Angel and Demons Book Report Essay

ANGELS AND DEMONS Angels and demons is a heart pounding adventure written by the author Dan Brown and published in 2000. Dan Brown is also famous for his bestselling novel The Davinci code (published 2003); both these novels feature the fictional college professor Robert Langdon as the main character or â€Å"hero† in the story. Both of these stories revolve around the delicate subject of religion as he incorporates religious fact into fantasy. First off, our characters include Robert Langdon who is a professor of symbology at Harvard University. He is flown to a Swedish nuclear research facility known as CERN (Which really does exist) by the director of CERN Maximilian Kohler to investigate the murder of esteemed scientist Leonardo Verta. Leonardo Verta was the head scientist of a research group working on an antimatter energy source until he was killed, and the anti-matter stolen. Robert leaves CERN with Leonardos daughter Vittoria Vetra to Rome in search of the stolen anti-matter. Robert leaves CERN with a new counterpart and one clue to solve the unraveling mystery of who stole the anti-matter and killed Leonardo Verta; the ambigram branded into the scientist chest saying Illuminati. Soon after arriving in Rome Robert and Vittoria are rushed to Vatican City by commander of the Swiss guard Commander Olivetti, as the situation grows more dire after four high ranking cardinals are kidnapped by the illuminati assassin, with one clue, one will each be slaughtered on the alters of science along the path of illumination. When the threat comes in that if they don’t stop the assassin by eight o’clock the Vatican will be destroyed, as they race against the clock to stop the destruction of the Vatican new problems will rise and betrayal is around every corner. This book is strongly recommended for readers who enjoy large scale mysteries and people who enjoy stories involving conspiracies. This is because this story involves a race against time and a struggle to stop a secret society that controls half of the government itself. This tale is a mind bending race against time and an enemy who seems to be everyone and control everything.

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What are the functions of the digestive system? The functions of the digestive system are to break down food, down Into various macromolecules in order to extract the nutrients from the food. 2. How does the structure of each organ In the digestive system relate to Its function? They have a specific structure In order to properly perform the function they were meant to do. For example the small intestines have villa in it in order to increase the surface area and absorb nutrients easier. 3.How goes the digestive system assist in maintaining the water balance in the body? The large intestines help with water retention so the body doesn't get dehydrated very easily. 4. How do enzymes assist the process of digestion? Enzymes help assists the process of digestion by breaking down specific macromolecules and speeding up the process as well. 5. How do factors such as temperature, pH and concentration of enzyme or substrate affect the rate of enzyme-catcalled reactions? They can speed up or aid the reaction process or denature the enzyme depending on the given notations. . What are IBM and BMW? IBM Is body mass Index and BMW Is basal metabolic rate. 7. How can IBM and BMW help assess healthy diet and weight? Because they help determine whether you are considered overweight for your height group. 8. What are the health risks associated with being overweight or underweight? They can lead to many different issues such as heart problems, malnutrition, brittle bones, muscle aches, etc. 9. What body systems are affected when a person is overweight or underweight?Multiple body systems can be affected ouch as the digestive system, skeletal system, muscular system, cardiovascular system, etc. 10. What is ATOP? ATOP is adenosine troposphere. 1 1 . How is energy released from ATOP and used to do work in the body? Energy is released from ATOP through the process of hydrolysis. 12. How do the air you breathe and the food you eat relate directly to the production of energy in the f orm of ATOP? The quality of the alarm and food affects the production of energy from ATOP based off how much ATOP can be produced from the alarm and food given.

Information Management Coursework Example | Topics and Well Written Essays - 1750 words

Information Management - Coursework Example This paper analyzes the unique e-business model perpetuated by Ebay with respect to conceptual frameworks like Porter’s five forces model and value chain analysis. The findings reveal both the competencies of Ebay and the surrounding factors which favored the growth of EBay’s business model, owing to the need of speed, access and frequency of information managed in the industry. Recommendations follow at last to highlight few of the threats and means to overcome them. Introduction The selection of the topic is very relevant and significant in relation to the increased popularity of electronic means of transactions and trading platforms being devised. Company chosen also reflects careful consideration in this regard because Ebay holds the recognition of being the first ever organization to use information systems as its competitive weapon after the dismal performance of Dot.com. While selecting the frameworks to analyze, both external and internal environment have been t aken care of. Porter’s five forces model helped develop better insights about market forces which shaped up the creation of such a business model and value chain analysis helped understand the techniques and strategies implemented by Ebay in turning the industry attractiveness factors to its advantage. Use of journal articles from Harvard business review made the work more interesting and valuable as deep level understanding came from expert’s opinions and observations. Overview of organization- Ebay Ebay holds the accredition of being the first online marketplace for buyers and sellers to trade online. Transcending from traditional business practices, the core philosophy and positioning statement of Ebay lies in providing a common platform for diverse buyer and seller communities worldwide to transact and achieving a breakthrough by automating the brick and mortar presence of trading. The essence of e-commerce has been realized and absorbed more seriously by Ebay than any other online retailer. It presents an example of deploying and using information systems to its competitive advantage because of the primary components of managing information systems in place. From developing technological tools and components to providing for customer support and care, technology stands at the heart of EBay’s corporate strategy. Even regulatory compliances and IT policies are standardized and adhered to which demonstrates the pure professional attitude of Ebay in adopting information technology as the driver to its Numero Uno status. External environment analysis To establish the uniqueness of e-business model of Ebay through the use of information systems, it is first essential to look at the surrounding factors and their impact on the general industry practices where Ebay has placed itself differently. Porter’s Five Forces Power of suppliers- The field in which Ebay operates is crowded by limitless number of suppliers because online auctioning and internet based buying and selling business has thrived leaps and bounds in the recent years. All the major competitors of Ebay namely Amazon, Yahoo and even Dell has forayed into internet world to offer and sell their products. However, distinguishing factor in this industry is the availability of own warehouses which saves a lot of expenditure and offers cost effectiveness. While Ebay has developed the market of

Exchange Rates Essay Example | Topics and Well Written Essays - 2000 words

Exchange Rates - Essay Example For instance, let’s say goods are sold by a vendor in United Kingdom to a customer in United States on the first of January, and the customer has promised to make a payment in the next three months. In this case, the risk in question is that the price of dollar to the pound may change over the time period. This change may be on either side, resulting in an exchange gain to one party and loss to the other. Transaction risk often occurs in cases of sales/purchase of goods on credit with payment to be made at a later date, upon receipt of dividend from foreign investments and from borrowing and/or investing in foreign currencies. Transaction risk can be protected against by the use of various hedging instrument (DAVID WINSTONE, 1995). The other kind of risk that we discussed above is translation risk. It occurs when a company has various subsidiaries abroad and needs to consolidate its financial position for reporting purposes. It is pretty much possible that the various currencies in question (that of the subsidiary’s country and the home country) might not be performing well in relation to the host county’s currency and therefore show a very deteriorating position on the consolidated financial statements (PRACHI DEUSKAR, 2007). The best way to counter the impact of translation risk is to get involved in balance sheet hedging. The best way of doing so is making the foreign assets and liabilities equal so as to cut down the impact of any change that might occur in the exchange rates. The third and final case of currency risk mentioned above is economic risk. This risk overall affects the value of the firm in question. It refers to how the change in exchange rates affects the competitiveness of a business on an international scale. To make it simpler to understand, it’s not only the appreciation -or depreciation of a foreign currency to the home currency that affects a company’s operations, but also how a

Tito Puente Research Paper Example | Topics and Well Written Essays - 3000 words

Tito Puente - Research Paper Example Tito Puente is a multi-faceted genius with versatility, innovation, experimentation, flamboyance and attitude. Above all, he was a great human being. Without throwing light on these aspects, any portrait sketch of Tito remains incomplete. Tito, born on April 20, 1923 in New York City’s Spanish Harlem, was seven years old when he was enrolled in 25-cent piano lessons (Hispanic Heritage). Fascinated by Gene Krupa, drummer, he started the study of percussion at the age of ten and first performed at the age of thirteen. In his teens, joined Noro Morales and the Machito Orchestra. After completing his study at the Julliard School of Music, he formed his group ‘the Piccadilly Boys’ which later became ‘the Tito Puente Orchestra’ (Puente, Tito). His 1958 album ‘Dance Mania’ was placed among the 25 most influential albums of the 20th century by the New York Times. Key to the City of New York (1969), James Smithson Bicentennial Medal, a Star on the Hollywood Walk of Fame (1990), National Medal of Arts (1997) and Grammy Lifetime Achievement Award (2003) were just a few of the innumerable honors conferred on him. Tito is considered to be the godfather of Latin jazz and salsa. However, to say that Tito is an artiste associated with salsa and Latin jazz is a simplistic statement. It presents things in too narrow a light to give an accurate and objective evaluation of Tito’s place, at large, in the world of music. Firstly, it would be injustice to Tito’s soul to brand him just a musician considering his notion that ‘if there is no dance, there is no music’. It is amusing to know that his original dream was to become a dancer. Eddie Torres felt it was a privilege to be identified as the Tito Puente Dancers (Salsa Dancing – New York Style). Then, as a musician, to limit Tito to mambo and jazz is a very inadequate description. His versatility ran the gamut of piano, conga drums, claves, bateria, tap drums along with saxophone and even clarinet. As for the nature of his music, it was only the roots that were Latin. These roots were aesthetically integrated with several other components like the Cuban sounds, the African sounds, the black jazz, the big band swing, bebop, Yoruba tradition, the vibes, the Oriental influence and Kenton progressive style. The integration was done in such a manner that the end product would be appealing to music lovers. It appealed first to a white audience and then to the entire world. Tito defied the Spanish cultural tyranny over Latin music. He brought the African percussion to the mainstream and thus ended the prevalent animosity towards African music. Thanks to his style, the black musicians could shed their inhibitions. Tito’s method was a skilful manipulation of the Afro-Cuban pattern to fit into the framework of the American big band prototype. He was adept in incorporating Latin rhythms in jazz and popular music. The song ‘Hong K ong Mambo’ from the album ‘Dance Mania’ illustrates Tito’s skill in bringing together Latin music and Oriental melody (McNeese 84). In the song ‘Varsity Drag Mambo’, he blends swing jazz of the Big Band style with mambo rhythm. Tito was known for his inclination to experiment with music. But in this process he was cautious not to interfere with the absolute beauty of music. When he went for improvisation in his orchestration, there were three ways in which he would do that. In the first type, the original melody would be completely adhered to. Only a

Evaluation of Service Quality Strategy Essay Example | Topics and Well Written Essays - 2500 words

Evaluation of Service Quality Strategy - Essay Example Service quality refers to an attitude formed by a long-term overall evaluation of a firm’s performance. Customer satisfaction and service quality are closely related. It can be said that satisfaction assists consumers in formulating a revised opinion about their service quality perception. The logic for this may be the following : Consumer perceptions of the service quality of a firm with which he has no prior experiences are based on the consumer’s expectations. Subsequent encounters with the firm lead the consumer through the disconfirmation process and revise perceptions of service quality. Each additional encounter with the firm further revises or reinforces service quality perceptions; revised service quality perceptions modify future consumer purchase intentions towards the firm. High quality satisfying service requires that a firm understand the consumer needs in detail as also the operational constraints. It reminds the service provider to focus on quality, and the process should be designed to support this system by proper control and delivery. Service quality can be a way of achieving success among competing services. This can be particularly so when the competing service firms provide identical services and are located in a small area. Examples could be many bank branches in the same area in a city. Under such circumstances, service quality happens to be the only way of differentiating the different service providers.

Entrepreneurship Research Paper Example | Topics and Well Written Essays - 3250 words

Entrepreneurship - Research Paper Example Theoretical applications and the ideals of creating a different approach to being an entrepreneur are consistently being added into the definition, specifically because there is the need to grow and excel with this specific approach to work and business. When looking at the concepts of various theorists, it can be seen that there are changing definitions and specific perspectives that are taken, all which are based on the ideal of building a deeper meaning of what it means to be an entrepreneur as well as how this relates to the various aspects of working smarter with a field which continues to grow and which is based on dynamic components of the individuals who are continuing to work as leaders in the business society. This paper will examine and critique three separate articles, all which expand on the theories of entrepreneurship and the definitions which are continuing to add in dynamic levels of change. Dynamic Capabilities of Entrepreneurship The question of what defines an ent repreneur is one of the leading concepts that are looked at in theory. This not only relates to what an entrepreneur is, but also to the characteristics and attributes which they carry. In the first journal article, there is an understanding of entrepreneurs which are leaders within an organization and the characteristics which need to be approached in terms of the external and internal environment. The article focuses on looking at the roles and purposes of entrepreneurs as well as the capabilities of the organization to succeed, specifically by the approach which is taken for the environment. The main thesis of this specific article is based on having entrepreneurs which are leaders who can provide sustainability to the internal environment while working with change and dynamic characteristics for the altering changes and trends that are in the external environment1. The concept of sustainable and dynamic qualities of an entrepreneurial leader is one which the research paper state s is defined by the concept of understanding and leadership through an entrepreneur. The characteristics which are found to offer both qualities include understanding how sustainability and dynamics relate to each other. This is followed by organizational knowledge and skills, specifically which can apply to the practices that are a part of the leadership and which offer daily opportunities for entrepreneurs to look at the association with the organization. The ability to remain in a learning mode, build relationships and to create a link between learning and implementing new ideologies is also a proponent of this, all which provide different opportunities for entrepreneurs. As the dynamic and sustainable characteristics link together with these qualities, there is the ability to create a link to the growth and success of an organization2. When looking at this article, it can be seen that there are several strengths in relationship to identifying the qualities and capabilities that are associated with being an entrepreneur. The concept of providing characteristics that are both dynamic and stable is one which is considered important not only for entrepreneurs, but also for other types of leaders who are able to offer management and change within an organiz

Current Event & Ethical Perspective Essay Example | Topics and Well Written Essays - 750 words

Current Event & Ethical Perspective - Essay Example There are many people who feel that it is immoral for a civilized society to condone the murder of its own citizens even if they willfully take the lives of others. There are also people who feel that capital punishment is necessary to deter those members of society who have baser instincts and are capable of committing atrocious acts on innocent people. The Utilitarianism and Ethical Egoism Theories. The theory of ethical egoism supports the notion that every individual has a right to act in ways that will mainly benefit their own lives. This means that the correctness or wrongness of an individual’s action is based on that action’s outcome. In the theory of ethical egoism, the only right actions are those that advance the interests of the self while actions that minimize the importance of the self are wrong actions. Utilitarianism, on the other hand, is an ideology that asserts that an individual ought to conduct him or herself in a way that will benefit the larger co mmunity (Thiroux and Krasemann, 73). If an action contributes to the betterment of the larger part of society, then that is a correct action. The Utilitarianism and Ethical Egoism Theories on Capital Punishment. According to the utilitarian point of view, capital punishment is important because it discourages people from conducting future acts of terror or perpetrating crimes on society. Thus it contributes to the furtherance of society. Advocates of utilitarianism would support capital punishment because there has been actual evidence in the past that has shown that capital punishment results in less crime. According to Thiroux and Krasemann, between 1995 and 2000, when there were at least 71 executions every year, the rate of murders committed dropped from 10.2 per every 100,000 citizens between 1985 and 1994 to 5.7 per every 100,000 individuals in 1999 (Thiroux and Krasemann, 94). In nations such as China and Saudi Arabia, where capital punishment is not just the penalty for kill ing other people, but also for drug –related crimes, there has been a significant reduction in the numbers of these crimes in recent years. From the ethical egoist point of view, capital punishment could be a baseless and impractical practice because people who hurt others are actually doing so to promote their self interests (Heller, 286). However, capital punishment could also be supported by ethical egoists because it results in their own individual safety by removing dangerous characters from the ethical egoist’s community. According to an ethical egoist, an individual is justified in doing as he wishes in spite of the possibility of his actions negatively affecting others (Heller, 198). This means that an individual can choose to support the death penalty or refuse it in different circumstances based on what happens to be in his best interests at that particular time. The theory of ethical egoism supports the notion that it is only issues of self interest that are likely to inspire people to create advanced structures that will eventually benefit the entire society. Ethical egoists feel that the individual is above all state as well as national institutions. He can only be subject to them if he chooses to acknowledge them. Advocates of ethical egoism would claim that this theory is beneficial because self-interest has always been paramount in society. This is the only way through which various discoveries have been made. Personal Views. The position of the utilitarian

Definition of educaton Essay Example | Topics and Well Written Essays - 500 words

Definition of educaton - Essay Example The first and foremost important requirement for any educated person is knowledge as it is required in order to make any decisions about what to do, say or believe. This knowledge should encompass both fundamental or foundational knowledge as well as non-foundational knowledge. The former includes matters which are basic such as the earth we live in and the matter surrounding us. However this information may not be of any practical value but they will definitely help people to gain an understanding about reality and their surroundings and also will lead to further inquiries. The non-foundational knowledge is more specific, limited and detailed in nature such as knowing the composition of common salt or understanding the functioning of the human system. Individuals should definitely possess the foundational knowledge as it sows the seeds for further reasoning and inquiry. In addition to possessing knowledge educated people should also have the skills and abilities that will help them to apply their knowledge to practical use. This includes skills to do work, speak, listen and think. The right thinking skills will enable a person to make rational and intelligent decisions. The thinking skills include a general and a specific component.

4four Case Study Example | Topics and Well Written Essays - 500 words

4four - Case Study Example Moreover, a student has disabilities and need special attendance. It is also the responsibility of the teacher in charge to ensure that the student receive special consideration. However, there are some factors that hinder successful learning amongst the students, and the same time there are some factors that promote real learning. Therefore, the teacher should ensure that the students receive supportive environment towards their learning activities (Bacon). Moreover, there are also some activities that make the student active in his or her daily activities. Therefore, the tutor needs to ensure that students play to break monotony or boredom. Class discussion is one of the most dangerous strategies to the learning career of the student Alex. Ales are a student who has asthma, cannot participate in-group activities and prefer to be alone. Therefore, through the application of class discussion learning strategy, the student will not be able to participate and thus feeling as if he is not part of that particular category. In addition, the student will also not respond appropriately to game presentations as well as group work and discussions. The student is asthmatic and could be having a problem to speak loudly. That will make the student to lack self-esteem and there contributing to discouragement. In addition, the student also has the characteristics of enjoying his company. That makes the student with a disability not be free with class or group discussion. The process involved in learning by students requires personal input. Therefore, the teacher needs to ensure that he attends to the student mostly in private session. It will enable the tutor and the student to be good friends, and that might cause the student to open up to the teacher. Once the student will be friendly with the teacher, he will also be able to accommodate other students. However, the student will be able to share an idea with fellow students and play with them. Once

Tv Boon or Bane Essay Example for Free

Tv Boon or Bane Essay One hardly comes across a house today that does not have a TV set. Even those who belong to the lower income group invest in a TV set as soon as they can afford it. Most Indians spend their evenings glued to the television as this is the most easily available entertainment for them. Now there are cable connections in most of the houses and with the advent of international channels on our television, the popularity of TV has grown many folds. How TV does affect our lives today? We have to consider its advantages and disadvantages. In some ways TV is a boon. It is a vital source of information and helps to shape our lives in many ways. It keeps us posted with the latest political, social and cultural developments in the world. Hence, it educates us. It brings the people of the world closer by removing the distances that exist between us. Sitting in our rooms, we get a view of the entire world. TV also takes us nearer to the cultures of the world. While entertaining us with soap operas, dances, plays, music, etc. , it educates us about the lifestyles of the foreigners in those lands where these programmes are produced. We can compare our own culture with theirs and can learn something from them. With a television set in the house, a person can never get lonely. It can be mans best friend. However, the television turns into a curse when it interferes with the normal routine of our day. When children neglect their school books and homework, the television becomes a curse. It is a source of great temptation for children to watch a cartoon show or a movie on TV rather than study. Adults often become less social because of the television. They tie themselves down to the house according to the timings of their favourite television programme thus making themselves unavailable for various social gatherings. They might skip meeting a friend or calling on their relatives because they would rather watch a movie on television. This keeps them confined to the house and they often miss out on activities which are equally, if not more important, outside the four walls of the house. If one balances the TV viewing time and time for work, then TV is a boon all the way, else it may become a curse.

Influence Of Italy on the English Renaissance

Influence Of Italy on the English Renaissance The Italian renaissance is said to be a phenomenon of the fifteenth and sixteenth centuries, and is explained as an outgrowth of the rise of the independent city-states. It is a cultural phenomenon where the humanist ethos finds expression in culture and the arts, especially in the fields of painting and poetry. Starting from the Italian city-states, the same phenomenon is seen to have spread across Europe in the succeeding centuries, and the English renaissance is located in the late sixteenth and early seventeenth centuries. It is only natural that poets and playwrights of the English renaissance be fascinated by the Italian experience, and there are several dimensions to this fascination. The renaissance itself meant a revival of classicism, where the standards of art, thought, and culture in general, are sought in the antiquity of Greece and Rome. Therefore, the gaze towards the Mediterranean shores took into account not only the present situation, but also a distant and glorious past. In fact, the inherent tensions in the comparison between past and present are what principally dictates the direction of the English renaissance, and eventually lends to it its unique character. We will study aspects of Ben Jonsons play Volpone in order to identify some of the key dynamics of the English experience in regard to its relationship with Italy. It is an ideal play to study in this respect. Ben Jonson was the foremost classicist of his age, and in the play Volpone are present many of the tensions that inform the English renaissance. According to R. V. Young, [W]ith the exception of John Milton, there is no English poet more learned than Ben Jonson, and none who makes learning such an integral part of his literary work.  [1]  The principle concern of Jonson is to find the right balance between the old and the new. This is a newly emerging concern, and something that most characterizes the English experience. The renaissance was initially informed by a blind devotion towards antiquity, but in turn produced its own exemplars in the likes of Petrarch, Dante, Aristo and Tasso. Hadfield defines the renaissance as reinterpretation and reusing of what had gone before.  [2]  Jonson believes firmly in rules of art laid down in antiquity by the likes of Aristotle and Horace, whereas the new achievements remain enigmatic to him. There is more freshness and delight in the new, but it is always accompanied by a tendency to corrupt, and Jonson intends to advocate caution in this regard. His advice, in Discoveries, is to absorb the classics before the new: When their judgments are firm and out of danger, let them read both the old and the new; but no less take heed that their new flowers and sweetness do not as much corrupt as others dryness and squalor, if they choose not carefully.  [3]   The ultimate effect of the new is that it transforms the devotional approach to antiquity into a more critical one. The Poetaster is an early play of Jonsons in which the clash between the old and the new takes centre stage. The verdict is firmly in favour of the old, but the dispute has the effect of eliminating blind devotion and putting in its place a more discriminatory approach to the classics. One result of the critical approach is that it reveals that there was criticism among the ancients too, and that the rules laid down does not make for a homogeneous set. Aristotle lays down his rules of poetics from pure considerations, whereas Horace, coming three centuries later, believes that there should be an element of entertainment mixed with strict purposefulness: But he hath every suffrage, can apply / Sweet mixd with sowre, to his Reader, so / As doctrine, and delight together go.  [4]  The above lines are taken from Jonsons own translation of Horaces Ars Poetica, and it des cribes an approach that the Jacobean writer adopts himself. Volpone is introduced as aiming to mix profit with your pleasure.  [5]   The play is essentially a farce, with an abundance of incidence, and with a plethora of unsavoury characters, practicing their wiles on each other and ending up in convoluted situations. There is an explicit and straightforward moral message in the end, because Volpone and all those who covet his wealth end up caught and punished by law. However, there are more subtle readings possible, which concern the conflict between the classical order and the emerging ethos of the times. The setting in Venice is the first significant detail. The city was viewed as the epicentre of the renaissance, and therefore a perfect backdrop in which to present the new fashions. A large number of the Elizabethan and Jacobean plays are set in the prosperous and mercantile cities of Italy, and with the same object of alluding to the emerging trends at home. Jonson is more ambitious, however, and therefore introduces the travelling nobles Sir Politic and Lady Would-be, who exemplify all the abuses of classici sm that Jonson would highlight. They are negative examples, like almost everything else in the play. Their presence is incidental to the plot, and the incessant chattering of Lady Would-be only infuriates Volpone. However, Jonsons purpose is served best through them. Early in the play Sir Politic is asked to elaborate on the purpose of his travels, and he explains that the wise man should not be limited to his native country, or even to Europe, and he essentially conveys the modern wisdom that travelling broadens the mind. In this context it must be remembered that the wisdom is essentially a modern one, and that insularity was the norm in the days when travelling was arduous and expensive. The renaissance itself can be described as a journey, from the old to the new, and to the English it most of all represented a breaking away from insularity. The travellers do indeed represent the renaissance spirit, and the rationale of Sir Politic expresses it perfectly: Yet, I protest, it is no salt desire Of seeing countries, shifting a religion, Nor any disaffection to the state Where I was bred, and unto which I owe My dearest plots, hath brought me out.  [6]   But Jonson is always ready to point out the dangers of picking up fashions in the place of wisdom or knowledge, and this is the particular talent of Lady Would-be. Her husband points out that she is slightly different in her intentions, which are to observe, / To quote, to learn the language, and so forth  [7]   To Lady Would-be it is all fashion. She delights in quoting the classical authors, even though she quotes inaccurately, and is unable to differentiate one from the other. She is particular about her behaviour, and does not want to exchange animated words in public because It comes too near rusticity in a lady, / Which I would shun, by all means (Ibid 77). To this end she quotes Castigliones Courtier, a renaissance manual to proper conduct. At another place she elaborates on her concept of the enlightened lady: I would have A lady, indeed, to have all letters and arts, Be able to discourse, to write, to paint, But principal (as Plato holds) your music (And, so does wise Pythagoras, I take it) Is your true rapture.  [8]   Plato and Pythagoras do indeed advance theories of music, but they are very different from each other, and have very little to do with the actual practice of music. Through Lady Would-bes cavalier quoting Jonson intends to show how classicism can be reduced to mere fashion. The Itinerary of Fynes Moryson provides some support for Jonsons portrayal of Lady Would-be. After observing the feminine traits across the continent he declares the English woman to be the most liberated among them: England is the hell of horses, the purgatory of servants, and the paradise of women; because the English men ride Horses without measure, and use their Servants imperiously, and their Women obsequiously.  [9]  He also lends support to Jonsons portrayal of the English renaissance man as a traveller. [T]hey have worn out all the fashions of France and all the nations of Europe, he says regarding the Englishman, who is so fond of fashion that he borrows from all the nations and settles on a motley composite.  [10]  In a more philosophical vein, this is the attitude of Sir Politic. In conclusion, Jonson satirizes some traits of the English renaissance through the incidental characters of Sir Politic and Lady Would-be in his comedy Volpone. He makes classical allusions throughout the play, generally to highlight the abuses of the classical heritage, and also to impress the importance of it in relation to the English renaissance. In the final analysis, Jonsons accomplishment is to have introduced a critical approach to classicism, which was crucial to the cultural evolution in England.

Construction of a Chemical Plant

Construction of a Chemical Plant SITE CONSIDERATIONS 5.1 Summary In this chapter, the aim is to give a clear view on the selected location along with the reason, explanation and the brief information about the site as well in order to construct a chemical plant. The main focus is all about the side consideration, which is to consider the most strategic location in terms of geographical factors. A strategic site must be found for a new project and the site and equipment layout need to be planned to ensure that the plant will be operate at its best condition to ensure the quality of the production of methanol. In addition, there a some factors must be considered first while selecting a suitable site such as location, raw material supply, transport facilities, availability of labour, availability of utilities, availability of suitable land, effluent disposal, local community consideration, climate and the last one is politic and economic consideration. As the conclusion, Gebeng industrial land, Kuantan which is located in Pahang Darul Makmur was sele cted as the site for the Iso-amyl Alcohol plant. Last but not least, the plant layout is also drawn as it is important in order to consider how the plant is build. 5.2 Introduction A preliminary feasibility study must be conducted and a suitable site must be found before start the plant construction. The location of the plant may have a crucial effect on the profitability of the plant and its operation. It is important to determine whether the Iso-amyl Alcohol plant is feasible to be built up or not in term of safety, environment impact controllability, the flexibility for the plant and the economic aspect as well. There are some factor that must be considered before build the methanol plant to make sure the operation will operate smoothly and to get the best quality of Iso-amyl Alcohol production such as location of area, raw material supply, transport facilities, effluent disposal, climate, availability of labour, availability of utilities, suitable land, local community and politic and economic. The manufacture of Iso-amyl Alcohol is classified as a petrochemical project. The plant must be located in a specialized zone provided by government. Three main loca tions that have been short listed to set up the proposed 100,000 metric ton/year Iso-amyl Alcohol plant are Senawang Industrial Estate, Negeri Sembilan, Pengerang Industrial Port, Johor and Gebeng Industrial Land in Kuantan, Pahang. The comparison table is given in Table 5.4. 5.3 Side Consideration 5.3.1 Location of Area Industrial area are typically situated outside the principle neighbourhood of a city. The range for the most part is given great transportation get to including street and rail. Separating the industrial region is to set aside modern uses from urban ranges so as to decreasing the ecological and social effect. It can likewise draw in more new business by giving a coordinated framework in one area. 5.3.2 Raw Materials Supply The supply of crude materials is a standout amongst the most essential figures choosing the area of a plant. Crude material supply is a critical angle that should be considered before beginning up a plant. As chemical process includes in change of crude materials to complete item, it is essential to have a plant that is situated close to where the supply of crude material is greatest. The principle preferences are to diminish the transportation cost of crude material furthermore lessening the capital put resources into storerooms. 5.3.3 Transport Facilities Transport facilities are vital for conveying the crude material to the plant and to disperse the completed items to the market. The basic of transport like street, rail and ocean ought to be accessible and close to the plant. A minor thought is the accessibility of air transport because of the impediment utilization of the transport. A decent transport facilities dont just guides the entire procedure, however can helps boosting the import and fare exercises. This by one means or another would create great economy for the nation. 5.3.4 Effluent Disposal Effluent disposal, be it in fluid, strong or vaporous are a noteworthy worry in planning a plant. There are very extreme limitations on waste transfer and these vary with a specific area. It is mandatory to consider the allowable resistance levels for water, land and air dispersal. The site chose need sufficient and successful transfer framework for dealing with the effluents, for example, the seepage frameworks and dumping site. Waste water should be dealt with before diverted to open channels to stay away from any ecological issues. The cost of the emanating treatment ought to be considered too since ordinarily it will be high. 5.3.5 Climate It is essential to decide the climatological figures around the site region before beginning up a plant. The atmosphere can have a vital bearing on the financial operation of a procedure. Malaysia climate profits by a tropical atmosphere with both high temperature and moistness consistently. Data on the example of precipitation and frequency of high wind or substantial tempests ought to be considered. In selecting a site inside a picked area, the local history ought to be checked first. Any natural incident like quakes or surge that has been happen should be noted. 5.3.6 Availability of Labour The plant ought to be put in an area where adequate work supply is accessible. Accessible labour from nearby specialized establishments will give an advantageous commitment to run the plant easily. Despite the fact that the general pattern is for expanded computerization in concoction plant , notwithstanding staff and designing work force ,the procedure still need a huge work compel, particularly where a move framework in an operation. It is critical for finding the plant to consider the contending businesses, the ability and knowledge of specialists and the turnover rate. 5.3.7 Availability of Utilities Utilities is currently by and large utilized for the subordinate administrations required in the operation of any production procedure. Power required for electrochemical processes, engines, lightings and general utilize. Steam for the procedure warming and it is required for the procedure is produced in the tube boilers utilizing most monetary fuel. Likewise, water additionally is required for general utilize in light of the fact that the water required for the broadly useful will be taken from nearby source of water. 5.3.8 Suitable Land For the proposed plant and for future extension the appropriate land will be accessible. The land ought to be all around depleted, in an ideally flat and have reasonable load bearing limit. To decide the requirement for other uncommon establishment a full site assessment ought to be made. Moreover, it ought to be accessible with low cost too. To decrease the aggregate speculation and development cost, the land cost ought to be prudent as could be expected under the circumstances. However, in any case, the land cost relies on upon the area and it might changes without any notice. The area must be safe that it doesnt force extra hazard to the community. 5.3.9 Local Community The plant local group must be able to provide adequate facilities to the plant personnel, for example, schools, banks, lodging and recreational social offices. Other than that, the proposed plant must fit in with and be worthy by the nearby community. Full thought must be given to the protected area of the plant. With that it doesnt force a noteworthy extra hazard to the community. 5.3.10 Politic Economic Capital grants, charge concessions, and other prompting are regularly given by government to guide new venture to preferred area, for example, areas of high unemployment. The accessibility of such concedes can be the abrogating thought in site selection. 5.4 SIDE SELECTION Table 5.4: Side selection between Senawang Industrial Estate, Negeri Sembilan, Pengerang Industrial Port, Johor and Gebeng Industrial Land in Kuantan, Pahang. Selection citeria Senawang industrial estate, negeri Sembilan Pengerang Industrial port, Johor Gebeng Industrial land, Kuantan, Pahang Location 5km from Plus HighWay Senawang 9km from Lekas Highway 13km from Seremban 45km from Johor Bharu 8km from Johor Port 40km from Kuantan Town Next To Palm Oil Industrial Cluster (POIC) Kuantan Port about 10 km away, and Kemaman Port, about 45 km away Types of Industries Medium industry Agriculture industry Petrochemical industry Petrochemical industry Area of available 8.63 hectars 12.14 hectars Min. 3 acres, to max. 250 acres. Land Price RM 12 000 000 RM28.00 per square feet RM 36 590 400 RM20.00 per sq.ft RM 2 613 600 for min. 3 acres Feedstock Pentane from: Shell Refining Company (federation Of Malaya) Berhad, Batu 1, Jln Pantai, Port Dickson, Malaysia Chlorine and NaOH from: CCM Chemicals Sdn Bhd(159498-A), Lot PT 200, Jalan Asam Jawa 16/15,Off Persiaran Kemajuan, 40200 Shah Alam, Malaysia Pentane from: Shell Refining Company (federation Of Malaya) Berhad, Batu 1, Jln Pantai, Port Dickson, Malaysia Chlorine and NaOH from: CCM Chemicals Sdn Bhd(159498A), Pasir Gudang Factory Plot 411, Kawasan 4 Jalan Perak1 Pasir Gudang Industrial Estate 81700 Johor Bharu, Malaysia Pentane from: Shell Refining Company (federation Of Malaya) Berhad, Batu 1, Jln Pantai, Port Dickson, Malaysia Chlorine and NaOH from: Malay-Sino Chemical Industries Sdn Bhd Lot PT 4406, Kawasan Perindustrian Teluk Kalong, 24000 Kemaman, Terengganu, Malaysia. Water Supply Syarikat Air Negeri Sembilan (SAINS) Syarikat Air Johor (SAJ) Semambu Water Treatment Plant Energy Source TNB seremban IPP YTL Power generation Sdn.Bhd (404MW) Sultan Iskandar Power station TNB Johor Bharu TNB TanjungGelang, Kuantan. (800Mw) Transport Facilities Railway Main station bus seremban Main highway to kuala lumpur, port Dickson and Malacca. About 45min from international airport klia Johor port Near to jalan kota tinggi main road Facing Gate 2 Rapid new main road 80 km from Johor Bahru Sultan Ahmad Shah Airport, Kuantan,36km away Kuantan Port about 10 km away Kemaman Port,45 km away Kuantan-Kerteh Railway Linking the Kerteh Industrial Area and Kuantan Port to its right Other Facilities Nearby police Station and fire station Bank Nearby to seremban city Bum boats and ferry operate between Changi Point Ferry Terminal (Changi Village) and Pengerang daily. Kuantan-Kerteh Railway Linking the Kerteh Industrial Area and Kuantan Port to its right. 5.5 PROPOSED SITE 5.5.1 PROPOSED SITE Figure 5.5.1: The proposed site of plant in Gebeng Industrial Land, Kuantan Pahang Figure 5.5.2: The proposed site of location plan in Gebeng industrial land via google image. Figure 5.5.3: The proposed site plan of plant location in Gebeng industrial land via constructed map After doing some consideration based on several factors, Gebeng Industrial Land, Kuantan, Pahang had been choosed due to its competitive advantages compares to Senawang Industrial Estate, Negeri Sembilan and Industrial Port Pengerang, Johor for iso amyl alcohol plant setup and production. Taking the best economic scenario into account the plant life, the location have been chosen based on several criteria such as operational cost, market price , the availability of raw material sources, transportation and capital cost. Gebeng Industrial Land is prepared land ready with infrastructure, located In Gebeng Industrial estate, the main industrial area in Kuantan, Pahang. The Gebeng Industrial Land is a thriving hub of commercial activity where numerous multinational corporations in the petrochemical sector are based at. Generally, industrial land must be undivided and of regular shape, completely flat, close to industrial power, water and drainage supplies, and well serviced by transportation infrastructure. Therefore, it is identified to fulfill all the characteristics needed for the proposed site of constructing this petrochemical plant, which is Iso-amyl alcohol plant. The main reason for the selection is the availability of land with availability from 3 acres to 250 acres with the price about RM 20.00 per sq. ft which is affordable price with strategic location. Furtheremore, with a great development phases there, it was located strategically which is located next to Palm Oil Industrial Cluster (POIC) and in close proximity to the Malaysia-China Kuantan Industrial Park (MCKIP). Besides that, it also located only nearby to Petronas Gas Berhad Centralised Utility Facility (PGB CUF) and Gebeng Railway Yard that located to its left side. Moreover, the Kuantan-Kerteh Railway that linking the kerteh industrial area and Kuantan Port only located to its right making this land more strategically to build our plant there. The availability of raw material nearby the plant are suitable for the production in terms of saving the cost operation. Basically, the raw material was supplied by two suppliers which is one from Port Dickson and another one from Kemaman, Terengganu. Shell Refining Company (federation Of Malaya) Berhad in Port Dickson was chosen to supply pentane and Malay-Sino Chemical Industries Sdn Bhd in Kemaman, Terengganu was chosen to supply chlorine and NaOH to plant. Furthermore, in order to ensure the raw material always in stock, Qingdao Eastchem inc located in China also chosen to supply the pentane. Basically, the price of pentane is cheapest in China about 1000 dolar per metric ton, but the total price to supply to plant need to consider likes transportation process of this material. The raw material will be shipping from China to the port Kuantan, Pahang in bulk quantities. Then the material will be send by cargo truck services from port to the plant. Besides that, the transport of materials and products to and from the plant will be an overriding consideration in site selection. If practicable, a site should be selected that is close to at least two major forms of transport like road, rail, waterway (canal or river), or a sea port. The least expensive method of shipping is usually by water; the most expensive is by truck. Road transport is suitable use for local distribution from a central warehouse. For long distance transport especially for bulk of chemicals, rail or airway transport is suitable transport use in term of saving costs and cheaper. Besides, for convenient and efficient for the movement of personnel and essential equipment and suppliers, air transports is the main transport facilities use. Gebeng industrial land is easily accessible by road via the East Coast Expressway connecting to Gebeng By-Pass and Kuantan By-Pass. It is also near the Sultan Ahmad Shah Airport, Kuantan, about 36km away and Kuantan Port about 10 km away as well as Kemaman Port, about 45 km away. Besides that, Kuantan-Kerteh Railway Linking the Kerteh Industrial Area and Kuantan Port located only to its right, makes it located more strategically. The main requirement for every plant and industry is the availability of electricity. It is the most important utilities to plant for every activity such as production, run of equipment or activities in the office. It supposed to have electricity with minimal impact to its surrounding and environment. Some industry generates their own electricity by their own generator but in most industry and plant in Malaysia, the electricity is provided by Tenaga Nasional Berhad (TNB). The main electricity supplier in Gebeng Industrial Estate also Tenaga Nasional Berhad (TNB). The electricity supply provided by TNB for Phase I and II is supported by its 132/11kV main intake and for Phase III, two sources of electricity supply are available which Centralised Utility Facilities (CUF) and 12/275kV main intake. Water also one of the most important component in industry either fresh water or water used in equipment. The water is required for large industrial as well as general purposes, starting with w ater for cooling, washing, steam generation and as a raw material in the production of ethylene glycol. The water supply in Gebeng Industrial Estate is supplied from the Semambu Water Treatment Plant. The current capacity of water supply is 2MG/D. The Government of Pahang is committed in ensuring an efficient water supply in Gebeng. The steps that have been taken are by increasing the water supply to 64 MG/D, build a building of a new 200 acre dam in Sungai Lembing, Kuantan as well as build a building of new pipes and water tanks in Gebeng Industrial Estate. Last but not least, the main telecommunication supplier in Gebeng Industrial Estate is Telekom Malaysia. They provide state-of-the-art facilities and services such as Integrated Systems Digital Network (ISDN), digital line, MAYPAC, Internet and video conferencing. For fire fighting facilities, the Pahang Fire and Rescue Department is located near Gebeng in order to handle any emergencies. In addition, located within the vicinity of Gebeng is Petronas Centralised Emergency Facilities. Both stations are equipped with HAZMAT (hazardous material) facilities. Another services provided is the Gebeng Emergency Mutual Aid (GEMA), a voluntary crisis management organisation, set up from an alliance between Government agencies and private manufacturers in Gebeng. The main objective of GEMA is to execute proactive action and they also offer expert services to counter emergencies.

Truth and Teiresias in Sophocles Oedipus Rex and Al-Hakims King Oedip

Truth and Teiresias in Sophocles' Oedipus Rex and Al-Hakim's King Oedipus      Ã‚   In both "Oedipus Rex" and "King Oedipus," Teiresias is defined by his relationship to the truth: in Sophocles' play as a courier, in Tawfiq Al-Hakim's as a manufacturer. Sophocles Teiresias is a conduit, a vessel through which the truth of a future created by the gods can be revealed, while the modern Teiresias is actively engaged in creating, shaping, the truth out of a supposed spiritual vacuum. These differing roles place both characters at a certain distance from their actions and sense of responsibility. Based, to a great extent, on this proximity, each Teiresias develops a radically different concept of the truth. Though the characters themselves are in many ways philosophical opposites, the function Teiresias serves in each play is not at all dissimilar. A sense of the truth as a source of destruction as well as possible redemption is ultimately reinforced by the presence of Teiresias in each play.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Oedipus accuses Teiresias in each play of withholding critical information. Both characters make similar decisions to attempt to withdraw themselves from the situation. Their motives, however, are distinctly different. Understanding these motives points paradoxically toward the individual fundamental differences between characters as well as their eventual thematic similarities. Sophocles' Teiresias is a reluctant prophet. He is in awe of the truth because he is powerless to change it. Teiresias does not own the truth; it was never his to possess. Instead, he exists as a passive agent, an intermediary, between present and future, gods and humanity. Because the truth is brutal, cruel, and possibly sometimes excessive and unjust even... ...refers, instead to vision on a more figurative level. Sophocles speaks to this kind of "blindness" when Teiresias states, "You whose vision is straight shall be blind" (ln 419, p.127). Achieving this level of insight may well be an impossible task. In our attempt we may always hear the laughter that plagues Al-Hakim's Teiresias, mocking laughter that has dropped from heaven "since the beginning creation" (124). Understanding the relationship of Teiresias in each play to the truth (its conveyance, its creation), may help us to determine our own proximity to this same elusive and dangerous goal, the truth.   Ã‚      Works Cited Al-Hakim, Tawfiq. Plays, Prefaces and Postscripts of Tawfiq Al-Hakim. Trans. W.M. Hutchins. Washington, D.C.: Three Continents Press, 1981. Sophocles. "Oedipus Rex." Rpt. in Ten Greek Plays. Ed. L.R. Lind, Boston: Houghton Mifflin, 1957.

My Family: God Blessed Our Family with Robbie Essay -- Personal Narrat

Robbie is my eight-year-old brother. He is autistic. Autism is a developmental disability that interferes with the normal development of the brain in the areas of reasoning, social interaction, and communication skills. Because of autism, Robbie has severe delays in verbal and non-verbal communication, social interactions, and even in play activities. Robbie does not do what is normal for a child of eight and he acts much younger. Things that most children do automatically have to be taught to Robbie. Robbie goes to school every day. He is in a special education program that has helped him greatly. The TEACCH (Treatment and Education of Autistic and related Communication Handicapped Children) technique is used. It is a highly structured program with a great emphasis on functional and communication skills. Despite Robbie' inability to speak, he has learned how to communicate his needs and wants to others by using a Ma... ... Tank and "Friends" series and several of the Disney videos. He loves playing with "Tickle Me Elmo" and doing puzzles. But most of all Robbie enjoys eating. Pasta and noodle soup are his favorites. He is able to get the ingredients together by himself so all Mom has to do is turn on the stove and watch it cook. Robbie is autistic but he is also a very smart, funny, and loving person. He is so special and I am so happy to have such a special brother like Robbie.

The Yellow Wallpaper -- essays research papers

  Ã‚  Ã‚  Ã‚  Ã‚  Vintage short stories are meant to entertain their readers. However, many passive readers miss the true entertainment that lies within the story in the hidden context. Most short stories have, embedded in the writing, a lesson or theme attached to them. In the short story â€Å"The Yellow Wallpaper,† Gilman demonstrates a woman who has suffered from repression and longs for the freedom from her controlling husband. Gender conflicts play a major role throughout this story. The author portrays these kinds of conflicts through the three main characters, John, Jennie and the narrator. The theme of this story is a woman's fall into insanity resulting from isolation from treatment of post-partum depression. Gilman is also telling the story of how women were thought of as prisoners by the demands of the society throughout that time period. She also expresses the punishments these women had when they tried to break free. As a reader, we see how much control John h ad over her and how it ended up affecting her individuality.   Ã‚  Ã‚  Ã‚  Ã‚  The narrator in â€Å"The Yellow Wallpaper† writes about her experience in dealing with depression. As a result her husband, a physician, decided that it would be a good idea for them to take a trip to the country for the summer where she could get the rest and isolation that she needs. In the beginning the woman becomes increasingly unhappy as she is forced to occupy a room that she despises. She describes the wal... The Yellow Wallpaper -- essays research papers   Ã‚  Ã‚  Ã‚  Ã‚  Vintage short stories are meant to entertain their readers. However, many passive readers miss the true entertainment that lies within the story in the hidden context. Most short stories have, embedded in the writing, a lesson or theme attached to them. In the short story â€Å"The Yellow Wallpaper,† Gilman demonstrates a woman who has suffered from repression and longs for the freedom from her controlling husband. Gender conflicts play a major role throughout this story. The author portrays these kinds of conflicts through the three main characters, John, Jennie and the narrator. The theme of this story is a woman's fall into insanity resulting from isolation from treatment of post-partum depression. Gilman is also telling the story of how women were thought of as prisoners by the demands of the society throughout that time period. She also expresses the punishments these women had when they tried to break free. As a reader, we see how much control John h ad over her and how it ended up affecting her individuality.   Ã‚  Ã‚  Ã‚  Ã‚  The narrator in â€Å"The Yellow Wallpaper† writes about her experience in dealing with depression. As a result her husband, a physician, decided that it would be a good idea for them to take a trip to the country for the summer where she could get the rest and isolation that she needs. In the beginning the woman becomes increasingly unhappy as she is forced to occupy a room that she despises. She describes the wal...

Economic Contribution of Women Essay

1. Introduction This short paper aims to highlight the important role women have and can play in economic development. It addresses three questions: what is the evidence base to support investing in women? What are the current constraints on realising the full potential of women in the process of economic development? What are the priority areas of intervention necessary to unblock these constraints? It is focussed on women and on economic development, rather than on the wider issue of gender and development. However, before looking at the evidence base, constraints, and interventions, it will provide a brief context of the evolution of thinking around women and development.1 1. The Evolution of ‘Women in Development’ to ‘Gender and Development’ In the  1970s, research on African farmers noted that, far from being gender neutral, development was gender blind and could harm women. Out of this realization emerged the Women in Development (WID) approach, which constructed the problem of development as being women’s exclusion from a benign process. Women’s subordination was seen as having its roots in their exclusion from the market sphere and their limited access to, and control, over resources. The key was then to place women ‘in’ development by legislatively trying to limit discrimination and by promoting their involvement in education and employment. The WID approach led to resources being targeted at women and made particularly women’s significant productive or income generating contribution, more visible. Their reproductive 1 This paper has been prepared with inputs from the membership of the SDSN Thematic Group on the â€Å"Challenges of Social Inclusion: Gender, Inequalities and Human Rights†, including: Kwadwo Appiagyei-Atua (University of Ghana, Legon), Jan Egeland (Human Rights Watch), Todd Minerson (White Ribbon Campaign), Richard Morgan (UNICEF), Sanam Naraghi-Anderlin (International Civil Society Action Network), Elisabeth Prà ¼gl (Graduate Institute of International and Development Studies), Magdalena Sepà ºlveda Carmona (UN Special Rapporteur on extreme poverty and human rights), and Valmaine Toki (UN Permanent Forum on Indigenous Issues). contribution was less well emphasised. While WID advocated for greater gender equality, it did not tackle the real structural problem: the unequal gender roles and relations that are at the basis of gender subordination and women’s exclusion. This approach also focussed on what have been termed practical gender needs, such as providing better access to water, which would reduce the amount of time women and girls must spend in domestic activities and thus allow them more time for education or employment. There was no questioning why collecting water has been constructed as a female responsibility, or why improved access to water is a need of women and girls only. In the 1980s, the Gender and Development (GAD) approach arose out of the critique of WID. GAD recognised that gender roles and relations are key to improving women’s lives, with the term ‘gender’ suggesting that a focus on both women and men is needed. More recently, the need to understand how gender intersects with other characteristics such as age, ethnicity and sexuality has been noted. The GAD approach recognises that it is not sufficient to add women and girls into existing processes of development but there is also a need to problematise why they are excluded, advocating that the focus should be on addressing the imbalances of power at the basis of that exclusion. GAD also questions the notion of ‘development’ and its benign nature, implying a need to shift from a narrow understanding of development as economic growth, to a more social or human centred development. GAD projects are more holistic and seek to address women’s strategic gender interests by seeking the elimination of institutionalised forms of discrimination for instance around land rights, or ensuring the right of women and girls to live free from violence, for example (Molyneux 1985; Moser 1989). The 1990s witnessed the ‘rise of rights’ as many NGOs and agencies adopted a rights-based approach to development. Rights increase the recognition that women’s demands are 3 legitimate claims. The most notable success for the women’s movement has perhaps been the establishment of sexual and reproductive rights as such. Within this has been recognition of women’s right to live free from violence, and a broadening of understanding of violence against women from ‘domestic’ to ‘gender based’. There was also a shift in understanding development as meaning economic development to a more holistic social development focus, yet economic growth remains the main driver. For the majority of large development organisations and agencies, the WID approach has now largely been replaced by GAD, which has been institutionalised within the notion of gender mainstreaming. Mainstreaming  involves ensuring that a gendered perspective is central to all activities, including planning, implementation and monitoring of all programmes, projects, and legislation. While critiqued if undertaken merely as a ‘tick box’ exercise, gender mainstreaming offers a potential for placing gender at the heart of development. However, women’s ‘rights’, particularly sexual and reproductive health rights, are not universally accepted as rights, and violence against women remains prevalent across the globe, and women still lack full and equal participation in economic and political life. Mainstreaming has yet to succeed and there is a need for a continued prioritisation of integrating women into development. 2. Evidence on the Importance of Women to Economic Development The most influential evidence on the importance of women to economic development has come from research used to support the World Bank’s ‘Gender Mainstreaming Strategy’ launched in 2001 (Dollar and Gatti 1999; Klasen 1999). This research highlighted that societies that discriminate by gender tend to experience less rapid economic growth and poverty reduction than societies that treat males and females more 4 equally, and that social gender disparities produce economically inefficient outcomes (World Bank 2001a). For example, it is shown that if African countries had closed the gender gap in schooling between 1960 and 1992 as quickly as East Asia did, this would have produced close to a doubling of per capita income growth in the region (WBGDG 2003). The primary pathways through which gender systems affect growth are by influencing the productivity of labour and the allocative efficiency of the economy (World Bank 2002). In terms of productivity, for example, if the access of women farmers to productive inputs and human capital were on a par with men’s access, total agricultural output could increase by an estimated 6 to 20 percent (World Bank 2001b). In terms of allocative efficiency, while increases in household income are generally associated with reduced child mortality risks, the marginal impact is almost 20 times as large if the income is in the hands of the mother rather than the father (WBGDG 2003). Identification of women as being a reliable, productive and cheap labour force makes them the preferred workforce for textiles and electronic transnational corporations. Perception of women as ‘good with money,’ including being better at paying back loans, has led them to be targeted in microfinance programmes. Recognition of women as more efficient distributors of goods and services within the household has led to them being targeted with resources aimed at alleviating poverty, such as cash transfer programmes. The above shows how the justification for including women in development in economic growth has been an efficiency argument, with equity concerns being 5  somewhat secondary. Critics suggest this instrumentalist approach to engendering development, while bringing economic growth gains, will not fundamentally change the position and situation of women. It is important to note that while gender equality will help bring economic growth, economic growth will not necessarily bring gender equality. Advancing gender equality requires strengthening different dimensions of women’s autonomy: economic and political autonomy, full citizenship and freedom from all forms of violence, and sexual and reproductive autonomy (Alpà ­zar Durà ¡n 2010). 3. Constraints on Realising the Full Potential of Women in the Process of Economic Development Investment in the human capital, health and education, of women and girls is presented as a key way forward as witnessed by the MDGs. The logic is that ‘educated, healthy women are more able to engage in productive activities, find formal sector employment, earn higher incomes and enjoy greater returns to schooling than are uneducated women†¦Ã¢â‚¬â„¢ (WBGDG 2003: 6). Educated women are more likely to invest in the education of their own children, and they are also more likely to have fewer children. Thus investment in human capital has positive short and longer term/inter-generational outcomes and is good for both productivity gains and limiting unsustainable population growth. However, attention has narrowly focussed on ensuring the equal access of girls to primary education. Inequality of access to secondary and higher education persists, as does the limited engagement of girls in the study of science and technology, limiting  the future life and employment options of adolescent girls. Willingness to school, feed, and provide healthcare to girls is far more strongly determined by income and the costs of providing these services than is the case for boys. Sen’s ‘100 million missing women’ is testimony to how girls are discriminated against in terms of the allocation of household resources to the point that it creates a gender imbalance in some societies and countries. Families are often unwilling to invest in the education of girls if this investment is not perceived as bringing them direct economic gains — girls are valued only as wives and mothers, and/or marriage transfers any potential future gains from this investment to another family. As 1 in 7 girls marries before the age of 18 in the developing world (UNFPA 2012), early and forced marriage remains a key issue and an important factor limiting young women’s engagement in both education and economic activities. Justice institutions, from the police to the courts, continue to deny women’s right to justice. Women and girls remain unable to access justice, given that in many countries there are still laws that discriminate against women in relation to the family, property, citizenship and employment. Justice systems also do not meet the needs of specific groups of women, such as indigenous women who are discriminated against and face violence in the public and private spheres based on both gender and race (UNPFII 2013). Cultural factors limit women’s rights and engagement in the workplace. Religion still has a key role to play in determining gender norms in many cultures and fundamentalist views across the spectrum of religions threaten or deny women’s rights, including rights related to sex and sexualities, and to mobility and employment. Economic fundamentalism, policies and practices that privilege profits over people, also deny women their rights as workers and to work. While political culture is important for bringing change, women continue to have a limited voice at the local and national levels, and women  are not able to fully participate in formal systems of power. In the majority of cultures unequal gender and generational relations exist within households with the male ‘head’ having a high level of control. A woman going out to work is often read by others as meaning the man is unable to provide for his family, making men reluctant and thus limiting women’s engagement in paid work through violence or the threat of violence. When women do engage in paid work, it can improve their voice in the home and ability to influence household decision-making. It can also lead to conflict in the home, especially if women earn more than men, or women’s employment coincides with men’s under or unemployment. In the last decades, a ‘crisis in masculinity’ has been recognised, relating to the changes in men’s roles and positions through processes of globalisation, suggesting a need to focus attention on men if these changes are to bring transformative progress towards greater equality, rather than further harm women. Women continue to suffer limited mobility and, in some cultures, women are not able to leave the home if not accompanied by a man, effectively negating any type of paid employment. Even when women are allowed to leave, they may face verbal, sexual and physical abuse from unknown males for being in the street and face gossip and stigma within their own communities. The growing levels and extremes of violence against women have been captured in the notion of femicide – the killing of women by men just for being women, including ‘honour killings.’ In Mexico for example, the term femicide has been used to describe female factory workers being killed for going against gender norms and engaging in paid work outside the home. One in three women across the globe will experience violence at some stage in her lifetime. Violence against women and girls, or the threat of violence, be it physical, sexual or emotional, both in the private and public spheres, at the hands of known and unknown men, 8 remains a key limiting factor to women’s mobility and engagement in  processes of development. Women who work at home have limited opportunities. While women are very engaged in agriculture, this is generally subsistence rather than cash crops. It is estimated that women own only 1% of property and lack of rights to inherit or own land, which severely limits women’s engagement in larger scale cash crop production. Even when women can inherit land, the need for male protection or labour may mean they will give the land to male relatives. Lack of land ownership may also stop them participating in schemes to improve agricultural output, while lack of wider assets disallows them from accessing loans. Given their lower asset base, women farmers may be most affected by climate change, and while having knowledge of how to adapt, they may be least able to adopt appropriate adaptation strategies. World Bank research has highlighted how the poor are less likely to engage in higher riskreturn activities and the result is that the return on their assets is 25-50% lower than for wealthier households (Holzmann and Jà ¸rgensen 2000). While not a gendered analysis, women’s relative poverty, lack of assets, and lack of experience might mean they are particularly risk averse keeping them from higher return economic initiatives. However, women have been shown to use micro-finance effectively to develop small enterprises and are recognised as good at paying back loans. When women are in paid employment, they are more likely to be engaged in part time rather than full time work, in the informal rather than the formal sector, and across the globe women earn less than men for comparable work. 9 During the recent financial crisis, measures to protect ‘the poor’ through employment programmes have not considered the gendered dimensions of crisis, yet women may have been more severely affected than men and in more diverse ways. Economic and financial crises cannot be seen in isolation from food, fuel, water, environment, human rights, and care crises (AWID 2012). Women face particular risks during disaster, which climate change may increase, and during conflict. In particular, the risk of physical and sexual violence increases. Agencies not only fail to protect women and girls, but their  reproductive and particularly their productive needs are often overlooked in crisis response and peacebuilding. While remunerated work is important for women, it is important to remember that women still undertake the bulk of unpaid work in the home, household plot, or family business. They have the primary responsibility for caring for children and older people as well responsibility for undertaking activities such as collection of water or firewood. Women play the key role in the ‘care economy’, which not only provides care to the young, old and the sick, but also is vital for ensuring a productive workforce. As this work is not remunerated, it is undervalued and lies outside general conceptualisations of the economy. Women engaged in paid work often face a double work day, since they may only be ‘allowed’ to work as long as their domestic duties are still fulfilled. This means women are time poor and the time burden may impact on their health and wellbeing. To alleviate this burden and free women to enter paid work, daughters may be taken out of school to cover the domestic work, with related negative impacts on their education and ability to seek remunerated work in the future. Women’s continued inability to control their own fertility means that childbirth limits their ability to engage in productive activities. Even when reproductive health services are 10 provided, this is not enough to ensure women’s ability to access them. Men may see the decision over if and when to have children to be their decision, and large numbers of children may be read as a sign of male fertility and power, which becomes more important when masculinity is threatened. In many cultures, discussion of sexualities remains taboo, denying access and rights to those who do not conform to the heterosexual ‘norm’. The sexual and reproductive rights of adolescent girls in particular may be overlooked and they may be denied access to reproductive health services if they are unmarried. Research establishes a link between education and women’s ability to control their fertility. Studies also show that paid work can promote greater understanding of sexual and reproductive rights among women. Women’s socially constructed altruistic behaviour means that economic resources that enter the household via women are more likely to be spent on household and children’s needs. Female-headed households may not be the ‘poorest of the poor’ as popularly constructed, since women who live with men may suffer ‘secondary poverty’– the household overall is not poor but, as the man withholds income for personal consumption, women and children within the household are poor (Chant 2006). When women earn, men may withhold even more of their income, leaving women and children with access to the same level of resources but improving the position of women through greater control of those resources. This ‘irresponsibility’ of men has meant women have been targeted within poverty reduction and social policy initiatives. While the targeting of women with resources is welcome, the associated â€Å"feminisation of obligation and responsibility† (Chant 2008) for delivering policy outcomes may not only marginalise men but add further to women’s existing triple burden of reproductive, productive, and community management work. It may privilege their reproductive over their productive role and reinforce women as mothers rather than workers. Care needs to be taken to ensure that programmes serve women’s needs and women are not merely placed at the service of these policy agendas (Molyneux 2007). It is important to remember that policies to promote economic development that include women but do not tackle the structural inequalities at the basis of their exclusion may bring growth gains, but will not necessarily bring gender equality gains. 4. Priority Areas of Intervention Necessary to Unblock these Constraints Women’s groups and movements across the globe continue to promote as fundamental the need to respect and defend women’s sexual and reproductive health rights. Women’s groups and movements also continue to be fundamental to promoting these rights, but many find themselves under threat for this focus. Sexual and reproductive rights are critical for social and economic development. Without these rights, women and adolescent girls cannot make decisions around fertility, repeated childbirth keeps them from income generating activities and reduces productivity, and early and forced marriage keeps young women from education and employment. Sexual, emotional and physical violence and the threat of violence limits women’s mobility, confines women to the home, and keeps them from engaging fully in processes of social and economic development. Men and boys can have a role to play in the prevention of genderbased violence and the promotion of gender equality. Threats to women’s rights exist on many levels, including those posed by culture, religion, and tradition, as well as processes of globalisation and economic change. A right gained is not a right maintained unless there is constant monitoring of rights. There is a need to strengthen women’s access to both formal and informal justice systems, and ensure these are responsive to advancing all women’s equal rights, opportunity, and participation. Improving women’s political voice is also crucial here. Women’s responsibility for unpaid domestic work makes them time poor as well as more economically dependent on men, yet is vital for ensuring a healthy and productive workforce. While investment in infrastructure such as water, sanitation and electricity is important to ease the time burden associated with these tasks, it does not change how unpaid work and the care economy is conceptualised and valued. Financial, environmental, and health crises intensify the need for care services with the care burden falling disproportionately on women and girls. Policies to provide affordable, quality child care and adequate healthcare services would not only free women to enter paid employment, but also help change care work from being understood as a ‘domestic’ responsibility to a collective responsibility. This change in how care work is conceptualised and valued should be a longer-term goal. In the short term, there is a need to create full, decent productive employment opportunities for women and access to finance, as well as continue to provide social protection, and more importantly promote and value women as ‘good with money’. Key for economic growth is the promotion of women’s economic rights which entails promoting a range of women’s rights: their sexual and reproductive rights and rights to education, to mobility, to voice, to ownership, and to live free from violence. References Alpà ­zar Durà ¡n, L. Keynote speech at High-Level Roundtable â€Å"The implementation of the Beijing Declaration and Platform for Action, the outcomes of the 23rd special session of the General Assembly and its contribution to shaping a gender perspective towards the full realization of the MDGs†. 54th session of the UN Commission on the Status of Women, United Nations Headquarters NY, March 2010. AWID. Getting at the Roots: Re-integrating human rights and gender equality in the post2015 development agenda. Association for Women’s Rights in Development, October 2012. Chant, S. Re-thinking the â€Å"feminization of poverty† in relation to aggregate gender indices, Journal of Human Development (7 (2), p.201-220), 2006. Chant, S. The â€Å"feminisation of poverty† and the â€Å"feminisation† of anti-poverty programmes: Room for revision? Journal of Development Studies (44 (2), p.165–197), 2008. Dollar, D and Gatti, R. Gender Inequality, Income, and Growth: Are Good Times Good for Women? Gender and Development Working Papers, No. 1, May 1999. Holzmann, R. and S. Jà ¸rgensen. Social Risk Management: A new conceptual framework for social protection and beyond, Social Protection Discussion Paper Series 0006, Social Protection Unit, Human Development Network, The World Bank, February 2000. Klasen, S. Does Gender Inequality Reduce Growth and Development? Evidence from CrossCountry Regressions, Gender and Development Working Papers No. 7, November 1999. Molyneux, M. Two cheers for conditional cash transfers, IDS Bulletin (38 (3), p.69–75), 2007. Molyneux, M. Mobilization without emancipation? Women’s interests, the state, and revolution in Nicaragua, Feminist Studies (11 (2), p.227–254), 1985 Moser, C. Gender planning in the Third World: Meeting  practical and strategic gender needs, World Development (17 (11), p.1799–1825), 1989. Sen, A. More than 100 million women are missing, New York Review of Books (37 (20), 1990. UNFPA, From Childhood to Womanhood: Meeting the Sexual and Reproductive Health Needs of Adolescent Girls. Fact Sheet: Adolescent Girls’ Sexual and Reproductive Health Needs, 2012. UNPFII. Study on the extent of violence against women and girls in terms of article 22(2) of the United Nations Declaration on the Rights of Indigenous Issues (E/C.19/2013/9), 2013. WBGDG. Gender Equality and the Millennium Development Goals, World Bank Gender and Development Group, April 2003. World Bank. Social Protection Strategy: From Safety Net to Springboard, Washington DC: World Bank, 2001a. — . Engendering Development Through Gender Equality in Rights, Resources, and Voice, New York: Oxford University Press, 2001b –. Integrating Gender into the World Bank’s Work: A Strategy for Action. Washington DC: World Bank, 2002. 15

Critial Vocab, English Lit a Level

Critical Vocabulary Builder A Abjure – To renounce or retract esp formally or under oath, or solemnly. Abduration – The act of renouncing. Ablation – The surgical removal of an organ, structure, or part. Ablate. Ablution –   The ritual washing of a priest’s hands. Abnegate (abnegation) – To deny to oneself; renounce privileges, pleasure, etc. Abstergent – Of cleaning or scouring Abstruse – Not easy to understand; recondite; esoteric. Acalculia – psycol. An inability to make simple mathematical calculations. Acumen – Quickness of perception or discernment; shrewdness shown by keen insight.Adherents – Follower, or supporter of. Adjacent – Being near or close, esp. having a common boundary. ; adjoining; contiguous. Adjuvant – Aiding or assisting. Aesopian – Conveying meaning by hint, euphemism, innuendo or the like. 2) Pertaining to, or characteristic of Aesop or his fables. Aesthetic â⠂¬â€œ Broadly speaking, something pleasing, or the study of beauty. Aesthetic distance –  degree of emotional involvement in a work of art. The most obvious example of aesthetic distance (also referred to simply as distance) occurs with paintings.Some paintings require us to stand back to see the design of the whole painting; standing close, we see the technique of the painting, say the brush strokes, but not the whole. Other paintings require us to stand close to see the whole; their design and any figures become less clear as we move back from the painting. Similarly, fiction, drama, and poetry involve the reader emotionally to different degrees. Emotional distance, or the lack of it, can be seen with children watching a TV program or a movie; it becomes real for them.Writers like Faulkner, the Bronte sisters, or Faulkner pull the reader into their work; the reader identifies closely with the characters and is fully involved with the happenings. Hemingway, on the other ha nd, maintains a greater distance from the reader. Affective Fallacy – The error of evaluating a poem by its effects—especially its emotional effects—upon the reader. As a result the poem itself, as an object of specifically critical judgement, tends to disappear. Alacrity – Liveliness or briskness. Alalia – Complete inability to speak; mutism.Allegory – A narrative where characters, actions and sometimes setting are consistently symbolic of something else (often philosophical or moral abstractions). Alliteration – the use, especially in poetry, of the same sound or sounds, especially consonants, at the beginning of several words that are close together Ambiguity – Ambiguity is the quality of having more than one meaning; does   Ameliorate – To make or become better; improve. Amelioration. Amorphous – Lacking a definite shape; formless. 2 – Of no recognisable character or shape.Anachronisms – Flash backs, jumps forwards. Analogy – a comparison between things which have similar features, often used to help explain a principle or idea Analepis – A flash-back Anathema – A detested person or thing ‘he is anathema to me! ’ 2 A formal ecclesiastical curse of excommunication. Antonym – An antonym is a word opposite in meaning to another word but similar to it in most other respects. For example, tall and short are opposite in meaning but both are the same parts of speech (adjectives) and would take the same position in a sentence.Aporia – An impassable moment or point in a narrative, a hole or opening that produces a hermeneutic analysis. Arbitrarily – Founded on or subject to personal whims, prejudices, etc. ; capricious. 2 – Having only relative application. 3 – Of a government or ruler despotic or dictatorial. Arcane – Requiring secret knowledge to be understood; mysterious; esoteric. Arrhythmic / Arrhythm ia – Any variation from the normal rhythm of the heart beat. Arriere-pensee – An unrevealed thought or intention. Arriviste – A person who is unscrupulously ambitious. Assiduous – Hard-working; persevering.Assignation – A secret or forbidden arrangement to meet esp. between lovers. Attest – To affirm the correctness or truth of. Auric – Of or containing gold in the trivalent state. Autodidact – One who is self-taught. Avarice – The getting and keeping of money, possessions etc as a purpose to live for. B Ballad –  relatively short narrative poem, written to be sung, with a simple and dramatic action. The ballads tell of love, death, the supernatural, or a combination of these. Two characteristics of the ballad are incremental repetition and the ballad stanza.Incremental repetition repeats one or more lines with small but significant variations that advance the action. The ballad stanza is four lines; commonly, t he first and third lines contain four feet or accents, the second and fourth lines contain three feet. Ballads often open abruptly, present brief descriptions, and use concise dialogue. Baroque – A term applied by art-historians (at first derogatorily, but now merely descriptively) to a style of architecture, sculpture, and painting that developed in Italy at the beginning of the seventeenth century and then spread to Germany and other European countries.The style employs the classical forms of the renaissance, but breaks them up and intermingles them to achieve elaborate, grandiose, energetic, and highly dramatic effects. In Literature, it may signify magniloquent style in verse or prose. Beatitude – Supreme blessedness or happiness. Benefactor – A person who supports or helps a person (Beneficiary), institution etc. , esp. by giving money; patron. Bilious – Bad tempered. 2. Hideously green. Blank verse – Blank verse is a form based on unrhymed li nes of iambic pentameter.The verse parts of Shakespeare's plays are blank verse (with exceptions, such as the witches' recipe), as is Milton's Paradise Lost. The form is one that is close to normal speech (indeed, â€Å"the form is one that's close to normal speech† is itself an iambic pentameter) so it gives a subtle pulse to a poem, rather than an obvious shaping as a limerick might. However, there is a tendency in contemporary poetry to use shorter lines, so the form can also sound stately or slow to a modern ear.? Bowyer – Person or makes or sells archery bows. Bumptious – Offensively self-assertive or conceited.C Cadence – (Poetry) A fall, in tone, in pitch etc. Catalectic – (Poetry) – of a line, missing one or more beats. Catechism – Instruction by a series of questions and answers esp a book containing such instruction on the religious doctrine of the Christian church. 2 Rigorous and persistent questioning, as in a test or inte rview. Character – Characters may be classified as round (three-dimensional, fully developed) or as flat (having only a few traits or only enough traits to fulfil their function in the work); as developing (dynamic) characters or as static characters.Caesura – a strong pause within a line, and is often found alongside enjambment. If all the pauses in the sense of the poem were to occur at the line breaks, this could become dull; moving the pauses so they occur within the line creates a musical interest. Chivalric Romance – Developed in 12th Century France, spread and displaced epic and heroic forms. Climax – The height of tensions or suspense in a story's plot where conflict comes to a peak. Coetaneous – Of the same age or period. Coeval – Of belonging to the same age or generation. 2) A contemporary.Collocate – To group or place together in some system or order. Collusion – Secret agreement for a fraudulent purpose; connivance ; conspiracy. Conceit – The Metaphysical poets of the seventeenth century enjoyed creating particularly audacious metaphors and similes to compare very unlike things, and drawing attention to how skilfully they could sustain this comparison; this became known as the conceit. The classic example is probably Donne's ‘The Flea', in which a flea-bite is compared to a marriage, and like most conceits, the extended comparison is more notable for its invention than its believability.Concomitant – Existing or occurring together; associative. Concord – Agreement or harmony between people or nations; amity. Confabulate – To talk together, to communicate. Confiteor – A prayer consisting of a general confession of sinfulness and an entreaty for forgiveness. Conflagration – A large destructive fire. Conflagration – A large destructive fire. Conflate / Conflation – To combine or blend, esp two versions of a text, so as to form a whole. Conflict – The part of the plot that establishes an opposition that becomes a point of interest.Can ve an opposition between characters, between character and environment, between elements in a character's personality etc. Conglomerate – A thing composed heterogeneous elements. Conjecture – The formation of conclusions from incomplete evidence; a guess. Consonance – Consonance is the effect of similar speech-sounds being near each other. Some forms of consonance can be singled out, which are: alliteration, where initial sounds matter; sibilance, where ‘s' and ‘z' sounds are enhanced; and assonance, where the vowel-sounds of words are in concert.Contiguous – Touching along the side or boundary; in contact. Convivial – Sociable, jovial or festive. Corpulent – Physically bulky; fat. Coterie – A small exclusive group of friends with common interests; clique. Coterminous – Enclosed within a common boundary. Coter minous – Having a common boundary. Couplet – A couplet is a stanza (or even a poem) consisting of two lines. These need not rhyme, nor be the same length, but can be. If there is no enjambment at the end of the second line, it can be called a closed couplet (the opposite being an open couplet), especially if this is a recurring pattern.A closed rhyming couplet in iambic pentameter, especially one which forms a unit of sense, is called a heroic couplet; many of these can be found in Pope's ‘Essay on Man'. It is also possible to find a longer poem whose lines are rhymed in pairs – aabbcc etc – described as being in rhyming couplets, even if the stanzas are longer than two lines. D Daltonism – Colour blindness: the inability to distinguish green from red. Damocles – Imminent danger in midst of prosperity/ Greek who feasted with sword hung by a hair above his head. De Facto – In fact. 2 – Existing in fact.De haut en bas †“ In condescending or superior manner. De’ I gra’tia – By God’s grace. Deambulation – Walking. Debacle – Break-up of ice on a river/ confused rush or stampede/ collapse, downfall esp of a government. Debouch – (esp. of troops) – To move into a more open space, as from a narrow or concealed place. Declarativist – Want to show a mystery resolved – transparent – form has no effect over the shaping of events. Declivous – Sloping down. Decrescent – Waning, decreasing usually of the moon. Deference – Submission to or compliance with the will, wishes, etc. of another. Deleterious – Noxious physically or morally injurious. Demarcate – To mark, fix, or draw the boundaries, limits etc. (Demarcation) – the act of establishing limits, boundaries etc. Denouement – French for untying, it is the final element of the conflict in a plot similar to a resolution, usually very emotional. Devilment – Mischief, wild spirits: Devilish or strange phenomenon. Dextrous – Variant spelling of dexterous – Possessing or done with dexterity. Diatribe – A bitter or violent criticism or attack; denunciation.Dichotomy – a difference between two completely opposite ideas or things Dramatic monologue – A dramatic monologue is a poem that shares many features with a speech from a play: one person speaks, and in that speech there are clues to his/her character, the character of the implied person or people that s/he is speaking to, the situation in which it is spoken and the story that has led to this situation. Ian Duhig's ‘Fundamentals', for example, gives plenty of information about the character of the hapless missionary, about the tone of the meeting, and the colonial violence that underpins what is on face value a message of religion.The effect is one of a small poem seeming to leave you with the experience of having s een the whole film that was packed tightly into it. Dystaxia – Lack of muscular co-ordination resulting in shaky limb movements and unsteady gait. E Eclectic – Selecting or made up of what seems best of varied sources. Effervesce – To give off bubbles of gas. Egalitarian – of relating to, or upholding the doctrine of the equality of mankind and the desirability of political, social, and economic equality. Egregious – Outstandingly bad; flagrant. Egress – (also called egression) – the act of going or coming out; emergence.Electorate – The body of all qualified voters Elegy – An elegy is a poem of mourning; this is often the poet mourning one person, but the definition also includes Thomas Gray's ‘Elegy Written in a Country Churchyard', which mourns all the occupants of that churchyard, and looks into the future to mourn the poet's own death. The difference between an elegy and a eulogy is that the latter is a speech given to honour someone's best qualities, often (but not necessarily) after their death. Endemic – Present within or localised area or peculiar to persons in such an area.Enjambement – Enjambment is the continuation of a sentence or clause over a line-break. If a poet allows all the sentences of a poem to end in the same place as regular line-breaks, a kind of deadening can happen in the ear, and in the brain too, as all the thoughts can end up being the same length. Enjambment is one way of creating audible interest; others include caesurae, or having variable line-lengths. Enlightenment – The name applied to an intellectual movement and cultural ambiance which developed in Western Europe during the 17th Century, reaching its height in the 18th century.The common element was a trust in human reason as adequate to solve the crucial problems and to establish the essential norms in life, together with a belief that the application of reason was rapidly dissipatin g the darkness of superstition, prejudice, and barbarity, was freeing humanity from its earlier reliance on mere authority and unexamined tradition, and had opened the prospect of progress toward a life in this world of universal peace and happiness. See Descartes, Locke, Voltaire, Godwin, Diderot, Franklin, Jefferson.Ephemeral – Lasting only for a short time; transitory; short-lived. Epigone – An inferior follower or imitator Epigram – An epigram is a short, succinct poem, often with witty (or even vicious) content. Coleridge wrote an epigram to define an epigram: â€Å"What is an epigram? A dwarfish whole, / Its body brevity and wit its soul. † It is worth noting that this is a stricter definition than epigrams seem to have had in classical Greece and Rome, where the form originates; it is probably the eighteenth-century fondness for a smart wit and the epigrams of Martial that tightened the definition thus.The preference in contemporary poetry for expl oring an issue rather than summing it up means epigrams are not as popular as they were then, but Anne Stevenson's ‘On Going Deaf', with its wit, rhyme and definite opinion, is probably the closest example within the Archive. Epigraph – An epigraph is a brief bit of text, usually borrowed from another writer, found before a poem, but after the title. (You may also find one at the start of a book, before the poems, but after the title page. ) It gives a reader, or listener, something else to hold in mind as the poem is read.Neither part of the poem, nor wholly separate from it, an epigraph can be used for various purposes; it can be necessary information to understand a poem, for example, or it can be something with which the poem disagrees. Epistemophilia – The reader’s desire to know. Ergo – Therefore; hence. Esoteric – Restricted to or intended for an enlightened or initiated minority, esp. because of abstruseness or obscurity: an esoteric cult. 2 – Difficult to understand; abstruse: an esoteric statement. 3 – Not openly admitted; private: esoteric aims. Espouse – To adopt or give support to.Espy – To catch sight of or perceive. Eugenics – The study of improving the quality of the human race esp. by selective breeding. Evanescent – Passing out of sight; fading away; vanishing. Evangelism – The practice of spreading the Christian gospel. 2 – Ardent or missionary zeal for a cause Exegesis – Explanation or critical interpretation of a text, esp. of the Bible Exhaustivistic – A book must be complete; to be reliable is to be complete therefore Realistic novels have more detail and description per square inch than any other literary form.Expectorant – Promoting the secretion, liquefaction, or expulsion of sputum from the respiratory passages. Expediency – Appropriateness; suitability. 2) The use or inclination towards methods that are advant ageous rather than fair. Exposition – Provides background on characters, setting, plot. Extant – Still existing; not yet destroyed, lost or extinct. F Fabula – Order of events recounted by the narrative, the real order of the chronological events. Facetious – joking or jesting often inappropriately / meant to be humorous or funny : not serious.Falsetto – A form of vocal production used by male singers to extend their range upwards beyond its natural compass by limiting the vibration of the vocal cords. Fatuous –Complacently or inanely foolish. Feminine – of an ending (poetry) of one or more unstressed beats. Fervour – Great intensity of feeling or belief. Figurative Language – Language used in a way to achieve some effect beyond literal meaning. See hyperbole, metaphor, personification, simile and synecdoche. Flambeau – A burning torch, as used in night processions.Foil – A foil is a secondary character who contrasts with a major character; in Hamlet, Laertes and Fortinbras, whose fathers have been killed, are foils for Hamlet. Foot – A foot is a unit of metre, consisting of a combination of stressed and unstressed syllables. If stressed syllables are marked â€Å"/† and unstressed â€Å"u†, the main types can be shown thus:? Iamb: [ u / ], such as â€Å"delight†. (The adjective is â€Å"iambic†. ) Trochee: [ / u ], such as â€Å"badger† (Trochaic)? Anapest, or anapaest: [ u u / ], such as â€Å"unaware† (Anapestic / anapaestic)?Dactyl: [ / u u ], such as â€Å"multiple† (Dactylic) and, more rarely: Spondee: [ / / ], such as â€Å"tooth-ache†? Pyrrhic: [ u u ], such as â€Å"such as† was until it was put in quotation marks. It is important to remember that feet and words need not coincide. The feet in John Heath-Stubbs' line, â€Å"A caterpillar among those mulberry leaves†, from ‘The Mulberry Tree' app ear thus: | a CAT | er PILL | ar a MONG | those MUL | berry LEAVES |? | u / | u / | u u / | u / | u / |That one word â€Å"caterpillar† is scattered across three feet in this five-foot line – the first two are iambs, then after a single anapaest there are two further iambs (or one iamb and one more anapaest, depending on whether you say mul-ber-ry or mul-bree). Also note that, although there is an anapaest in the centre of this line, this is still a predominantly iambic line (especially as it is within a predominantly iambic poem) – varying the feet like this can keep a line from getting metrically dull. The process of working out where the stresses fall is called scanning, or scansion.It's easiest to do it on poems where the rhythms are pronounced; on the other hand, it can be near-impossible, or simply unhelpful, to scan free verse. The poems suggested below have strongly accented feet, and the links to metre and form go into more detail on how poets use feet. Foregrounding – Giving unusual providence to one element or property of a text, relative to other less noticeable aspects. Form – Form, in poetry, can be understood as the physical structure of the poem: the length of the lines, their rhythms, their system of rhymes and repetition.In this sense, it is normally reserved for the type of poem where these features have been shaped into a pattern, especially a familiar pattern. Another sense of â€Å"form† is to refer to these familiar patterns – these can be simple and open-ended forms, such as blank verse, or can be a complex system of rhymes, rhythms and repeated lines within a fixed number of lines, as a sonnet or villanelle is. (This is similar to the word â€Å"shape†; asked to think about â€Å"a shape†, you would expect a triangle or a circle, but Alaska too has a shape. ) The difference s visible in Sebastian Barker's poem ‘Holy The Heart On Which We Hang Our Hope': the form of t his poem shares aspects with another form, the villanelle, but also differs from it in interesting ways, just as its content shares in some aspects of organised faith but not in others. ACROSTIC ? An acrostic poem is one that uses the first letters of each line to spell out a word or phrase. More uncommonly, you can find a word or phrase through the centre of a poem (when it is called a mesostich) or at the end of the lines (which makes it a telestich).If the poem is written so that the first letters and last letters both write out a message, it is known as a double acrostic. CENTO? A poem consisting only of lines from other poems. This, from the Italian word for patchwork, is almost a technique rather than a form, especially as it can be of any length, and any metre, and need not rhyme; however, as the finished poem is referred to as a cento, just as a sonnet is called a sonnet, it is a form. CLERIHEW?Named after its inventor, this is a four-line poem rhymed aabb; its first line i s the name of the subject of the poem, it often breaks into two sentences at the end of the second line, and the rhythm tends to be entertainingly irregular. DOUBLE-DACTYL? This one is normally reserved for nonsense verse. 8 lines, all consisting of two dactyls (hence the name). Line 1 is a nonsense word (such as â€Å"higgledy-piggledy†), line 2 is someone's name, line 6 is a single six-syllable word, and lines 4 and 8 rhyme. OTTAVA RIMA?A stanza form often used for longer poems, most famously in Byron's ‘Don Juan', consisting of eight lines, usually in iambic pentameter, rhymed abababcc. PANTOUM? This can be of any length; it is a poem of four-line stanzas, in which the second and fourth lines of one stanza become the first and third of the next. The last stanza's second and fourth lines can be the first and third of the first stanza, either reversed or not, which locks the poem into a circle of repetitions or, as the poet Marilyn Hacker says, â€Å"until it ends u p with its tail in its mouth†. ? SPENSERIAN STANZA? 8 lines of iambic pentameter, followed by 1 iambic hexameter (or alexandrine); rhyme scheme ababbcbccc. This is the stanza invented by Spenser in The Faerie Queene. TERZA RIMA? A poem in which each stanza is rhymed aba, with the inner rhyme from one stanza providing the outer rhymes for either the previous or subsequent stanza: aba bcb cdc†¦ or aba cac dcd†¦. The form can end in a single-line stanza, a couplet, or by referring back to the as-yet-unused rhyme from the first stanza.Free Verse –   What free verse claims to be free from is the constraints of regular metre and fixed forms. This makes the poem free to find its own shape according to what the poet – or the poem – wants to say, but still allows him or her to use rhyme, alliteration, rhythms or cadences (etc) to achieve the effects that s/he feels are appropriate. There is an implicit constraint, however, to resist a regular metre in f ree verse – a run of a regular metre will stand out awkwardly in an otherwise free poem.Sometimes known as vers libre, free verse has a long pedigree and is very common in contemporary poetry. Yet there are still voices that claim poetry is only poetry when it is formal verse, and would agree with Robert Frost who, when asked about free verse, said â€Å"I'd just as soon play tennis with the net down†. Fans of free verse can counter with T S Eliot's insistence that â€Å"no vers is libre for the man who wants to do a good job† – the net may be down, but this allows a poet (of either gender) to play to different rules.Simon Armitage's ‘You're Beautiful', for example, creates for himself a set of rules that includes repeated words at the starts of phrases, rather than a structure of repeated sounds at the end of lines. G Garish – Gay or colourful in a crude or vulgar manner. Garner – To gather or store in or as if in a granary Gendarme à ¢â‚¬â€œ A member of the police force of France or in countries formerly influenced or controlled by France. Germane – describes ideas or information connected with and important to a particular subject or situation e. ‘her remarks could not have been more germane to the discussion. ‘ Ghazal – Mimi Khalvati, whose poem ‘Ghazal' is the only poem so far to use a ghazal form in the Archive, defines it at the start of her reading of it: â€Å"Ghazals are an old Persian form, and they're written in self-contained couplets with a monorhyme, sometimes one- (or two- or three-) word repeated phrase, like a refrain, and the last couplet is a signature couplet, in which the writer has to refer to themselves by name, or pseudonym, or by using some kind of wordplay on their name. In her ghazal, the repeated word is â€Å"me†, the rhyme is on â€Å"through†, â€Å"woo†, â€Å"cue†, â€Å"tattoo† and so on, and the ‘signature ' is in the reference to being â€Å"twice the me†, or ‘Mimi'. ?Like the haiku, the age of the form – the ghazal can be traced back through a millennium – and its translation into the English language mean that the ‘rules' have had significant variations over time. You may find some definitions insist that the subject of a ghazal should be love, and others that let the rhyme move to be earlier in the line than Khalvati's placement of it immediately before the refrain.Some insist that each couplet should be complete in itself, meaning that each stanza ends on a full stop, and can therefore have only a thematic connection to those either side. There are even some that do without the refrain, but these appear rare. The closed couplets, however, appear to be a necessity to the form. Gimcrack – Cheap; shoddy. Grandiloquent – Inflated, pompous or bombastic in style or expression. Grandiose – Pretentiously grand or stately. Imposing in conception or execution. H Haiku – A haiku is a brief Japanese form that has been adapted into English in various ways.Its usual definition is that it is a three-line poem, consisting of seventeen syllables split 5 – 7 – 5. Other criteria (such as a ‘zen mood', a reference to a season, or the poem being divided by a word that implies some form of cutting) may be demanded, and may even replace the strict syllable count. John Stallworthy considers Ezra Pound's ‘In a Station of the Metro' a haiku, as, although it has only two lines and considerably more than 17 syllables, it has the brief and direct presentation of an image that many haiku have.Hermeneutics – The theory of interpretation, concerned with general problems of understanding the meaning of the texts. Heterogeneous – Comprised of unrelated or differing parts or elements. Heteroglossia – To describe the variety of voices and language found within a novel, and multiple refe rences found in a single voice. Hoary – Having grey or white hair. 2 White or whitish in colour. Homunculus – A miniature man; midget. 2 – Early biological theory that a miniature man existed in fully-formed in the spermatozoon or egg.Hyperbole – Figurative language that uses exaggeration for emphasis, like I’m starving when you haven’t eaten in four hours, or I’ve been waiting forever when that’s impossible because you probably were born at some point, and forever was happening a long time before you were born. I Impeccant – Not sinning; free from sin. Iambic pentameter – Iambic pentameter is the name given to a line of verse that consists of five iambs (an iamb being one unstressed syllable followed by one stressed, such as â€Å"before†).It has been a fundamental building block of poetry in English, used in many poems by many poets from the English Renaissance to the present day. ?As with any metre, it i s not necessary that every line should be entirely slavish in following the rhythm; in fact, being so could make the poem sound dull. Swapping, dropping or adding stressed and unstressed syllables will lend variety to a line without changing the underlying rhythm. Poems in iambic pentameter may or may not rhyme.Those that are written in continuous lines of unrhymed iambic pentameter are said to be in blank verse, while rhyming couplets in iambic pentameter may be called â€Å"heroic couplets†, particularly when each couplet closes a thought or sentence on its second line. Iconoclast – Someone who attacks established or traditional concepts, principles, laws etc. 2 Destroyer of religious images or sacred images. Ides – (in the Roman calendar) the 15th day in March, May, July, and October and the 13th day of each other month.Idiolect – The variety or form or form of a language used by an individual. Idiopathy – Any disease of unknown cause. Illusioni st – Everything we need to make things happen, and that cause events are all present in the novel: all the causes and events can be traced. Imagery – Imagery is the name given to the elements in a poem that spark off the senses. Despite â€Å"image† being a synonym for â€Å"picture†, images need not be only visual; any of the five senses (sight, hearing, touch, taste, smell) can respond to what a poet writes.Examples of non-visual imagery can be found in Ken Smith's ‘In Praise of Vodka', where he describes the drink as having â€Å"the taste of air, of wind on fields, / the wind through the long wet forest†, and James Berry's ‘Seashell', which puts the â€Å"ocean sighs† right in a listener's ear. A poet could simply state, say, â€Å"I see a tree†, but it is possible to conjure up much more specific images using techniques such as simile (â€Å"a tree like a spiky rocket†), metaphor (â€Å"a green cloud riding a pole†) or synechdoche (â€Å"bare, black branches†) – each of these suggests a different kind of tree.Techniques, such as these, that can be used to create powerful images are called figurative language, and can also include onomatopoeia, metonymy and personification. One of the great pleasures of poetry is discovering a particularly powerful image; the Imagists of the early 20th century felt it was the most important aspect, so were devoted to finding strong images and presenting them in the clearest language possible. Of course, not every poem is an Imagist poe Immitigable – Unable to be mitigated; relentless; unappeasable.Impasse – A situation in which progress is blocked; an insurmountable difficulty. Impasto – Paint applied thickly, so that brush and palette knife marks are evident. The technique of applying paint in this way. Impecunious – Without money, penniless. Impediments – A hindrance or obstruction. Imprecate â€⠀œ To swear and curse, to blaspheme. In the Middle Ages one hour was equal to 480 ounces of sand, or 22,560 atoms. Inchoate – Just beginning; incipient. 2 – Undeveloped; immature; rudimentary.Incommode – To bother, disturb, or inconvenience. Incommunicado – Deprived of communication with other people, as while in solitary confinement. Incontrovertible – Incapable of being contradicted or disputed; undeniable. Indeterminacy:  Ã‚   The unknowable, undecidable, uncertain, or ambiguous in a text. Indeterminacy is related to gaps in a text, but are less obviously identifiable and are a quality of a reading or interpretation, not just the text. Indign – Undeserving, unworthy.Innocuous – Having little or no adverse or harmful effect; harmless. Innominate – Having no name; nameless. Irony – At its most basic, a difference or gap between the presentation/representation of something and its reality. In other words, when what som ething appears to be and what it is are not the same. Irony can be engaged or detached: Engaged irony uses the gaps between reality and representation to make a point or expose something; detached irony exploits gaps for immediate effect, like humor, satire or surface criticism.Irony can also occur at different levels of a text; for instance, verbal irony would occur at the level of the word or sentence, where double meanings come into play; dramatic irony would occur at the level of the plot, where events and action are   constructed in a way to take the reader in one direction while the reality is something else (a technique often found with 1st person unreliable narrators and 3rd person privileged narrators). Insuperable – Incapable of being overcome. Interlocutor – A person who takes part in a conversation. Internecine – Mutually destructive or ruinous; maiming both or all sides: internecine war.Interpolate – To insert or introduce (a comment, passa ge, etc) into (a conversation, text, etc). 2 To falsify or alter (a text, manuscript etc) by the later addition of spurious or worthless passages. Interpolation – The act of interpolating. Intertextuality:  Ã‚   In a text, implied references to or  implied influences from another text. This concept allows a reader to make links between genres, and to see how themes, plot, etc. may develop or change in relation or in light of that other text. Intractable / Intractability – Difficult to influence or direct; difficult to solve (of problem).Intransigent – Not willing to compromise; obstinate; obstinately maintaining an attitude. Irascible – Prone to anger; easily provoked to anger; hot-tempered. Invidious – Incurring or tending to arouse resentment, unpopularity etc. 2) unfair or offensively discriminating. Inviolable – That must not or cannot be transgressed, dishonoured, or broken; to be kept sacred. Irony: the discrepancy between what is said and what is meant, what is said and what is done, what is expected or intended and what happens, what is meant or said and what others understand.Sometimes irony is classified into types: in situational irony, expectations aroused by a situation are reversed; in cosmic irony or the irony of fate, misfortune is the result of fate, chance, or God; in dramatic irony. the audience knows more than the characters in the play, so that words and action have additional meaning for the audience; Socratic irony is named after Socrates' teaching method, whereby he assumes ignorance and openness to opposing points of view which turn out to be (he shows them to be) foolish. J Joskin – Country bumpkin.Juxtaposition – an act or instance of placing close together or side by side, esp. for comparison or contrast. 2) the state of being close together or side by side   Juxtaposition – when two contrasting ideas, images, phrases, descriptions are placed close together to emph asise their differences. K Kenning – A kenning is a much-compressed form of metaphor, originally used in Anglo-Saxon and Norse poetry. In a kenning, an object is described in a two-word phrase, such as ‘whale-road' for ‘sea'. Some kennings can be more obscure than others, and then grow close to being a riddle.Judith Nicholls' ‘Bluebottle' uses kennings as part of a larger poem, that is itself a riddle; Andrew Fusek Peters and Polly Peters go further, building a pair of poems both consisting entirely of kennings. Kunstlerroman – Development of the artist through a novel similar in some respects to the Bildungsroman. L Lacustrine – Of, growing in or dwelling in lakes. Lagan – Goods or wreckage on the seabed. Langrage – Shot used to damage rigging. Laniferous – Wool bearing. Larceny – A technical word for theft (Larcenous). Larrikin – Rowdy street hooligan.Lepidopterist – A person who collects or studies m oths and butterflies. Lugubrious – Excessively mournful; doleful. Lyric Poetry:a short poem with one speaker (not necessarily the poet) who expresses thought and feeling. Though it is sometimes used only for a brief poem about feeling (like the sonnet). it is more often applied to a poem expressing the complex evolution of thoughts and feeling, such as the elegy, the dramatic monologue, and the ode. The emotion is or seems personal In classical Greece, the lyric was a poem written to be sung, accompanied by a lyre. MMaculation – A pattern of spots as on certain plants and animals. Maelstrom – A large powerful whirlpool 2) Any turbulent confusion. Magniloquent – (of speech) Lofty in style. Malaise – A feeling of unease, mild sickness, or depression. Manumit – To free from slavery, servitude, etc. ; emancipation. Manumission. Manumitter. Maudlin – Foolishly tearful or sentimental, as when drunk. Maunder – To move, talk, or walk a imlessly or idly. Maundy – The ceremony of washing the feet of the poor. (Christianity). Mawkish – Falsely sentimental, esp. in a weak or maudlin way. Melliferous – Forming or producing honey.Meretricious – Superficially or garishly attractive. 2 – Insincere: meretricious praise. Metafictional – Fiction about fiction; or more esp a kind of fiction that openly comments on its own fictional status. Metaphor – An expression which describes a person or object in a literary way by referring to something that is considered to have similar characteristics to the person or object you are trying to describe. (Noun) Metre – Metre is from the Greek word for measuring; at its most basic, metre is a system of describing what we can measure about the audible features of a poem.The systems that have been used in history to structure metres are: the number of syllables (syllabic); the duration of syllables (quantitative); the number of stresse d syllables, or accents (accentual); and combinations of the above. English is not a language that works easily in quantitative metre (although this has not stopped people trying), and it has developed an accentual-syllabic metre for its formal verse. This means that, in a formal poem, the poet will be counting the syllables, the stresses, and keeping them to a pattern.To describe the pattern, the stressed and unstressed syllables are gathered into groups known as feet, and the number of feet to a line gives a name thus: 1 foot: monometer? 2 feet: dimeter? 3 feet: trimeter? 4 feet: tetrameter? 5 feet: pentameter? 6 feet: hexameter? 7 feet: heptameter? 8 feet: octameter Lines of less than 3 or more than 6 feet are rare in formal poems. The pattern of the syllables within a foot is also noted. A foot that is one unstressed syllable followed by a stressed one, for example, is an iamb; three of these in a row would be an iambic trimeter, while five make the famous iambic pentameter.All the common feet are outlined under ‘Foot' in the glossary. Like the rhythm in a piece of music, the metre is an underlying structure. Poets often slip in extra feet, or remove them, or change stress patterns around to prevent monotony, like playing rubato. (Sometimes a poem seems to be exploring how far a line can be pushed without losing all connection with the underlying metre. ) This means that the discovery of a foot other than an iamb in the middle of what is otherwise iambic, say, does not stop the poem from being ambic; rather the attention ends up lingering at that point, so the word on the different foot ends up more powerful as it has the attention longer. An example of this can be found in Peter Dale's ‘Half-Light'; he writes â€Å"I'm trying not to give another glance. / Lit window thirty years back up that path. † The first line is a perfectly regular iambic pentameter, but the second introduces an extra stress on â€Å"Lit†, so that what the s peaker's trying not to be drawn to seems more powerful, perhaps helping us empathise with him when he does look back and â€Å"catch her eye an instant†.Metonymy – where one term is used in place of something else that it is related to or often associated with; like saying the White House for the president, or Hollywood for the American film industry. Mimetic – Mimics the real world; the text behaves formally in a way to report the world outside. You look at objects and describe how the physical senses receive them. Mithridate – A substance believed to be an antidote to every poison and a cure for every disease. Mitigated – To make or become less severe or harsh.Mobius Strip – A one sided continuous surface, made by twisting a long narrow rectangular strip of material through 180 ° and joining the ends. Mobocracy – Rule or domination by a mob. Modernism – Loosely, a term referring to experimental and avant- garde trends in li terature and other arts in the early 20th century, which resulted from conscious rejections of traditional 19th century artistic conventions like realism and traditional verse forms. Some of the experimental forms include symbolism, expressionism, and surrealism, and some narrative innovations include stream-of-consciousness and multiple points of view.A problematic term, since we are always already in the modern moment. Morass – Swamp; something that entangles, impedes or confuses. Moribund – Near-death, stagnant, without force or vitality. Moribundity, moribundly. Munificent – Very liberal in giving or bestowing; very generous; lavish. Myopia / Myopic – Inability to see distant objects clearly because images are focused in front of the retina. N Nacreous – Relating to or consisting of mother-of-pearl. 2) Having the lustre of mother-of-pearl. Naturalism – Is sometimes claimed to give a more accurate depiction of life than realism.It is a mo de of fiction that was developed by a school of writers in accordance with a particular philosophical thesis. The thesis, a product of post-Darwinian biology in the nineteenth century, held that human beings exist entirely in the order of nature and does not have a soul nor any mode of participating in a religious or spiritual world beyond the natural world; and therefore, that such a being is merely a higher-order animal whose character and behaviour are entirely determined by two kinds of forces, heredity and environment.A person inherits compulsive instincts – especially hunger, and the drive to accumulate possessions, and sexuality – and is then subject to the social and economic forces in the family, the class, and the milieu into which that person is born. The novel is organized in a mode of a scientific experiment on the behaviour of the characters it depicts. Naturalist writers try to present their subjects with scientific objectivity and with elaborate documen tation, sometimes including an almost medical frankness about activities and bodily functions usually unmentioned in earlier literature.They tend to choose characters that exhibit a strong animalistic drive towards greed and sexual desire and who are helpless victims both of glandular excretions and of sociological pressures without. The end is usually tragic, not in the Elizabethan sense, but of a losing struggle of the individual mind and will against gods, enemies, and circumstances. Instead the protagonist is a pawn to multiple compulsions, and usually disintegrates or is wiped out. OObdurately/ Obdurate – Not easily moved by feelings or supplication; hard-hearted, impervious to persuasion, esp moral persuasion. Objectivist – Humans are treated as objects – subjects should be treated as objects. Occlude – To block up or stop up (a passage or opening). Ode – An ode is a lyric poem, usually addressing a particular person or thing. It originated i n Ancient Greece, and the Pindaric ode (so-called because it was written by the Theban poet Pindar, 518 ? 442 BC) was based on a pattern of three stanzas called the strophe, antistrophe and epode.It was performed by a chorus, which walked along one side of the orchestra chanting the strophe and down the other side chanting the antistrophe, then came to a standstill before the audience and chanted the epode. This performance was repeated with each set of three stanzas. The Horatian ode (invented by the Latin poet Horace in about 65 BC) was adopted in the early 19th century by John Keats for one of his most famous poems, ‘Ode to a Nightingale'. Many modern odes, however, are irregular in form, such as ‘Intimations of Immortality' from ‘Recollections of Early Childhood' by William Wordsworth.While the ode does not necessarily have a regular metre or fixed rhyme scheme, Kit Wright's tongue-in-cheek Ode to Didcot Power Station uses both – as well as a repertoire of old-fashioned language – to parody the lofty style traditionally associated with this form. As Wright says in his introduction, â€Å"if you're going to have an ode, why not go the whole hog? † Oeuvre – A work of art, literature, music etc. Oligarchy – Government by a small group of people. Olivaceous – Of an olive colour. Onomatopoeia – Onomatopoeia is the forming and use of words and phrases to mitate or suggest the sounds they describe, such as bang, whisper, cuckoo, splash and fizz. Onomatopoeia is one of the resources of language more often used by poets than prose writers; this is because poetry is made for the ear as well as the eye, and depends more heavily than prose does on sound-effects. Spike Milligan's ‘On the Ning Nang Nong' makes heavy use of onomatopoeia, but it can play a role in classic poetry too – an example is the use of â€Å"Crash'd† to describe the noise of battle in Tennyson's ‘The Charge of the Heavy Brigade'.Opulence – Having or indicating wealth. Abundant or plentiful. Overslaugh – To pass over or disregard (a person) by giving a promotion, position, etc, to another instead. Oxymoron – Oxymoron is a figure of speech in which two terms appear to contradict each other. Some examples have become so familiar that we hardly notice the contradiction, eg deafening silence. The word comes from the Greek: oxus (‘sharp') and moros (‘foolish'). P Paladins – One of the legendary twelve peers of Charlemagne’s court. 2) A knightly champion.Parody – Parody is the imitation of the style of another work, writer or genre, which relies on deliberate exaggeration to achieve comic or satirical effect. It is usually necessary to be familiar with the original in order to appreciate the parody, though some parodies have become better known than the poems they imitate. Pastiche – A work of art that mixes styles, materials etc. 2) A work of art that imitates the style of another artist or period. Pathos – Pathos is part of a poem or other work of art which makes the reader or audience feel sorrow or pity.The Greek word pathos means ‘suffering'. Pathos is a key skill for any writer, and a highly effective feature of many poems, often in those cases where it is somewhat restrained or understated. Poetry has a special reputation for being able to move us. On the other hand, a clumsy or exaggerated attempt at pathos can result instead in bathos or over-sentimentality or make the reader feel manipulated. Pedant – A person who relies too much on academic learning or who is concerned chiefly with insignificant detail. Pedantry – The habit or an instance of being a pedant, esp. in the display of useless knowledge or minute observance of petty rules or details. Peregrinate – To travel or wander about from place to place. Peripatetic – Of or relating to the teachings of Arist otle (384-322B. C. ), Greek philosopher who used to teach whilst walking about. Peripeteia, Peripetia – (esp. in drama) an abrupt turn of events or reversal. Persona – A persona is a fictional character. Sometimes the term means the mask or alter-ego of the author; it is often used for first person works and lyric poems, to distinguish the writer of the work from the character in the work.Personification – in which a concept, idea, object or animal is given human qualities (think of every Bugs Bunny cartoon you ever saw). Perspicuity – The quality of being perspicuous. Perspicuous – (of speech or writing) – easily understood; lucid. Pertinacious – Doggedly resolute in purpose or belief; unyielding. Planchette – A heart-shaped board on wheels with a pencil attached that writes messages under supposed spirit guidance. Platitude – A trite, dull or obvious remark or statement; common place. 2 Staleness or insipidity of thoug ht or language; triteness.Pogroms – An organised persecution or extermination of an ethnic group, esp of Jews. Polemic – Of or involving dispute or controversy. Politburo – The executive and policy-making committee of a communist party. Politic – Artful or shrewd; ingenious: a politic manager. Pollard – An animal, such as a sheep or deer, that has either shed its horns or antlers or has had them removed. Polled – (of animals) having the horns cut off or being naturally hornless. Pollinosis – Technical name for hay fever. Polymath – A person of great and varied learning.Posit – To assume or put forward as fact or the factual basis for an argument; postulate. Postmodernism – Involves not only the continuation, sometimes carried to an extreme, of the countertraditional experiments of modernism, but also attempts to break away form the modernist forms which had, inevitably, become conventional, as well as to overthrow the elitism of modernist â€Å"high art† by recourse to the models of â€Å"mass culture† in film, television, newspaper cartoons, and popular music. Prescience – nowledge of events before they take place; foresight. Presentiment – A sense of something about to happen.Probabilistic – Gives us a sample that seems most probable; it gives us a slice of life; it makes sure we feel this is a typical representation of the world therefore when they do something out of the norm it is significant. (Humanist tradition = man is the measure of all things). Realism creates situations where humans control everything; otherwise it exceeds the realms of probability. Prolepses – Slowing down/ speeding up of events and other distortions of the linear sequence. Prolix – Wordy, extending to great length. 2) Tending to speak or write at excessive length.Propitious – Presenting favourable circumstances or conditions. 2) Favourably inclinded; gracio us; benevolent. Prose poetry – A prose poem is a poem that does not use line breaks. This still allows the poet to use alliteration, metaphor, ambiguity, personification, and many other poetic techniques, but it can still be strange to see a poem that goes all the way to the right-hand margin. One thing that may differentiate a prose poem from a very short story is that the latter will have a stronger preference for narrative than the former, but this is very much debatable.John Ashbery's ‘For John Clare' is a good example, one that explores the contrast between openness and containment; as John Clare was a poet who was devoted to nature, but locked in an asylum, it could be suggested that it is very appropriate to see the subject explored without the containment that line-endings would give. Prosody – The study and notation of metre. Protagonist – The protagonist is the main character, who is not necessarily a hero or a heroine. The antagonist is the oppo nent; the antagonist may be society, nature, a person, or an aspect of the protagonist.The antihero, a recent type, lacks or seems to lack heroic traits. Providence – Is the idea that good can come out of evil. Purulent – Of relating to, or containing pus. Q R Raucous – (of voices or cries) Harshly or hoarsely load. Reactionary – Reactionist – of relating to or characterised by reaction, esp against radical political or social change. Realism – Realistic fiction is said to oppose Romanticism. The romance is said to present life as we would have it be – more picturesque, fantastic, adventurous, or heroic than actuality; realism is said to present life as it really is.Realistic fiction is written to give the effect that it represents real life and the social world as it appears to the common reader, evoking the sense that the characters actually exist, and that such things might actually happen. Techniques used include the use of the â €˜commonplace everyday setting,’ represented in minute detail. Events, whether ordinary or extraordinary are all rendered in the same matter-of-fact, circumstantial and seemingly unselective way. Recondite – Difficult to understand; abstruse. ) concerned with obscure subject matter. Refrain – A refrain is a repeated part of a poem, particularly when it comes either at the end of a stanza or between two stanzas. Sebastian Barker's ‘The Uncut Stone' has a traditional refrain, consisting of two rhymed sentences that never change at the end of each stanza; James Fenton uses a slightly looser type of refrain in ‘In Paris With You', where the title returns at the end of almost every stanza, but with slight additions so that it continues the sentence of which it is a part.Some forms, such as villanelles, demand a refrain as part of their definitions. With every line repeated, a pantoum might be said to be made entirely of refrains, but this would be an u nusual usage, as refrains tend to be thought of as a moment of repetition within an otherwise flowing poem. Regicidal – The person who kills a king. Regicide – The killing of a king. Requiem – A mass celebrated for the dead – 2 – Any piece of music composed or performed as a memorial to a dead person or persons.Rhyme – Rhyme is the repetition of the end-sounds of words. Examples include Valerie Bloom's use of â€Å"tramp† and â€Å"camp† in ‘The River', Roger McGough's use of â€Å"breath† and â€Å"death† in ‘Oxygen', and Peter Porter's rhyme of a single-syllable word with a polysyllable, â€Å"stars† with â€Å"particulars†, in ‘So, Francis, Where's the Sun? ‘. Each of these is an example of end-rhyme, which means the rhyme occurs at the end of a line, but rhyme can also happen within a line, where it is known as internal rhyme.A rhyme on a stressed syllable, as in the examp les above, is sometimes referred to as ‘masculine rhyme'; its counterpart, feminine rhyme, is made up of a stressed syllable followed by one or more unstressed syllables, such as â€Å"fishes† and â€Å"wishes† in Charles Causley's ‘At the British War Cemetery, Bayeux'. These near-exact repetitions of end-sounds are known as full rhyme (sometimes as perfect, true or exact rhyme).There are also various forms of near-rhymes (half-rhymes, slant-rhymes, pararhymes), which are not exact repetitions, but are close enough to resonate, as David Harsent's use of â€Å"supper† and â€Å"blubber† as rhymes in ‘Marriage: XVI', or P J Kavanagh's â€Å"happy† / â€Å"Cavafy† in ‘Perfection Isn't Like A Perfect Story'. Further types of rhyme include eye-rhyme, which looks like it should rhyme but doesn't (e. g. through / although), and rime riche, in which the words that rhyme sound identical (e. g. hare / hair).Rhyme can be used pu rely for its own sake, because it sounds good, but there may also be further reasons; for example, the form of terza rima has overlapping rhymes that give the poem forward motion, as in George Szirtes' ‘Preston North End', each stanza's middle line giving the rhyme for the outer two lines of the next stanza. The â€Å"breath† / â€Å"death† rhyme, noted above, is not only nice in the ears but resonates because these two concepts are linked, as they are in the poem. Ribald / Ribaldry – Coarse, obscene, or licentious, usually in a humorous or mocking way†¦ SSacrosanct – Very sacred or holy; inviolable. Sadomasochism – The combination of sadistic and masochistic elements in one person, characterised by both aggressive and submissive periods in relationships with others. Sagittal – Resembling an arrow; straight. Sagittate – Shaped like the head of an arrow (esp. , of leaves). Salacious – Lustful, lecherous. Salient †“ Prominent, conspicuous, or a striking salient feature. Sallow – (human skin) – Of an unhealthy yellow. Salutary – Salubrious (healthy) – producing good effects; beneficial. Saprozoic – (of animals or plants) – feeding on dead organic matter.Sardonic – Characterised by satire, mockery, or derision (sardonically). Sasquatch – (In Canadian folklore) – In British Columbia, a hairy beast or manlike monster said to leave huge footprints. Scansion – The individual metrical pattern of a particular line or poem. Schism – The division of a group into opposing factions. 3 Division within or separation from an established church especially the Roman Catholic Church, not necessarily involving differences in doctrine. Self-reflexive – A term applied to literary works that openly reflect upon their own processes of artful composition; how they are written put together.Senescence / senescent – 1) Growing Old 2) Characteristic of old age. Sententious – Characterised or full of aphorisms, terse, pithy sayings, or axioms, tending to indulge in pompous moralising. Sentient / Sentience – Having power of sense perception or sensation, conscious. Sestina – A sestina is a form that uses six six-line stanzas, each using the same six words at the end of its lines in different orders, followed by an envoi of three lines using two of those words to each line. They tend to be written in iambic pentameter, and without rhyme.Later sestinas sometimes allow homophones – such as ‘hare' and ‘hair' – for the repeat words, or even looser interpretations. Simile – (The use of) an expression comparing one thing with another, always including the words ‘as' or ‘like'. (noun) Sjuzhet – How the events are arranged and related to the narrative sequence. Solecism – The non-standard use of a grammatical construction. 2) A violation of good manners. Solipsism / solipsist / solipsistic – Philosophy – the extreme form of scepticism which denies the possibility of any knowledge other than one’s own existence. onnet – A sonnet, in English poetry, is a poem of fourteen lines, usually in iambic pentameter, that has one of two regular rhyme schemes – although there are a couple of exceptions, and years of experimentation that have loosened this definition. One of these schemes is known as the Petrarchan, after the Italian poet Petrarch; it consists of a group of eight lines, rhymed abbaabba, followed by a group of six lines with different rhymes. The distribution of these rhymes can vary, including cdcede, cdecde, cdedce, or even cdcdcd.Often, at the point where the eight-line section, known as the octave, turns into the six-line section, or sestet, there is a volta, from the Italian for ‘turn' – this is a shift in the poem's tone, subject or logic that gains power from (or demands? ) the matching shift in its structure. The Shakespearean sonnet breaks into three quatrains, followed by a couplet, rhymed abab cdcd efef gg – as the name suggests, this is the form Shakespeare used for his sonnets, although he did not invent it. In Shakespeare's usage, the three quatrains tend to make an argument in three stages, which the couplet will sum up or comment on.The main exceptions are the curtal sonnet, a form invented by Gerard Manley Hopkins that roughly maintains the 8:6 ratio over a ten-and-a-half line poem, and the Meredithian sonnet of 16 lines. The fact that these are still referred to as a curtal and a Meredithian sonnet, however, shows that they are not (yet? ) considered sonnets per se. There are also innumerable individual exceptions to the form – a poet may refer to a poem as a sonnet because it meets some of the descriptions above, or even just because s/he says so.This means that calling a poem a sonnet is not necessarily to defi ne it strictly, but to say that it stands in relation to the long tradition of sonnets. Specious – Apparently correct or true, but actually wrong or false. 2 Deceptively attractive in appearance. Spelunker – A person whose hobby is the exploration of caves. Spurious – Not genuine or real. 2 Having the appearance of another part but differing from it in origin (of plants). Stanza – A stanza is a group of lines within a poem; the blank line between stanzas is known as a stanza break.Like lines, there is no set length to a stanza or an insistence that all stanzas within a poem need be the same length. However, there are names for stanzas of certain lengths: two-line stanzas are couplets; three-lines, tercets; four-lines, quatrains. (Rarer terms, like sixains and quatorzains, are very rarely used. ) Whether regular or not, the visual effect and, sometimes, the aural effect is one of uniting the sense of the stanza into one group, so poets can either let their sentences fit neatly within these groups, or create flow and tension by enjambing across the stanza breaks.Stentorian – (of the voice) uncommonly loud. Stress – Stress is the emphasis that falls on certain syllables and not others; the arrangement of stresses within a poem is the foundation of poetic rhythm. The process of working out which syllables in a poem are stressed is known as scansion; once a metrical poem has been scanned, it should be possible to see the metre. By way of example, the word â€Å"produce† can be pronounced with the stress on either syllable – a farmer may proDUCE carrots, which a greengrocer will sell as PRODuce.Similarly, the differently placed stress is what separates the English and American pronunciations of â€Å"defence†. Longer words may have more than one stress – â€Å"photography†, for example, is stressed on both ‘-tog-‘ and ‘-phy'. In some places, including the Oxford English Di ctionary, a difference is drawn between