Essay on Science Marriage and Child Support

Essay on Science Marriage and Child Support Essay on Science: Marriage and Child Support     Respondent(s) Full legal name & address for service - street & number, municipality, postal code, telephone & fax numbers and e-mail address (if any). Lawyer’s name & address - street & number, municipality, postal code, telephone & fax numbers and e-mail address (if any).     My name is (full legal name)     I live in (municipality & province)   and I swear/affirm that the following is true: 1. I am the applicant in this divorce case. 2. There is no chance of a reconciliation between the respondent and me. 3. All the information in the application in this case is correct, except: (State any corrections or changes to the information in the application. Write â€Å"NONE† if there are no corrections or changes.)   4.  The certificate or registration of my marriage to the respondent has been signed and sealed by the Registrar General of Ontario and:  has been filed with the application.  is attached to this affidavit.  The certificate of my marriage to the respondent was issued outside Ontario. It is called (title of certificate)   It was issued at (place of issue)   on (date)   by (name and title of person who issued certificate)   and the information in it about my marriage is correct.  I have not been able to get a certificate or registration of my marriage. I was married to the respondent on (date)   at (place of marriage)   The marriage was performed by (name and title)   who had the authority to perform marriages in that place. Form 36: Affidavit for Divorce (page 2) Court File Number Error: Reference source not found 5. The legal basis for the divorce is:  that the respondent and I have been separated for at least one year. We separated on (date)    Other (Specify.)   6. I do not know about and I am not involved in any arrangement to make up or to hide evidence or to deceive the court in this divorce case. Strike out the following paragraphs if they do not apply. 7. I do not want to make a claim for a division of property in this divorce case, even though I know that it may be legally impossible to make such a claim after the divorce. 8. I want the divorce order to include the following paragraph numbers of the attached consent, settlement, separation agreement or previous court order: (List the numbers of the paragraphs that you want included in the divorce order.)   9. There are (number)   children of the marriage. They are: Full legal name of child Birth date (d, m, y)                         10. The custody and access arrangements for the child(ren) are as follows: (Give summary.)   11. These are the arrangements that have been made for the support of the child(ren) of the marriage: (a) The income of the party paying child support is $   per year. (b) The number of children for whom support is supposed to be paid is (number)   (c) The amount of support that should be paid according to the applicable table in the child support guidelines is $   per month. (d) The amount of child support actually being paid is $   per month. (NOTE: - Where the dollar amounts in clauses [c] and [d] are different, you must fill out the frame on the next page. If the amounts in clauses [c] and [d] are the same, skip the frame and go directly to paragraph 12.) Form 36:

13 of the Worst Ways to Start a Job Interview Conversation

13 of the Worst Ways to Start a Job Interview Conversation Building a good rapport with your interviewer is key. And you should always find ways to break the ice and make both of you comfortable right out of the gate. But if you step a toe too far in any one direction, you can risk blowing the whole thing by making someone uncomfortable, or worse, offended. Here are 13 terrible ways to get the job interview conversation going. If you were considering any of them, get to work on Plan B! (i.e. safer, more neutral conversation starters).1. â€Å"How about Trump/Clinton’s speech yesterday?†Unless you’re interviewing for a job in politics and you can be sure this question won’t lead you astray, stay away from anything political. Especially the polarizing nature of a presidential election. You’d be much better off with the weather.2. â€Å"The craziest thing just happened to me!†No one cares. Also, they’re going to be looking for signs of what sort of coworker you’d be. If they think you†™re going to be the one running in every morning on a rant of drama about your coffee order, they’ll hesitate to hire you.3. â€Å"A priest, a rabbi, and Superman walk into a bar†¦Ã¢â‚¬ Even if your jokes are hilarious and everyone says so, don’t tell them at an interview. The chances are too good that they would go awry. Besides, it’s unprofessional.4. â€Å"Did you have a good dinner at Nobu with your pal Steve?†While an interviewer will appreciate your having done your homework, looking into them on social networking sites and such, you don’t want to sound like a stalker. Stick to professional achievements or widely documented hobbies.5. Questions with one word answersDo yourself a favor and don’t set yourself up to get a one-word answer. Give yourself some room to work and let the conversation build.6. â€Å"How do you know Bob?†If you have a mutual contact, either know before you go, or don’t bring it up.7.  "I’m hired!†You may think this is cute and confident. But it could backfire and come across as overconfident, brash, or even aggressive.8. â€Å"Friday at 4 p.m.? You must be ready to get out of here!†No matter whether your interview is the very last of the week, don’t suppose or comment on your interviewers wants or activities after the fact. Who knows, they might be working until 8 p.m. and then you’ll look like a slacker.9. â€Å"Which position is this again?†No matter how many jobs you’re applying for, never go into an interview unprepared. Always know the title, the responsibilities, the salary, and anything else you could know- including your interviewer’s name and role.10. â€Å"I’ve got another appointment after this†Even if this is true, you can’t say it. They’ll likely not hear anything you say after you make it clear they aren’t your top priority.11. â€Å"You look great in that out fit.†Just say no to comments about personal appearance. Compliments like â€Å"I like your earrings† are fine, but when you reference someone’s appearance or physique, that comes too close to sexual harassment for (not even) your first day.12. â€Å"Where do you get your hair/nails done?†See above. Also†¦ just†¦ focus on the job you’re interviewing for.13. â€Å"Here are my deal breakers.†While there is an appropriate time for you to share your salary needs and specifications- and even to inquire about certain aspects of the job that would make or break it for you, never open with this. And never be too assertive with your demands. Wait to be asked and frame it less aggressively.

Integrating Values - The Legality, Morality, and Social Responsibility Essay

Integrating Values - The Legality, Morality, and Social Responsibility of Nike - Essay Example The criticisms that were leveled against the organization bring to light the legal implications of carrying out business. It is necessary for a business to have a strong legal framework. The legal framework of a business compromises of the nature of work that is to be performed, the financial assets of the business and the long- and short-term goals that the business aims to achieve (Nathanson, 1995). The legal structure of the business gives rise to legal expectations that the society has from the business. Thereby, there are certain legal responsibilities that all businesses are required to meet as a constituent of the social contract that it has with the society. The legal responsibilities of a business are in effect manifestations of the society’s perception of â€Å"codified ethics† and reflect the primary perceptions of just conduct as defined by the law. The business is accountable to the society for the fulfillment of this role; failing to do so, the business is subjected to a political process where the dissidents are dealt with. Thus, public companies are liable to certain legal responsibilities and are required to comply with them as part of their role in producing goods and services for the society. Nike, however, has been the subject of criticism due to the fact that its policies and practices have not been observant of the laws and legal responsibilities set forth for businesses. It was in the early 1990s that criticism against Nike’s practices began to come to light.... The legal responsibilities of a business are in effect manifestations of the society’s perception of â€Å"codified ethics† and reflect the primary perceptions of just conduct as defined by the law (Carroll & Buchholtz, 2008). The business is accountable to the society for the fulfilment of this role; failing to do so, the business is subjected to a political process where the dissidents are dealt with. Thus, public companies are liable to certain legal responsibilities and are required to comply with them as part of their role in producing goods and services for the society. Nike, however, has been the subject of criticism due to the fact that its policies and practices have not been observant of the laws and legal responsibilities set forth for businesses. It was in the early 1990s that criticism against Nike’s practices began to come to light. Nike has been a famous name in the clothing and sports items industry. Seeing the large market share that it had abroa d and the appeal of lesser manufacturing costs, Nike outsourced to a number of countries more than a couple of decades ago. There was nothing wrong in subcontracting work to other factories in the Southeast region. Nike did not violate any laws and argued that it provided jobs to many people in the poor countries (Hill & Jain, 2009). However its prime motive was to increment the profits it made and to bring down the costs of manufacturing. For many years before the criticism being levelled against the organization gathered substantial support, ethical and legal aspects of business conduct did not enter the cost-profit equation of Nike. Nike’s factories overseas had poor working conditions despite the

Police & Society Ch 11 & 12 Essay Example | Topics and Well Written Essays - 500 words

Police & Society Ch 11 & 12 - Essay Example Those followed up evidences which pertain to the illegal evidence are also rejected. In some special cases, there are some exceptions where a police can arrest a person or search a place without any warrant. In such cases, those convicted and the evidences obtained also come under the law. Police have permission to search and seize evidences if it is in a plain view. But the real problem happens in the case of vehicle theft. Searching a vehicle without a warrant is lawful because of the mobility. Fifth Amendment specifies that when a person is arrested, he or she must be given advice of his or her Miranda rights. It is a must because every accused person has the right against self-incrimination. Still, there are exceptions in these cases too. The police can be held if they commit a wrong or misuse the law. In case of federal violations, the police may be able to defend himself. Civil liability leads to disastrous effect known as de-policing. This occurs when police fail to interact with citizens due to the fear of liability lawsuit. American society has become rapidly diverse that diversity in policing fails to follow the same pace. Policing still remains to be a male dominant profession. Minorities are still finding tough to join the police force. Even if they join, they have to face with unequal treatment. Promotions, other compensations are usually restricted to these minorities. Black officers are still prevented from arresting a white accused. As a result, when the black officers were evaluated, it was found out that a black officer does act harder on black people. This is to indicate that they were not biased. This ‘double marginality’ as it is called is of less threat nowadays. Women in policing are also of no exception. The activity of a female in policing was restricted to certain minimum. They did not go for a patrol till 1968. Later, studies illustrated that a female officer is capable of doing work in

Preparing to Teach in the Lifelong Learning Sector- Assessments Essay Example for Free

Preparing to Teach in the Lifelong Learning Sector- Assessments Essay Role, responsabilities and boundaries of teacher in the teaching/ training cycle. The key aspects of current legislative requirements and codes of practice relevant to your subject and the type of organisation within which you would like to work. Expalin how you could promote inclusion, equality and diversity with your current / future learners. Identify other points of referral available to meet the potential needs of learners. Explain the ways in which you would establish ground rules with your learners, and which underpin behaviour and respect for others. Explain ways to embed elements of functional skills in your specialist area. Explain the need for keeping records and describe the types of records you would maintain. State the different assessment methods available and explain the ones you would use for your subject area, including reference to initial assessment. State the types of assessment records you would complete and explain why. Produce a learning programme/scheme of work in your subject area, for a minimum of six sessions (the length of each session is to be agreed between yourself and your tutor). Produce session plan(s) (these can be from the scheme of work or different) for a minimum of 30 minutes. Deliver the micro-teaching practice session(s), demonstrating a selection of teaching and learning approaches to engage and motivate learners. You need to communicate appropriately and effectively with learners. You must not deliver the same planned session more than once (total 30 minutes of delivery). Explain and justify the reasons behind your choice of teaching and learning approaches and use of resources for one of your delivered sessions. Obtain feedback from your peers and tutor/observer, and complete a self evaluation to refelct and evaluate the effectiveness of your own teaching. Give feedback to your peers regarding their delivery. (Peer feedback is applicable to micr-teach sessions only). Complete a reflective learning journal after each assessment task completed and/ or session attended throughout the PTLLS programme. At the end of the programme, complete a summative profile and action plan.

Distillation Essay -- essays papers

Distillation Abstract This report outlines the steps taken to separate a 50:50 by volume ethanol and isopropanol side stream. The resulting separation must contain no more than 3% alcohol impurity in each product. A laboratory column, run at total reflux, was utilized to scale up to a forty foot high by one foot diameter column. The laboratory column allowed the team to determine vapor velocities and HETP values for the 0.24 inch Pro-Pakq packing. HETP is defined as the height of packing divided by the number of theoretical column stages. The column consisted of four main sections: packing, controls, a reboiler, and a condenser. To complete the vapor velocity vs. HETP relationship, the vapor velocity must be found. The vapor velocity was found using a system energy balance. The design vapor velocity was determined to be 4.85 ft/hr. However, this vapor velocity did not result in the column flooding; therefore the scaled-up column is not designed to its full potential. Ideally, distillation columns should be designed at 70-80% of the flooding velocity. The column HETP was found by use of the Fenske equation and was determined to be an average of 4.55 inches. As a result of the design parameters from the experimental column, the following design is proposed: the column will run at a vapor velocity of 4.85 ft/hr and will have a HETP of 4.30 inches. This will result in a packing height of 38.7 feet. The reboiler will have an area of 113.52 ft2 and the area of the condenser will have a value of 45.54 ft2 in which heat exchange will take place. Introduction A chemical plant spends approximately 50 to 90% of capital investment on separation equipment (1,1) Therefore, the ability to utilize a small laboratory column and to scale-up a column is an important skill for a chemical engineer. This report will outline the steps taken to design a packed distillation column. The column needs to separate a 50:50 mixture of ethanol and isopropanol into a distillate stream containing no more than 3 wt% isopropanol and a bottoms stream containing no more than 3 wt% ethanol. The design of the full-scale column was based on a laboratory simulation column. This column allowed the team to determine vapor velocities and HETP values for the 0.24 inch Pro-Pakq packing. Once the simulation vapor velocities are determined, they can ... .../hr)/*(1/0.0154 kmol/L)*(1/(p(.25)2ft2)*(0.0159 kmol/L) (p(1)2(ft)) = 6.857567 kmol/hr MWAVG,D = 46.493 kg/kmol VD = (6.857567 kmol/hr) * (46.493 kg/kmol) VD = 318.82886 kg/hr *Equation of Top Operating Line y = (L/V)x + (1-(L/V))xD = (RACT / RACT +1)x + (1/ RACT +1)(0.97) = 0.912779x + 0.084605 *Distillate Rate R = (V-D)/D = 10.4651 318.82886 (kg/hr) - D = 10.4651D D = 27.808642 (kg/hr) R = L/D = 10.4651 * 27.808642 (kg/hr) = L L = 291.02022 (kg/hr) *Bottoms Flow Rate L/V = R (z -xB) + q (xD - xB) R(z -xB) + q(xD-xB) -(xD-z) z= Feed mole fraction of ethanol q= 1 (feed assumes to be liquid) L/V = 10.4651(0.567-0.03) + 1(0.97-0.03) 10.4651(0.567-0.03) + 1(0.97-0.03) -(0.97-0.567) L/V = 1.05 L/V = (VB + 1)/ VB = 1.05 VB = 20 B = V/ VB = (318.82886 kg/hr)/20 = 15.941443 (kg/hr) *Feed Flow Rate F = D + B = 15.941443 (kg/hr) + 318.82886 (kg/hr) = 334.7703 kg/hr *Bottom Operating Line y = (L/V)x - ((L/V)-1) xB = 1.05x - 0.0015 * Condenser Heat Duty QCOND = V * DHVAP DHVAP = xETOH * DHVAP,ETOH + xISOP * DHVAP,ISOP QCOND =

Shakespeare Midterm

There are many themes through Shakespeare’s plays, As You Like It, Merchant of Venice, and All’s Well that Ends Well. such as love, pride, irony, and marriage. All three plays are comedies because essentially the love that so alludes the protagonists in the beginning of the play somehow unites them toward the end of the play through either mis-identity, in the case of Roselind and Orlando in As You Like It or Helena and Bertram in All’s Well that Ends Well, albeit the latter’s love is a forced loved by the King (whom Helena’s physician father heals of fistula), as Bertram writes to Helena while he’s at war, â€Å"When thou canst get the ring upon my finger, which never shall come off, and show me a child begotten of thy body that I am father to, then call me husband† (Shakespeare III. i. 55-58). The purpose of this essay paper will be to explore these issues of love as they apply to the main characters and come to a revelation on the l ove between them and the progress of its destruction or affirmation through Shakespeare’s device of mis-identity – thus, identity and love will play a dual role in this essay along with high authorities such as royalty or fate. As You Like It As You Like It is one of Shakespeare’s comedies. The focus of the play revolves around the theme of love and identity – either the changing of the main character’s identities or their dramatic use of mis-identity to other main characters. The main protagonists, Rosalind and Orlando, fall in love, but due to circumstance (such as their identities and their fates as destined by higher authorities) are unable to unite until the end of the play. The play begins with Rosalind’s banishment into the forest of Arden (along with her friend Celia and a clown) and with Orlando’s own fleeing of his brother’s plot to murder him. Thus, the beginning of the play is in direct opposition to the close of the play: the beginning of the play is about banishment and betrayal and the end of the play is about unification through love; thus it is the theme of love that unites each of these three Shakespearean plays. To the characters in As You Like It, the most important, and powerful thing in life is love and through love the reader comes to understand the concept of fate. It is the power of love that drives Rosalind to dress up as a man in order to escape being detected as herself from royalty. While she is ‘Ganymede’ (a man) she approaches Orlando and has him practice wooing Rosalind with ‘him’, thus staying true to Shakespeare’s idea of mixing comedy with love and in the process revealing certain truths about the characters (such as their feelings for one another and their destiny with each other). Thus, the beginning of the main lover’s courtship is done through this misappropriation of identity by way of a royal idea of what love should be countered with Shakespeare’s idea of what love is as seen with the mounting feelings his protagonists have with each other. It seems that the message that Shakespeare is trying to convey with these two characters is that love flourishes under the most drastic of circumstances: Two lovers fleeing or banished from home and yet through disguise are still able to find true love. As Jacques states in As You Like It, All the world's a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts, His acts being seven ages. (Shakespeare II. vii. 39-143). This passage’s intended meaning emphasizes love (although Shakespeare does poke fun at the intention of the play with this passage as well as Rosalind’s final speech or epilogue which requests the audience to enjoy the play at their disposal but not more than warrants undo attention). The end of the play sees Hyman the god of marriage (another pun in the play, making reference to virginity) unite Orlando and Rosalind, Oliver and Celia, Silvius and Phebe and even Touchstone and A udrey. Thus, while the beginning of the play has a start in banishment and gloom, the final act of the play is exalted in love, and in finding love, each character reveals their true identity thus suggesting to the reader that love can only come if a person is honest with themselves about who they are. Merchant of Venice The hero’s evil that is confronted in The Merchant of Venice, is that of Antonio’s (hero) to Shylock’s (the villain). This play is one of Shakespeare’s problem plays. The plot synopsis is that a young man, Bassanio wants to woe Portia but is unable to due so because of lack of funds (Hankey 431). He asks his friend Antonio for the money, and in turn, Antonio asks Shylock for a loan. The prejudice of the play is found in Antonio having spat on Shylock and called him a Jew; thus the tension for the play is set between the loan and these two principle characters. It is through Antonio’s own actions, as one can pull from the text, that his relationship with Shylock is doomed. The tension of the play is further doomed as Shylock’s daughter Jessica runs away to convert to Christianity in order to marry her lover Lorenzo; thus Shylock’s vengeance is twofold – one for getting his money back and the other for seeking vengeance from religion. Although the finer points of the play are dealing with vengeance and the scenes between Shylock and Antonio are very suspenseful, the point of the play is that love prevails despite the urgency of an opposing powerful force (thus keeping this play linked with the opposing royalty force as seen in As You Like It). Bassanio chooses the correct lead box in order to marry Portia according to her father’s will and thus, the point of the play where the suitor is involved is resolved. However, Bassanio still is entangled with the tension between Antonio and Shylock since it was for Bassanio that Antonio loaned money from Shylock. It is Antonio’s haste in agreeing to such a deal that the play is focused upon. This play is filled with smaller plot elements that add to the definition of this being a problem play. The turns which the play makes during the progression of the plot makes the play point towards being a tragedy, it is not until the end of the play that the theme of love can truly be applied: With Bassanio’s engagement and Antonio’s getting out of his deal with Shylock. Portia (in disguise as a man) asks Shylock to show mercy in her famous speech, â€Å"The quality of mercy is not strained—(Shakespeare IV,i,185), this plea comes to no avail however and Shylock is determined to extract his pound of flesh. In the end love reigns: as the court decides that since Shylock is unable to extract the flesh without shedding any blood, he must forfeit his property half to the government and half to Antonio. In a gesture of fairness, Antonio will have the principle amount given to Jessica and Lorenzo – thus, the theme of love wins at the end for Bassanio gets Portia and Jessica marries Lorenzo and Shylock. Thus, when Shylock’s daughter comes forward with her true feelings and her love, she gains power. Thus, the link between love and power and the revelation of love through true identity is found. Indeed the theme of love is found in plenty in The Merchant of Venice with the correlating couples. In a particularly romantic scene Lorenzo speaks of Jessica (Skylock’s daughter), Beshrew me but I love her heartily; For she is wise, if I can judge of her, And fair she is, if that mine eyes be true, And true she is, as she hath proved herself, And therefore, like herself, wise, fair and true, Shall she be placed in my constant soul. Shakespeare II, vi, 51-57. It is found in this play that Shylock is a naysayer when it comes to the subject of love; it would be prudent then to state that because of Shylock’s predisposition on the theme of love, his negative attitude about it, as revealed in the court case in the presence of the play’s caste of characters, â€Å"Some men there are love not a gaping pig, some that are mad if they behold a cat, and others when the bagpipe sings i' the nose cannot contain their urine. † (Shakespeare IIII, i, 47-50) that the end that Shylock meets with (having to convert to Christianity and losing his property) is in direct relation to his sentiments about love. The issue that Shakespeare presents them with the financial and religious demise of Shylock is that love conquers all. All’s Well that Ends Well The them of All’s Well that Ends Well is one that is definitely defined as love, albeit, a rather dishonest start to love. Bertram is made to marry Helena after her father cured the kind of an illness. Although Helena is very much in love with Bertram, as she reveals, â€Å"'T were all one, That I should love a bright particular star, And think to wed it, he is so above me. † (Shakespeare 1. 1. 98). Bertram seeks refuge in war and tells Helena that the marriage isn’t truly a marriage since they have not slept together and thus do not have any hopes of having children. Helena seeks to remedy this situation. This play, (as with the previous plays written about in this paper) exudes the cleverness of women dressing up as men in order to gain access to information or dressing up as women (as Helena does, dressing up as her maid Diana) in order to have power and information. Thus, Bertram is seduced by Helena/ Diana and made a proper husband of by his wife; in fact the play ends on Bertram’s lines, â€Å"†¦love her dearly, ever, ever dearly. (Shakespeare V. iii. 354) which are made in reference to Helena. This romantic view is littered throughout modern art – such as movies and music. The concepts to most adults of â€Å"adolescent suicide is horrifying and a little unreal†. (Hodgdon 342) To the eyes of fellow young lovers, this tale could be seen as the very definition of modern teen angst. There are obvious examples throughout the play as to why this label had been given, and remains used to this day. One way that a play may be seen as a tragedy, as Nevo wrote, is â€Å"by way of intrusive morality in the interpretation of the spectator†. Nevo 244) This means that, while the audience watches the play, it uses its own ideals of law, order, and society to judge the actions of its characters. The actions of Romeo are seen by the audience as falling against the contemporary ideals of right and wrong. Romeo is a character who longed for a chaste girl, accepted an invitation to a party under false pretences, allowed for his love of Rosaline to be completely forgotten at the sight of Juliet, and who, in a moment of extreme rage and wanton revenge, slays the cousin of his new bride (this rage is also seen in Othello’s character when he believes Desdemona is cheating on him). Thus, love reigns at the end of this play as well as it had in the end of As You Like It. Conclusion The themes of the plays have been made obvious: Love. Through the use of disguises, the women of the play are able to help themselves into positions of power through the gaining of information that would not be known to them without the ruse (as with Jessica disguising herself in order to persuade her father, Roselind in order for Orlando to woe her, and Helena in order to gain access to Bertram’s bed) (Kimbrough 30). The plays end, each in their own accord, on scenes of love and rejoicing for the characters who have found love (this means that since Shylock did not find love, he could not rejoice). Thus, love is the element of consistency in each play, and it is with love that the plays are able to progress from one scene to the next until the end of the play finds the main characters happy.

Commedia Del’Arte †Character Analysis Essay

PANTALONE: Pantalone is of top pecking order. He is wealthy and controls the finance in the character world of commedia, therefore his orders are usually obeyed by all. He is the father of Isabella. He wears dark colours of black, grey and red; dynamic Pantaloons, tight-fitting long red trousers or red breeches and stockings, a short tight-fitting jacket, a loose long black cloak with plain sleeves, red-woollen skull-cap and yellow turkish slippers. He is lean and scrawny and often short in stature. He wears a mask with a long, hooked nose with bushy eyebrows, sometimes also a moustache. Pointed beard just forward as if to meet the nose coming down, thus giving a very dynamic profile. His signature props are a gold chain hung around his neck with a large medallion as well as a dagger and a money pouch. He also carried a ubiquitous handkerchief and used a walking cane. His back bends giving him a hunched old man’s stoop, which protected his purse and effectively restricted the motion of his legs. His feet are together, toes apart, knees well bent and facing apart creating a focus on his crutch. His legs are also much more muscled with the possibility of sustaining extreme forward positions of the torso or making large strides. Bullying, aggressively and mean-minded, Pantalone, a pauper who had squandered his dignity along with his cash. He’s always on the prowl and he could be termed a Beelzebub of sex. Any woman who happens to cross his path becomes at once an object of winks, leers and nudges†¦ he parades up and down in a series of showily self-important struts, trips, trots and sudden halts. His walk is small and slow and he can only walk at one pace; whatever his feet do his legs cannot go any faster, whatever the motive or stimulus. He’s  old in body, but his head, feet and hands are still active. The hands (which he can’t keep to himself) flutter continuously, gesticulating each thought as it comes into his head. The only way he can stop this is to hold them behind his back, underneath his cloak. His voice is similar to a high pitched squawk that continuously breaks. It’s cold and prudish and demanding. Pantalone gives voice to the darker side of the male consciousness, a secret hero to the unenlightened males in the audience. He is mean to his servants, narrow-mindedly proscriptive to his children, fawning to Il’ Dottore, scheming with Il’ Capitano, lecherous with Colombina and indulgent to himself. He is too self-interested to be aware of spectators, therefore takes no notice of them. Pantalone operates on the assumption that everything can be bought and sold, and this turns out to be true, with the exception of loyalty (and love). But he also loves money for its own sake and will therefore only part with it when there is no other option. He always wants to marry his daughter to a wealthy man – and avoid giving her a dowry. When things do not go his way he quickly slips into emotional extremes, particularly enraged petty tyranny. He has a long memory and never forgets or forgives the slightest past transgression. Pantalone is action, not words. IL CAPITANO: Il’Capitano is a loner. He is never indigenous to the town where the scenario is set and is able to pretend to high status as a result. His downfall to the level of actual social standing is an essential part of the denouement. Being a ‘Capitan’ he wore a feathered helmet or hat, huge boots and exaggerated garters. His clothes were sometimes diagonally striped or slashed, but whatever the style, close scrutiny reveals the truth: Magnificent in words, but his purse is always empty and under his beautifully richly damascened cuirass he wears but a frayed and tattered leather jerkin. Il Capitano himself, however, always claims that his  tattered undergarments are caused by the amazing virility of his body hair bursting through whenever he gets angry. Il Capitano appears large, whether physically or egotistically, he is a large presence on stage. He try’s to attract attention from women and intimidate men. He wears a mask with a great menacing nose and  fierce, bristling moustaches, which seemed like veritable iron spikes defending the entrance to a citadel only too ready to capitulate. The mask, in its general aspect, was intended to emphasize the contrast between a brave appearance and a craven nature. His signature prop is a long sword that he never actually uses for fighting. His feet are planted apart in order to occupy maximum space, his chest is pushed forward and his back is always straight and tall standing with his hips wide. His walk is a long stride where the heels of his boots come down first, then the foot rolls onto the ball, then he steps again off the ball of his foot giving him rise and bounce in his step so his head can be among the clouds. However, his actual steps are small (he is in no hurry to get to war, but wants to do so with maximum effect). When he hears a frightening noise he drops everything, but only succeeds in running on the spot, head thrown back, arms in the air, kicking his feet forward and howling piteously. When he hears a wolf (or small dog) he shrinks little by little until he has made himself unnoticeable as possible, then scurries away in a crouch. When fleeing from a mouse he adopts a kind of leaping promenade walk in order to prevent it running up his legs. When scared witless he occasionally runs to be seen, to show off his legs. He often stands at attention or with his hand on his sword, nose in the air and his chest puffed out. When he’s not pretending to be brave he is cowering with fear. His movements are slow, deliberate and mechanical with his gestures being extravagant and sustained. His speech is loud and proud turning to a squeak when frightened. He was originally employed by Pantalone to do his dirty work for him. They worked  well together as lechers with financial aspirations: Il’Capitano to get rich, Pantalone to remain so. Pantalone would often congratulate Il Capitano on his efforts, and then betray him to others. He is almost used as a prop by all the other characters. The whole world is an audience. He stops whenever he sees the actual audience and makes a salutation so that he can be admired. Initially his magnificence may take in the other characters, but never the audience: something in his very first entrance (a trip for example) should give him away. IL DOTTORE: Il Dottore is the head of another family and is often the father of a lover, usually Lelio. He is the equivalent of Pantalone who thinks he has brains. He wears a black academic dress satirising Bolognese scholars, a long jacket with black coat over-reaching to his heels, black shoes, stockings and breeches, and black skull-cap. His appearance is grand: his huge size comes directly from Carnival and contrasts with Pantalone. His mask covers the nose and forehead and sometimes the cheeks, which are red as he is apparently fond of the bottle. His signature props include a book and a white handkerchief. He would stand with his weight back on his heels, belly forward and his hands gesturing in front. He walks peripatetically in figures of eight, using tiny, mincing steps. His walking posture descends while he thinks (out loud, of course) and rises up again on the solution of the problem. When posing, he leans forward with a hand on his face, usually tapping his forehead or stroking his beard in a pensive manner. When posing behind another performer, he sometimes does something malicious such as preparing to knock them out with a mallet. His movements are relatively static in front of the audience. He needs all  the space to himself and gains it by gesturing out from the body as if sowing a seed. He ‘parps’ like a trombone when speaking and pronounces â€Å"S† as â€Å"Sh†. He is a neighbour and friend or rival of Pantalone (either way, the two are inseparable), and since he is a natural parasite, sees the advantage of being patronized by him. To acknowledge or talk to the audience he needs a context in order to make a direct address – the giving of a lecture for example. He gives the other characters a break from physical exertion by his prolixity – sometimes to the point where he has to be carried off by them, still talking. For this reason he stays a relatively long time onstage. A survivor, not a target figure like Pantalone. He is essentially belly, not intellect and is extremely vocal. Il’Dottore is inclined, like Pantalone, to be stingy, but in his case it is because he doesn’t have any money. The doctor is an eternal gasbag; he cannot open his mouth without spitting out a Latin phrase or quotation. He believes someone suffers from an ailment, which they obviously do not, and offers to cure them. He spontaneously diagnoses performers on stage, tries to enlist assistance to help him perform experimental surgeries on himself and others, as well as performs random experiments in the name of science and medicine.

Indo-European and the Celtic language

Indo-European and the Celtic language Running Head: INDO-EUROPEAN AND THE CELTIC LANGUAUGE 1Indo-European and the Celtic languageTari PiferAIU OnlineAbstractThe purpose of this paper is to discuss how the vernacular Celtic language was a strong language in the Britain and Iberian-Peninsula and the later disappeared with the Roman Empire invasion and then infiltrated the use of the Latin language from the Roman presence.Indo-European and The Celtic LanguageDuring the Hellenistic time the Celtic language came from a span across Europe to Asia Miner in the east where to this day in Galatia present speaking Gaul's people recall a Celtic speech origination.Roman TriumphLater after the Roman military took over the language then transformed into Latin by the 5th Century and native Celtic language had disappeared from the continental Europe. To date the Celtic languages are limited mostly to the British Isles and French Brittany where approximately 2 million people speak the Celtic tongue today.Institute of Education and Celtic Culture, Dingle,...The Origin of CelticThe Celtic has three groups of people to form the language, which include the Continental, British and Gaelic people. Celtic language and it's definitions were a complicated language to understand due to the spelling not corresponding to the pronunciation and it's initial consonants will change depending on the final sound of the proceeding word. If one were to look up a word in the Celtic language they would need to be familiar with their changing of the phonics or atlering of the language.Continental CelticThe first group is the Continental Celtics, including all Celtic phrasing on the Continent except Breton, people disappeared with the fall of the Western Roman Empire in the late 5th century this group language was Gaulish but now are extinct. Gaulish once known of Gaul proper which today is France. Personal and proper names...

Lysistrata by Aristophanes - Old Greek Comedy

Lysistrata by Aristophanes - Old Greek Comedy (Pronounced both ways, Liz-IS-trata and Lyzis-TRA-ta, Lysistrata is an anti-war comedy written by the fifth century Greek comic playwright Aristophanes.) Anti-War Sex Strike Lysistrata: And not so much as the shadow of a lover! Since the day the Milesians betrayed us, I have never once seen an eight-inch gadget even, to be a leathern consolation to us poor widows.... Now tell me, if I have discovered a means of ending the war, will you all second me?Cleonice: Yes verily, by all the goddesses, I swear I will, though I have to put my gown in pawn, and drink the money the same day.....Lysistrata: Then I will out with it at last, my mighty secret! Oh! sister women, if we would compel our husbands to make peace, we must refrain...-Lysistrata selection from EAWC Anthology Lysistrata Plot The basic plot of Lysistrata is that the women barricade themselves in the  acropolis and go on a sex strike to persuade their husbands to stop the Peloponnesian War. Fantastic Reversal of Societal Norms This is fantasy, of course, and was even more improbable at a time when women didnt have the vote and men had ample opportunities to whet their sexual appetites elsewhere. The sexual theme is just an attention-grabber. ... [T]he comedy neatly inverts spaces and boundaries the women turn the city into an extended household and seize control of the actual polis not as intruders but as reconcilers and healers. He [sc. Konstan] demonstrates how the womens visions and concepts surpass the fractious politics and warfare of the men.- From BMCR review of David Konstans Greek Comedy and Ideology Making Lysistrata even more far-fetched, according to Brian Arkins in Sexuality in Fifth-Century Athens, (1994) Classics Ireland, an Athenian male could be held incompetent at law for being under the influence of a woman. So, had Aristophanes plot been the historical reality since the women actually do get their way all the Athenian soldiers might have lost their legal rights for being under their wives power. Control of the War Chest Lysistratas band of chaste wives is supplemented by a band of older women who have taken the acropolis in order to  deny the soldiers access to the funds they need to wage war. When the Athenian men approach the acropolis, they are surprised by the number and determination of the women. When they express concern that the Spartans will destroy their city, Lysistrata assures them that women are all they need for defense. Womens Work Lysistrata uses an analogy from the mundane world in which ancient women lived to explain how their strategies will work: First you wash the city as we wash the wool,575cleaning out the bulls**t. Then we pluck away the parasites; break up strands that clump together, forming special interest groups; Heres a bozo: squeeze his head off. Now youre set to card the wool: use your basket for the carding, the basket of solidarity.580There we put our migrant workers, foreign friends, minorities, immigrants and wage-slaves, every person useful to the state. Dont forget our allies, either, languishing like separate strands. Bring it all together now, and585make one giant ball of yarn. Now youre ready: weave a brand new suit for all the citizens.- Lysistrata Lysistrata Makes the Peace After a while, the women grow weak with unsatisfied libido. Some claim they need to get home to their chores, although one is caught trying to escape to a brothel. Lysistrata assures the other women it wont be long; their husbands are in worse shape than they are. Soon men start showing up, trying everything to persuade their women to release them from their pointedly visible torments, but to no avail. Then a Spartan herald arrives to make a treaty. He, too, is very plainly suffering the priapism rampant among Athenian men. Lysistrata acts as go-between Sparta and Athens. After accusing both sides of dishonorable behavior, she persuades the men to agree to stop fighting. Male Female Actors The original comedy manipulated gender roles. Besides women acting like men (having political clout), there were men acting like women (all actors were male). The male characters wore large, erect leather phalluses like the one whose absence (see opening quote) Lysistrata laments. The convention of male actors playing female roles does appear to intrude into the text, just as it may have intruded into the performance. Femininity is represented by Aristophanes as the site of the ultimate comic figure: completely deceptive because she is not real at all. She must be given shape by a man, and everyone knows that.- From BMCR Review of Taaffes Aristophanes and Women Ancient/Classical History GlossaryGreek MythologyAncient AtlasGods and Goddesses A-ZFamous Ancient People (bbk.ac.uk/hca/classics/gender.htm) Aristophanes BibliographyFrom Diotima, scholarly work on Aristophanes. what Aristophanes must have gone through. Accessed 09.1999.(http://didaskalia.open.ac.uk/issues/vol2no1/withers.html) Writing New Ancient TheaterBy Paul Withers, from Didaskalia. Metaphor, simile, meter, unity of time and place are all ancient dramatic components that can be made use of in modern drama with classical themes. Accessed 09.1999.(http://didaskalia.open.ac.uk/issues/vol2no1/Rabinowitz.htm) The Male Actor of Greek Tragedy: Evidence of Misogyny or Gender-Bending?Nancy Sorkin Rabinowitz doesnt believe it. She thinks the audience regarded the male actor as neither the man he was in real life, nor the woman he represented, but a representation of the woman. Accessed 09.1999.Guide for Aristophanes LysistrataFrom Temple University. Pages refer to text used in Greek Drama and Culture class. Contains plot summary and suggestions to make the play more entertaining like reading Lampito as a hillbilly. Accessed 04.21.2006.

Discussion Essay Example | Topics and Well Written Essays - 1250 words - 1

Discussion - Essay Example Ethics on the other hand forms the framework that acts as moral guidelines. Ethics is much more subjective and although it also establishes sets of normative codes of conduct, these codes are heterogeneous due to their subjective origins. If however, we assume Ethics to set the standards of social conduct and moral judgment then ideally, laws should enforce these (Blackburn, 2003). The importance of Ethics in spite of many laws arises precisely from the fact that finer ethical considerations and morality are often beyond the defined conducts that the limited scope of Laws are able to enforce. The necessity of ethical consideration irrespective of the legal framework of any nation can be best understood by considering historical instances where Laws were in conflict or at least not in support of what is now understood to be ethical. Until the 13th amendment of 1865 revised the Law, slavery was entirely a legal practice in the U.S.A. Prior to the Fair Labor Standards Act of 1938; child labor was a legal practice as well. African American people had very little civil rights and when Rosa Parks refused to give up her seat on a bus to a white passenger on Dec. 1, 1955 she violated the law (Townsend, 1998). It is in the present day almost surprising to note that women were accorded voting rights only in 1920. Such instances of something considered legal in the past later being rectified, reflect that Laws may not always be aligned with what is ethically right and the adjustment can be a time consuming process. Instances of legal binds being constraining from the perspective of ethical actions and decision making is certainly not a matter of only the past. In present days also, issues like Abortion and Euthanasia and Assisted Suicide leads to a debate due to the inherent conflict between the associated laws and ethical