CamelCase

CamelCase CamelCase CamelCase By Maeve Maddox A reader commenting on my e-mail post brought my attention to a term I’d not heard before: It will end up simply as book, but before that happens it will be ebook- just as email ended up as email. eBook looks entirely too corporate to me, and I doubt if the general writing public will ever adopt camel case for anyThing, ever. Camel case, also appropriately spelled CamelCase, is the practice of writing a word with a capital inside it. For example: iPhone CinemaScope VistaVision AstroTurf The name comes from the fact that the uppercase letter makes a â€Å"hump† in the word. The Wiki article gives a long list of other terms for this practice. Here are a few: BumpyCaps, CamelBack, CamelCaps, CapWords, mixedCase, and RollerCoasterCaps. I have to agree that words written that way are a bit too cutesy to survive as real words. Thats not to say there is no practical use for the mingling of upper- and lowercase letters. For example, in chemistry: NaCl, AgF, BaSe, etc. As for the e-book poll, 326 DWT readers voted. The form e-book received 50% of the votes. The CamelCase version eBook came in second at 26%. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Spelling category, check our popular posts, or choose a related post below:Spelling Test 1For Sale vs. On SaleHow Do You Pronounce "Often"?

Working with an Editor

Working with an Editor Working with an Editor Working with an Editor By Mark Nichol Anyone can publish without an editor. Some people can even publish very well-written content without any editorial assistance. But most can’t, and guessing that you’re in the smaller category is a great risk. Why not hire an editor? What does an editor do? There are many types of editors, with distinct skill sets and responsibilities, but generally, editors exist to help writers produce the best work possible. Unfortunately, editorial assistance is a significant investment. Depending on the size of the project (and depending on how many editors you need, from a developmental editor to a copy editor to a proofreader), editing may cost as much as several thousand dollars. In the old days, writers generally could rely on staff editors to help them craft their content, without any out-of-pocket expenses, but now, with print and online self-publishing the norm, many writers find they must hire their own editorial support. Even writers who wish to submit a manuscript to a book publisher are advised to hire an editor (or more than one) before doing so, not only to improve the chance that the manuscript will be accepted but also because many publishing companies are unable or unwilling to devote time, effort, and cost to various editorial tasks. However, many writers are averse to hiring an editor. Regrettably, some people associate editing with seemingly humiliating or vindictive critiques by teachers during their academic career. Others have had unfortunate experiences with editors who seemed heavy-handed or introduced errors or acted unprofessionally, and are disinclined to repeat the ordeal. Certainly, there are incompetent editors and, certainly, good editors make mistakes sometimes. But editors almost invariably improve your work. And be honest with yourself as I mentioned before, it’s a rare writer who can produce impeccable (or even nearly impeccable) content without assistance. In my editing experience thirty-five years of it I’ve learned that often (not always, but almost always), the more vehement a writer is about how editors are not helpful, the shoddier the writer’s work; inversely, the best writers are the most appreciative of the assistance in making their prose the best it can be. Soon, I’ll share tips about how to have a productive relationship with an editor. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Business Writing category, check our popular posts, or choose a related post below:Is She a "Lady" or a "Woman"?10 Colloquial Terms and Their Meanings40 Words Beginning with "Para-"

Education - Field Placement Essay Example | Topics and Well Written Essays - 1000 words

Education - Field Placement - Essay Example Furthermore when theoretical lessons were taught, discussion between students was not allowed. The rules were not posted in the classroom but were an understanding between the teacher and the students. 3. Teacher Procedures The most common procedure for distributing materials used by the teacher is emailing these materials to students. Other than this method the teacher also prints class based materials and distributes them physically to all the students in class (Walberg, 2010). These physical materials generally include instructions. The materials in class are collected through email as the students email their work to the teacher. Classroom helpers are assigned by the teacher on a need basis that is when the teacher feels a requirement to do so. These helpers are designated by oral instructions of the teacher. Students can ask the teacher to go to the bathroom at anytime by raising their hand. Moreover the teacher has all the relevant teaching materials well organized before each lesson. 4. Instructional Activities The teacher grabs student attention by pedagogical design and through intervention. The instructions of the teacher are highly simplified to make them clear to all kinds of students in class. In order to refresh the attention spans of children the teacher allows for activities in between theoretical lessons and instructions. ... The students are encouraged to interact with the teacher and amongst themselves but in allocated time spaces. For example the students interact with the teacher at the end of instructions for clarifications. Similarly students are allowed to interact with each other when deemed necessary by the teacher and are allowed free discourse. As the students are working the teacher moves around the classroom in a bid to gauge their efforts at work and advises them for corrections where required. After the end of seat activity the teacher monitors students through effective feedback from the students themselves. 5. Monitoring Student Behavior Groups are formed based on the students’ performance in the last three tests. This method ensures that each group consists of children who perform well, average and poorly. Such group composition ensures that the poor performers learn from those doing better. When working individually the students are seated separate from each other at a specific d istance from each other such that they cannot peak at other’s work. Materials are distributed to students who further disperse them amongst themselves but talking is not allowed while the distribution of materials proceeds. The teacher actively ensures that materials are used safely and intervenes if felt necessary. Talk and movement is neither allowed nor encouraged during work unless absolutely necessary for some reason. The students can grab the teacher’s attention for queries or other reasons by simply raising one hand in the air after which the teacher addresses their concern. Similarly the teacher grabs student attention by either calling their name or pointing to them (Lovat, Toomey, & Clement, 2010). When students work in small groups they are seated together such

Johnny Lechner and his 12-year college education at the University of Essay

Johnny Lechner and his 12-year college education at the University of Wisconsin at Whitewater - Essay Example is taking this year instead of the regular 12 to 18 credits, as he has already taken all the existing courses available, and has even unknowingly repeated some of them twice. The decision of almost doubling the fees has come possibly in reaction to Lechners long stay at the institution, and Wisconsinites have dubbed it the Johnny Lechner rule. It is a valid decision, one that will encourage students to treat colleges and universities for what they are, venues for focused learning, for quenching intellectual thirst and gearing an individual towards becoming a useful member of the society. There are those that consider that this decision will be hard on those like Lechner. In Lechners defense, it must be said that he has paid his own fees for the last ten years, by working part time in order to support himself and through student loans, since his parents supported him only for the first two years of his college life. A man can strive to learn more and more for the sake of learning itself, and here is a man that tries to do his bit for society, and volunteers with numerous organizations, including Habitat for Humanity, the UW-Whitewater Prairie Restoration Project and Camp Getaway for inner-city Chicago children with AIDS. He is also a good student, who is regular in class, recently made the dean’s list with a 4.0 grade-point average for a semester and has got good grades throughout, even managing straight As in one semester. So one knows that he is not too weak a student to graduate, and is not graduating out of intention, not incapability. One may also argue that a persons life need not necessarily follow a particular mold, that includes educa tion, employment, marriage and retirement, and eventual death, and as long as he or she is not a burden on society a person may want to learn as much as possible, and study in order to do this. But this is where the contradiction comes in. Lechner has, in fact, been a burden on society these past years, because the

Panera Bread Business Strategies Essay Example for Free

Panera Bread Business Strategies Essay â€Å"Thirty years ago, Ron Shaich set out to change the world by changing the way America eats. He’s done that with not one, but two successful restaurant brands. By co-founding Au Bon Pain, Co. Inc. and founding Pan-era Bread, Shaich shook up the industry by offering an antithesis to fast food – hand made, artisan food served in warm and welcoming environments by people you can trust. †(KANAI, 2012) This quote describes how Shaich and colleagues started to create their cafe bakery and change the way Americans eat. Pan-era was the first to come out with the calories on the menu board to ensure that Americans were aware of how healthy Pan-era was and the intention to re maim forthcoming about what was in the food we eat. Shaich and his colleagues did not follow the six step process they focused on the four areas food, setting, customers, and the workforce which made sense for capitalism. Shaich also thrived to make sure the customers and employees were well taken care of because they also played a big role in the success of Pan-era and lets not forget to acknowledge the community and their involvement in the success. Conscious Capitalism is an expression of how Shaich has found success in the restaurant industry if the whole society and corporate society would think of themselves as a corporation things would be better for everyone. Shaich is able to offer a word of advice if you were to get involved with conscious capitalism â€Å"Believe in yourself and why you got into it. Believe in those things that attracted you to the industry which makes a big difference in the lives of our guests. (ROMEO, 2012) For many years Pan-era has focused on the principal of conscious capitalism or what they like to call â€Å" enlightened -self interest† in two ways by delivering value to customers, vendors , employees, investors, and the community and to focus on a higher purpose above and beyond short term results. Meaning providing our customers with the artisan bread , delicious and nutritional food on a daily basis. Then Shaich and all his colleagues wanted to know how to challenge conscious capitalism and they figured out somethings that they are already doing like donating the day old bread to homeless.

Rwanda: Genocide and Refugee Crisis Essay -- History Genocide Murder H

"How can I ever forget the scene where my husband was massacred right in my presence. It was a nightmare. It was a nightmare. I live through it every day and it is engraved forever in my memory.† During one April, not so long ago, the world sat back and watched as a turbulent political situation in central Africa turned into something the world will never be able to forget. 800,000 people murdered in just 100 days, 800,000 people needlessly slaughtered at the hands of extremists, 800,000 men, women, and children gone because of a more serious problem rooted in social prejudice and inequality, 800,000 killed in a genocide that the world could do nothing about until it was too late. Almost 50 years after the world pledged to never let anything like the holocaust occur again, the world had to watch as a genocide unfolded in Rwanda. Between April of 1994 and July of 1994 some 800,000 Tutsi and moderate Hutus were systematically killed as Rwanda fell into political despair and turmoil, leaving millions more as refugees struggling to put their lives back together in the aftermath of such horrific violence. The large number of people forced to flee the violence in 1994 not onl y created a massive refugee population in the surrounding countries of Zaire, Burundi, Tanzania, and Uganda, but the number of refugees within what is known as the Great Lakes region continue to cause political turmoil even today, almost eleven years after the genocide. This paper will focus specifically on the Rwandan refugees and their plight during the last ten years as a result of the genocide. In order to understand the reasons why the genocide occurred and created this refugee population the first section will give a brief overview to the poli... ...r Crossings: Return of Refugees, Identity, and Reconstruction in Rwanda." African Studies Review (1998): 17-28. <http://www.jstor.org>. Klinghoffer, Arthur J. The International Dimension of Genocide in Rwanda. New York: New York UP, 1998. Pottier, Johan. "Relief and Repatriation: Views by Rwandan Refugees; Lessons for Humanitarian Aid Workers." African Affairs (1996): 403-429. <http://www.jstor.org>. Smith, Charles D. "The Geopolitics of Rwandan Resettlement: Uganda and Tanzania." Issue: A Journal of Opinion (1995): 54-57. <http://www.jstor.org>. United Nations High Commissioner for Refugees (UNHCR), The State of the World's Refugees: Fifty Years of Humanitarian Action. New York: Oxford UP, 2000. Waters, Tony. "Tutsi Social Identity in Contemporary Africa." The Journal of Modern African Studies (1995): 343-347. <http://www.jstor.org>. Rwanda: Genocide and Refugee Crisis Essay -- History Genocide Murder H "How can I ever forget the scene where my husband was massacred right in my presence. It was a nightmare. It was a nightmare. I live through it every day and it is engraved forever in my memory.† During one April, not so long ago, the world sat back and watched as a turbulent political situation in central Africa turned into something the world will never be able to forget. 800,000 people murdered in just 100 days, 800,000 people needlessly slaughtered at the hands of extremists, 800,000 men, women, and children gone because of a more serious problem rooted in social prejudice and inequality, 800,000 killed in a genocide that the world could do nothing about until it was too late. Almost 50 years after the world pledged to never let anything like the holocaust occur again, the world had to watch as a genocide unfolded in Rwanda. Between April of 1994 and July of 1994 some 800,000 Tutsi and moderate Hutus were systematically killed as Rwanda fell into political despair and turmoil, leaving millions more as refugees struggling to put their lives back together in the aftermath of such horrific violence. The large number of people forced to flee the violence in 1994 not onl y created a massive refugee population in the surrounding countries of Zaire, Burundi, Tanzania, and Uganda, but the number of refugees within what is known as the Great Lakes region continue to cause political turmoil even today, almost eleven years after the genocide. This paper will focus specifically on the Rwandan refugees and their plight during the last ten years as a result of the genocide. In order to understand the reasons why the genocide occurred and created this refugee population the first section will give a brief overview to the poli... ...r Crossings: Return of Refugees, Identity, and Reconstruction in Rwanda." African Studies Review (1998): 17-28. <http://www.jstor.org>. Klinghoffer, Arthur J. The International Dimension of Genocide in Rwanda. New York: New York UP, 1998. Pottier, Johan. "Relief and Repatriation: Views by Rwandan Refugees; Lessons for Humanitarian Aid Workers." African Affairs (1996): 403-429. <http://www.jstor.org>. Smith, Charles D. "The Geopolitics of Rwandan Resettlement: Uganda and Tanzania." Issue: A Journal of Opinion (1995): 54-57. <http://www.jstor.org>. United Nations High Commissioner for Refugees (UNHCR), The State of the World's Refugees: Fifty Years of Humanitarian Action. New York: Oxford UP, 2000. Waters, Tony. "Tutsi Social Identity in Contemporary Africa." The Journal of Modern African Studies (1995): 343-347. <http://www.jstor.org>.

Eng 102 Poetry Essay

Denise K. Steen February 28, 2012 English 102 Option #2 Reflections Within is a non-traditional stanzaic poem made up of five stanzas containing thirty-four lines that do not form a specific metrical pattern. Rather it is supported by its thematic structure. Each of the five stanzas vary in the amount of lines that each contain. The first stanza is a sestet containing six lines. The same can be observed of the second stanza. The third stanza contains eight lines or an octave. Stanzas four and five are oddly in that their number of lines which are five and nine.Beginning with the first line in the first stanza, â€Å"The Earth's cool breeze spoke to me†, the meter examined within this line is trimeter, containing seven syllables, iambic and anapestic. The second line in the stanza, â€Å"He said, â€Å"Come to be free,† also trimeter, continues with the iambic syllable and introduces a trochee within its six syllables. The formal characteristics of the first two lines i n conjunction with its text suggests a seemingly serene beginning with a hint of possibility that something is about to change. For example, the meter is the same and the structure of the syllables in each line are similar with slight differences.The third line, â€Å"fly with me, in my winds over the seas. † contains five feet of meter or pentameter, where the pyrrhic syllable is introduced to accompany the previously introduced trochee and iambic syllables in this nine syllable line. The continuance of the second sentence into line three and then closes after â€Å"seas†, paired with the change in meter, suggests the end of consistency and a rise in to what is to come. â€Å"Be the element that I need. â€Å", the fourth , eight syllable line, is written in trimeter with trochee and anapestic syllables.This line returns us to the familiar feeling of the first two lines repeating the trimeter with trochee and anapestic syllables that are present there. The fifth lin e, â€Å"Without you, turbulent winds I stir†, nine iambic, spondee and anapestic syllables are written in tetrameter. The last line of the first stanza, â€Å"calling my anger from above striking the Earth. † is written in hexameter, containing twelve syllables of trochee, iambic and pyrrhic meters. The fifth and sixth line combined contain all of the syllables used in the first four lines of the stanza; iambic, trochee, spondee, anapestic and pyrrhic.This combination suggests the importance of all the elements of the first four lines and likewise are repeated here. Unlike the chaotic scheme of meter throughout the first stanza, the rhyme scheme is more consistent. Masculine rhyme is present here with an end rhyme of aabbcc; me, free, seas, need, stir, Earth. This more consistent pattern continues into the second stanza. In the next six lines of the second sestet the pattern becomes clearly parallel to its text. The seventh line, â€Å"As I refused, the sky started t o pound†, is measured in pentameter with iambic and pyrrhic syllables.The eighth line, â€Å"and I wondered if his love would ever be found. â€Å", repeats the pentameter and the iambic syllable but drops the pyrrhic and is replaced by the anapestic syllable. The difference in the softness of the pyrrhic two unstressed syllables and the anapest, two unstressed syllables followed by a sharper stressed syllable is symbolic of the text, exhibiting compassion during chaos. The ninth line, â€Å"I believe when the first laser like lightning cracked the sky†, fourteen syllables in hexameter with iambic, anapest and an added spondee syllable suggests a rise in the event. The tenth line, â€Å"the Earth's atmosphere surely died. exhibits a decline in its eight syllables from its previous fourteen. There is also a drop in meter from hexameter, six feet, to tetrameter of four feet. Lastly, a drop in the type of syllables in these two lines leaves us with the iambic and sponde e. These obvious declines in the formal characteristics of the text are synonymous to a decline in life or simply death. Again in the eleventh and twelth lines of the second stanza, â€Å"Dirt gray clouds filtered the air above, And just as I began to cry,† we see a repeated pattern of the tetrameter and again the iambic, anapestic and spondee syllables while dropping the anapest in the twelth line.This symbolizes the familiar that is about to proceed in the text. The rhyme scheme in the second stanza ddeefg brings us to an end in the texts' relation to the Earth's cool breeze just as the rhyme pattern discontinues from its previous flow, aabbcc. The third stanza which marks the middle of the poem begins, â€Å"The Ocean said, Come flow freely with me† with ten syllables written in pentameter accompanied by iambic, spondee and trochee syllables. A steady rhythm in meter is noted in the next four lines which declines to trimeter for all four lines. Line fourteen,  "and the creatures in my seas. contains pyrrhic, trochee and anapestic syllables. The fifteenth line in trimeter, â€Å"Here your tears will disappear,† contains for the first time in the poem, a dactyllic syllable accompanied by the iambic syllable. Line sixteen, â€Å"and your worries will cease. † contains again the iambic syllable now accompanied by the pyrrhic syllable. The last line in the series of trimeter lines is line seventeen which states, â€Å"Be the element that I need. â€Å". concludes the metered pattern. In lines fourteen through seventeen the meter is measured the same, however there is a new element added to the syllables previously used in the beginning stanzas.The repeated trimeter is suggestive of familiar situation but the new syllable is symbolic of the relation to the new element in the text, the Ocean. A change, line eighteen, â€Å"Without you, dangerous waters will come to the shores,† spikes with its thirteen syllables written in an inclined meter of pentameter and includes a mesh of anapest, dactyl, pyrrhic and iambic syllables indicating a heightening of awareness or danger. Line nineteen continues, â€Å"calling the pain from my ocean floors†, declines to tetrameter while still containing a mess of syllables, the dactyl, trochee, spondee and iambic, suggesting a heed in warning.The twentieth line concludes, â€Å"and the Earth's land will be no more. â€Å", declines to eight syllables written in tetrameter now only including the pyrrhic, spondee and iambic syllables is suggestive of a last reasonable plea before chaos begins again. The rhyme scheme in the third stanza is not one of an established category, hh (end rhyme: me, seas) ii (internal rhyme: tears, disappear) hh (end rhyme) jjj (end rhyme: shores, floors, more). There is almost an asymmetrical balance in the third stanza between the consistent formal characteristics such as the repeated meter and rhyme scheme to the variance in usage o f syllables.Both are about equal in presence suggesting that peace exists within the chaos of the text. In the fourth stanza we will observe how the text begins to transcend through its formal characteristics and signals a coming to a close or better phrased, resolution. The twenty first line continues, â€Å"As I rejected the offer he had for me†, a familiar variation of line seven, is written in hexameter with iambic, pyrrhic and trochee syllables. The next line, â€Å"White waves began to crash rythmically† lowers to tetrameter and contains nine syllables, spondee, iambic and dactyl.Here the recession in meter is suggestive in comparison to the text and signals to the reader a familiar situation seen earlier in the text. Line twenty three continues on, â€Å"and just as I began to swim†, eight syllables written in tetrameter, again, accompanied only by pyrrhic and iambic syllables signifies a hault in the pace of the text, another change, a possible resolutio n. Line twenty four reveals a slight change, â€Å"A beam of light struck through and within†, although the meter is the same as the last, the pyrrhic syllable is dropped and the anapest is added while continuing with the iambic syllable.The last line in the stanza continues, â€Å"the clouds and shown down on the Ocean's body. â€Å", one step up from tetrameter to the supporting pentameter and a few added syllables as seen before, the pyrrhic, iambic, trochee and anapestic. Stable with a slight change in formal characteristics indicates a window of hope, an open door or a light at the end of the tunnel, when compared to its subject matter. It is here where transcendence truly begins to make an appearance. The rhyme scheme in the fourth stanza is much like the pattern in the first stanza with one exception.The pattern seen here in the fourth is as follows: kkllm (me-rhythmically, swim-within, body). There is no pairing rhyme for m. Suggesting that the subject has lost some thing between the first and the fourth stanza. The final and fifth elongated stanza of nine lines begins, â€Å"It was the Earth's mother star and she said,†, in ten syllables of pentameter with trochee and iambic syllables. The twenty seventh line, â€Å"Yield your fear and dry up that tear†, has eight syllables presented in tetrameter, one less than the previous line, and one more type of syllable accompanies trochee and iambic, the spondee.The meters difference and the difference of the syllables can be interpreted as an intoduction to something new, Earth's mother star. Line twenty eight continues the statement, â€Å"that runs down your red cheek. â€Å", again a lesser amount of meter is found here as it is written in trimeter and accompanied by two types of syllables, the trochee and spondee. A slowing in the meter of these first three lines in the last stanza prepares the reader for its ending, the final resolution.In line twenty nine, â€Å"This is all just a freak of Nature's selfish ways†, the meter again rises to hexameter and introduces again a hodge podge of syllables, the pyrrhic, trochee, iambic and spondee which is suggestive of the mess â€Å"Nature† is in. Line thirty serves as a clearing of the way, â€Å"So understand these and the ones in you† written in pentameter, a decline in meter, indicating a coming to a close. Syllables trochee, spondee and iambic remain indicating stability to come. Lines thirty one through thirty four share a common meter, trimeter. However, their syllables vary slightly in each.For instance, line thirty one, â€Å"and the sky once again will be blue† written with only anapestic measures. Line thirty two, â€Å"Understand the Ocean's pain†, simply the iambic and anapestic syllables. In line thirty three, â€Å"and he too will remain tame† has an added syllable and consists of the anapest, pyrrhic and spondee supportive of a conclusion, a means to an end. A nd finally line thirty four of the five stanzas, â€Å"For these are reflections within. † in finish is settled with the repetative trimeter in eight even syllables of iambic and anapestic syllables suggesting peace, it is now over.The rhyme scheme in the fifth stanza is again unfamiliar. It is constructed as such: n-oo(internal rhyme fear, tear) pp(internal rhyme cheek, freak) q-rr(end rhyme you,blue) ss(end rhyme pain,tame) t. This unusual rhyme scheme is reflective of the texts chaotic events. The overall physical structure of the text supports a theme based on transcendence through nature. No two stanzas are alike. There is constant change in the formal characteristics as well as the text itself. Although it would seem that the chaos of these characteristics would make no sense, it makes perfect sense.There is chaos in the text so why shouldn't there be in the poem's structure? We will now explore the literary devices used throughout the poem and relate them with the domi nant patterns of imagery of Reflections Within. Synesthesia is the first device noted in the first line of the poem. Mixing the sense of feel, â€Å"The Earth's cool breeze, spoke to me†, and the audible sense is combined with the use of imagery. Personification is present here by giving air the human ability to speak. The â€Å"cool breeze† suggests what type of atmosphere the subject is experiencing. He said, Come to be free, fly with me in my winds over the seas. â€Å", suggesting the capacity to submit to feeling and be led by it to transcendence. â€Å"Be the element that I need. † Element, the word is used here as a connotation synonymous to â€Å"love†. â€Å"Without you turbulent winds I stir,† uses kinetic imagery to show motion and suggests change from love to violence. Continuing on to the closure of the first stanza, â€Å"calling my anger from above striking the Earth. â€Å", expressionism is clear here in that this line attempts to portray inner experience characterized by extreme mood or feeling with violent exaggeration.In this first stanza the atmosphere has set the mood that something is uneasy, that there is a conflict or a problem even if unclear at this stage. The second stanza continues the conflict in its first and second lines, â€Å"As I refused, the sky started to pound, and I wondered if his love would ever be found. † suggests a sense of helplessness by the subjects' inability to console the pain of the Earth's cool breeze. â€Å"I believe when the first laser like lightning cracked the sky, the Earth's atmosphere surely died. † several literary devices are used here such as the onomatopoeia â€Å"cracked† resembling the sound that lightning makes.Another connotation is observed in â€Å"atmosphere† used in place of â€Å"heart†. Personification is repeated here in giving the Earth the sense of life through death and dying. The smoothness of the rhyme scheme up until this point in the text is consistent until the next two lines interfere with the structure. â€Å"Dirt gray clouds flitered the air above,† again a change is indicated here suggesting that a new setting is approaching. â€Å"And just as I began to cry,† suggests a sense of helplessness again in that the situation is familiar and unchanging or worsening.Turning to the third stanza the subject finds themselves again in a familiar situation with the Ocean, cornered . â€Å"The Ocean said, Come flow freely with me, and the creatures in my seas† synethesia is evident in the Ocean's ability to speak and make an offering. â€Å"Here your tears will disappear, and your worries will cease. † a promise of security. â€Å"Be the element that I need. † the same connotation made of the word element previously, stands firm here as well. In return, the Ocean asks for love. â€Å"Without you dangerous waters will come to the shores, calling the pain from my ocean floors and the Earth's land will be no more. A condition to the offering, conditional love, which is not truly love at all if it is consequential. This suggests that things aren't quite what they seem in this serene image of ocean waters. This central stanza recalls a similar situation from the first two verses supporting the relationship between the self and nature. It also marks the central high point or climax which eventually must descend. â€Å"As I rejected the offer he had for me,† a variation of the familiar line seven, suggests the beginning of another familiar problem, rejection, in the first line of the fourth stanza. White waves began to crash rhythmically†, kinetic imagery is used here in the word rhythmically which gives motion to the entire phrase suggesting change. There is a change in the mood of the Ocean from calm and serene to violent waves. â€Å"Crash† is used as an onomatopoeia, as the sound waves would make when â€Å"crashingâ €  upon one another. â€Å"And just as I began to swim†, we have now transcended in nature from flying with the winds to swimming in the seas, hence, transcending through nature to locate the genuine. â€Å"A beam of light struck through and within† suggestive of a glimmer of hope, the â€Å"light†. Through and within†, symbolic of the heart or soul, the genuine. â€Å"The clouds and shown down on the Ocean's body†, resolution! The light revealing the Ocean's body puts a stop to its misbehavior, like a child when caught bullying a sibling. This beginning of a resolution signals the root of the subjects' dilemna. â€Å"It was the Earth's mother star and she said,†, again an inatimate object is given human characteristics in speaking, symbolizing personification. Security can be suggestive of the mother star as it is located â€Å"above† all else and is given a godly sense. One that is reveared with power, love, sterness and compassio n.The same as a loving parent or â€Å"mother†. â€Å"Yield your fear and dry up that tear, that runs down your red cheek†, just as a mother would wipe the tears from a crying child's eyes. â€Å"This is all just a freak of nature's selfish ways† here the transcendence between the self and nature come together. â€Å"So understand these and the one's in you, and the sky once again will be blue† is suggestive of oneness with nature, or one in the same, the self. â€Å"Understand the Ocean's pain, and he too will remain tame†, personification is given again to the Ocean giving it the ability to understand or feel pain.This line also exhibits oneness with nature. â€Å"For these are reflections within. † could suggest dramatic monologue being that it is unknown if the author intended to reveal that the reactions of the earthly elements were deeply rooted in the self. This romantic didactic poem shows us that one may have control over what happe ns around them depending on thier outlook on life and how one handles their emotions. Moving on to examining the formal characteristics of William Wordsworth's poem, I wandered lonely as a cloud which shares a common theme with the previous poem Reflections Within, transcendence through nature.I wandered lonley as a cloud is a romantic stanzaic poem consisting of four stanzas each made up of a sestet or six lines for a total of twenty four lines. The first five lines, I wandered lonely as a cloud That floats on high o'er vales and hills When all at once I saw a crowd, A host of golden daffodils, Beside the lake, beneath the trees, are all written in iambic tetrameter. A change is indicated at the end of the stanza when the metered pattern changes as does the rhyme scheme simultaneously. Line six, â€Å"Fluttering and dancing in the breeze. † is nine syllables written in tetrameter accompanied now by an anapest and iambic syllables.The change in rhyme scheme from abab ending t he stanza in cc represents the stable basis that will be repeated throughout the transcendence of the text. The same is noted for the end rhyme scheme of the text per each stanza. The second stanza, Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: alternates between nine and eight syllables, consistent in the rhyme scheme here as dede. All four lines are identical to the formal structure of the previous tetrameter measured lines in the first stanza.However, there is a notable change in the existence of syllables besides the iamb such as the anapest, pyrrhic, trochee, dactyl, and spondee which includes all possible combinations of syllables, suggesting that the text reaches beyond the tangable, including all things, the universe. Lines eleven and twelve of the second stanza stand again as a steady base, Ten thousand saw I at a glance, Tossing their heads in sprightly dance. to support the previous four lin es with its double end rhyme scheme gg, accompanied by eight syllables per line, also written in tetrameter to reinforce the supporting repeated pattern of the subject in text.The third stanza, The waves beside them danced; but they Out-did the sparkling waves in glee; A poet could not but be gay, In such jocund company; I gazed – and gazed- but little thought What wealth the show to me had brought: again continues the same previous pattern of end rhyme, hihijj. Still consistent with the meter measured as tetrameter. Again a conglomorant of syllables are used such as the iamb, pyrrhic, spondee and a trochee which suggests the continuing of the worldly idea and that everything is in place just as it was intended, the way nature intended it. The last stanza in sestet,For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils. reverts back to th e structure seen in the first stanza written in iambic tetrameter which is similar to the texts' suggestive flashback. Keeping the flow of the rhyme scheme to its completedness, klklmm is suggestive of a repeated pattern, similar to the subject of the text, a place to be revisited. The overall structure of this text is very organized with regular meter and rhyme.Similar in the way that nature also has a specific order. Transcendence does not make itself obvious here in the physical structure, rather it makes somewhat of a circle reverting back to its original state, similar in the way that nature rejuvinates itself. Wordsworths' words in this text are used as a capacity to submit to feeling and be led by it to transcendence through the use of literary devices and dominant patterns of imagery which we will now examine. The first line, â€Å"I wandered lonely as a cloud† establishes personification, as if a cloud would purposefully think to wander such as a person might do. Tha t floats on high o'er vales and hills†, the beginning of a presented journey. â€Å"When all at once I saw a crowd,† suggests change or something new and exciting. â€Å"A host, of golden daffodils,† a host, suggests a party of people. Perhaps a â€Å"crowd† of people at a gathering. â€Å"Beside the lake, beneath the trees†, suggestive of an out-door event, a reunion or union of such. â€Å"Fluttering and dancing in the breeze† allows the image to become kinetic in setting motion to the â€Å"crowd† of daffodils that are fluttering and dancing amongst themselves, as socialites do at a wedding. Continuous as the stars that shine, And twinkle on the milky way†, suggests an imagery of beauty that goes far beyond what the eye can see. â€Å"They stretched in never-ending line, along the margin of the bay;† suggests a pause as if they were waiting for something. â€Å"Ten thousand saw I at a glance,† suggests a feeling of being overwhelmed by the sight and therefor is exaggerated. â€Å"Tossing their heads in sprightly dance. † uses kinetic imagery to suggest again change. This imagery could be symbolic of bachelorettes waiting in line to catch the bouquet, to make the transformation from bachelorette to bride.The sprightly motion is a feminine suggestion that supports this image. â€Å"The waves beside them danced; but they Out-did the sparkling waves in glee† suggests that even the beauty of the water was no match for the joy of the daffodils. â€Å"A poet could not but be gay, In such a jocund company;† again the insinuation of a group suggests people, in this case of good company. â€Å"I gazed – and gazed but little thought What wealth the show to me had brought† suggests that the subject took the moment for granted and like the fourth stanza, the moment comes to an end. For oft when on my couch I lie In vacant or in pensive mood,† suggests that we are back in the atmosphere of the first stanza wandering lonely as a cloud. â€Å"They flash upon that inward eye†, a connotation of â€Å"inward eye† locates the genuine here, flashing back to the imagination or the mind. â€Å"Which is the bliss of solitude†, suggests that the subject is content with being alone, not restrained by the ties of marriage, enititled to private thought and to think whatever one should want. And then my heart with pleasure fills, And dances with the daffodils† suggests that the subject returns to the nature of being man and appreciates the beauty in nature, be it flower or woman, he has the option to pick from this metaphor. The conclusion of the text recycles the subject back to the familiarity of the beginning text. Transcendence through nature in this text reflects the relationship between the self and the beauty of nature. Reflections Within and I wandered lonely as a cloud are two poems that share the common theme, transcend ence through nature.The major differences between the two text is that the subject in Reflections Within does not achieve being at one with nature until the end of the poem and is supported by its chaotic line structure and variances in syllables and meter. Whereas the second texts' subject is completely at one with nature throughout the entirety of its text and is mirrored in the confindence of the repeated line structure, rhyme scheme and meter. The main focus of both subjects is escape however they differ in motivation. While one subject is trying to escape the negative nature of self, the other escapes to nature in positive imagery.Locating the authentic in both of these texts also differs. The genuine in Wordworth's poem is located in the head or the mind of the subject. The authentic or genuine is located in the heart of the subject of Reflections Within. Both texts are similar in the elements of nature that are used in order to transcend the character through nature such as t he breeze, stars and water or waves. Both texts treat nature with human characteristics such as speaking, dancing and many other motions which are necessary to transcend. Overall both texts treat nature as a source for authenticity and spiritual refreshment.

The Requirements of Sfas

The Requirements of SFAS 116 and 117 and its effect on the financial statements The Statement of Financial Accounting Standards (SFAS) 116 and 117 are standards set for not- for-profit and non-governmental entities. The standards account for contributions and financial statement presentation (Granof, Khumawala, 2011). SFAS 116 defines how contributions are designated. Contributions can have donor-imposed restrictions. The standard defines three types of designations: 1. Permanently Restricted – The asset is specific by the donor, the principal is permanently restricted, but the income is available for use. 2. Temporarily restricted – The asset is restricted by purpose and time. The donor places the restrictions on the asset. The donor may request the asset be used for a specified purpose or time once the purpose or time has been fulfilled restriction is lifted. 3. Unrestricted – If the donor does not place any restrictions on the asset the asset is unrestricted. SFAS 117 clarifies the reporting of contributions for not-for-profit organizations on their financial statements. The standard requires three financial statements for not-for-profit entities: 1. Statement of Financial Position – essentially a Balance Sheet 2. Statement of Activities – SFAS 117 directs the revenues and expenses on the statement of activities focus on the organization as a whole versus individual funds. Gains and losses recognized on investments must be broken out from other assets. 3. Statement of Cash Flows Not-for-profit organizations need to be familiar with the changes that relate to SFAS 116 and 117 to be in compliance and to ensure the organization is reporting contributions correctly. References: Granof, Michael H. , Khumawala, Saleha B. , (2011). Government and Not-For-Profit Accounting (5th ed. ). River City, NJ: John Wiley & Sons, Inc.

How does Osama Bin Laden fit into Maslows Hierarchy of needs essays

How does Osama Bin Laden fit into Maslow's Hierarchy of needs essays At the bottom of Maslow's needs are the physiological needs. Since Bin Laden's family was extremely wealthy, it can be assumed the he has never had to focus his personality needs on food and shelter. Married and surrounded by dedicated followers, it seems likely that he has not been Once those basic physiological needs have been met, most people concern themselves with other life needs: safety, security, a stable home life, an orderly environment that makes sense to them. Certainly Bin Laden grew up with most of those needs met. He also presumably has them in his adult life. Even though he is the single most pursued accused criminal in the world, he seems to have managed to keep himself safe and secure, and it is likely the run, because his life style suits his purposes. Next, Maslow addresses our need for love and friendships. Certainly Bin Laden is surrounded by people who value him, and he certainly can feel that he is an important part of a group his terrorist organization. Although some of his birth family have disowned him, others apparently have not, and he heads a large organization all of whose members admire him and value their association with him. It does not seem likely that he would feel lonely or alienated. Although the larger world has rejected him, that is part of his desire. He does not want to be accepted by most of the world, and the people who do matter to him other terrorists who share his beliefs and ideals clearly embrace him. It seems likely that Bin Laden has a strong feeling of high self- esteem, as he is committed to his path of life and from his point of view has been very successful. Combining his strong beliefs, his wide acceptance among others of like minds, and his striving to excel, he may even enjoy a kind of self-actualization that most of us would view as twisted. However, it suits Bin Laden and his personal de ...

Biography of Enrico Dandolo, Doge of Venice

Biography of Enrico Dandolo, Doge of Venice Enrico Dandolo was known for funding, organizing, and leading the forces of the Fourth Crusade, who never reached the Holy Land but instead captured Constantinople. He is also famous for taking the title of Doge at a very advanced age. Occupations DogeMilitary Leader Places of Residence and Influence Venice, ItalyByzantium (Eastern Roman Empire) Important Dates Born: c. 1107Elected Doge: June 1, 1192Died: 1205 About Enrico Dandolo The Dandolo family was wealthy and powerful, and Enricos father, Vitale, had held several high administrative positions in Venice. Because he was a member of this influential clan, Enrico was able to secure a position in the government himself with little difficulty, and eventually, he was entrusted with many important missions for Venice. This included a trip to Constantinople in 1171 with the doge at that time, Vitale II Michiel, and another a year later with the Byzantine ambassador. On the latter expedition, so diligently did Enrico protect the interests of the Venetians that it was rumored the Byzantine emperor, Manuel I Comnenus, had him blinded. However, although Enrico suffered from poor vision, the chronicler Geoffroi de Villehardouin, who knew Dandolo personally, attributes this condition to a blow to the head. Enrico Dandolo also served as Venices ambassador to the King of Sicily in 1174 and to Ferrara in 1191. With such prestigious accomplishments in his career, Dandolo was considered an excellent candidate as the next doge even though he was quite elderly. When Orio Mastropiero stepped down in order to retire to a monastery, Enrico Dandolo was elected Doge of Venice on June 1, 1192. He was believed to be at least 84 years of age at the time. Enrico Dandolo Rules Venice As doge, Dandolo worked tirelessly to increase the prestige and influence of Venice. He negotiated treaties with Verona, Treviso, the Byzantine Empire, the Patriarch of Aquileia, the King of Armenia and the Holy Roman Emperor, Philip of Swabia. He fought a war against the Pisans and won. He also reorganized Venices currency, issuing a new, large silver coin known as the grosso or matapan that bore his own image. His changes to the monetary system were the beginning of an extensive economic policy designed to increase trade, most especially with lands to the east. Dandolo also took a keen interest in the Venetian legal system. In one of his earliest official acts as ruler of Venice, he swore the â€Å"ducal promise,† an oath that specifically laid out all of the duties of the doge, as well as his rights. The grosso coin depicts him holding this promise. Dandolo also published Venices first collection of civil statutes and revised the penal code. These achievements alone would have earned Enrico Dandolo an honorable place in the history of Venice, but he would earn fame or infamy from one of the strangest episodes in Venetian history. Enrico Dandolo and the Fourth Crusade The idea of sending troops to the Eastern Roman Empire instead of to the Holy Land did not originate in Venice, but it is fair to say that the Fourth Crusade would not have turned out as it did were it not for the efforts of Enrico Dandolo. The organization of transportation for the French troops, the funding of the expedition in exchange for their help in taking Zara, and the persuading of the crusaders in helping the Venetians take Constantinople all of this was Dandolos work. He was also physically in the forefront of events, standing armed and armored in the bow of his galley, encouraging the attackers as they made their landing at Constantinople. He was well past 90 years old. After Dandolo and his forces succeeded in capturing Constantinople, he took the title lord of the fourth part and a half of the whole empire of Romania for himself and for all the doges of Venice thereafter. The title corresponded to how the spoils of the Eastern Roman Empire (Romania) were then divided as a consequence of the conquest. The doge remained in the capital city of the empire to oversee the new Latin government and to look out for Venetian interests. In 1205, Enrico Dandolo died in Constantinople at the age of 98. He was entombed in the Hagia Sophia. Resources and Further Reading Madden, Thomas F.  Enrico Dandolo the Rise of Venice. Baltimore, Md: Johns Hopkins Univ. Press, 2011.Brà ©hier, Louis.  Enrico Dandolo.  The Catholic Encyclopedia.  Vol. 4.  New York: Robert Appleton Company,  1908.

Read the following excerpt from Aristotle's Poetics and discuss the Essay

Read the following excerpt from Aristotle's Poetics and discuss the respects in which the Medea adheres to his guidelines and - Essay Example *** The Third Episode of Medea contains all the elements necessary, from Aristotle’s point of view, for a play to be called a tragedy. Among others these include, Jason’s mimesis, dialogues, structure of the plot, peripeteia. Another evidence of tragedian character of Euripides’ play is a scene of pain. In the Third Episode we can see the mimesis when Medea repeats Jason’s wrong doings in burning desire to revenge on him and make him suffer. She makes a plan how to force Jason to suffer as much as Medea did felt when he has broken his oath. So here we can observe one of the main elements of a tragedy according to Aristotle. Another key element of a classical tragedy is dialogue, which Medea uses when speaking to Aegeus and asking him to â€Å"Swear by the Earth on which you tread/Swear by the Sun, my father’s father dread/Swear by every god and godhead† to always defend her. This utterance is a dialogue as it said in a highly poetic, elevated tone. Peripeteia of this tragedy also purely corresponds to Aristotle’s requirements stated in the Poetics. ... In Euripides' tragedy there is too much suffering, due to this reason Aristotle called Euripides the most tragic of the playwrights. Here we can observe sufferings when Jason sees his sons’ blood seeping from under the door. It was Medea’s plane to make him suffer – with this purpose she killed her children, the only part of Jason she still had. She wanted to get rid of him completely and at the same time to make him feel grief and agony. The Third Episode of the tragedy shows vividly all the elements in which Euripides’ Medea adheres to Aristotle’s guidelines. So, Medea represents a classic tragedy and can be taken as an example for analysis. In spite of the fact that Aristotle himself considered Medea to be one of the best samples of classical tragedy, Euripides’ masterpiece contains a few elements which do not satisfy Aristotle’s views. For example, Aristotle reproached Euripides for partiality to the method of "God from the machine †, which consists in the fact that the denouement does not escape from the plot, but is achieved with god’s help. Aristotle wrote: â€Å"... the denouement of the plot should follow from the plot, but not, as in Medea, through the machine.† And if the denouement of the conflict so often required the sudden appearance of supernatural forces, then it was not due to Euripides’ inability to find a more convincing composite course, but due to the fact that the poet had not seen in contemporary world solutions for many intricate human affairs. The poet is abhorrent to every theatrical convention. According to Aristotle, a real tragedy, arousing in the viewer sympathy and fear, makes discharging of these affects, directing them into