as immoral. This is because according to the notion of corporate social responsibility, business must behave ethically, represents a broader recognition of stakeholders and must take into account economic, social and environmental inputs in the way it operates. Hence, people against the notion of shareholder primacy suggest that the director should also take into account the interest of a wide range of shareholders (e.g. customers, employees, the society as a whole) in order to be deemed as moral. This conflicting opinion raised the question, â€Å"To whom are the directors responsible?† This paper will explore a number of corporate governance practices (i.e. agency theory and stakeholder theory) that are related to this issue. It begins with the explanation of each theory and the discussion of ethical and societal concerns they put forward, followed by the advantage of shareholders and the disadvantage of other stakeholders regarding remedies of director’s breach of duty from a legal viewpoint and ends with a recommendation that would best reflect a good governance practice that is consistent with the corporateShow MoreRelatedCorporate Social Responsibility1015 Words   |  5 Pagesa recent time companies are giving more attention to develop a CSR (Corporate Social Responsibility) and mainly their core values. 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