The Vampire Diaries: The Awakening Chapter Twelve

Elena revolved slowly before the full-length mirror in Aunt Judith's bedroom. Margaret sat at the foot of the big four-poster bed, her blue eyes large and solemn with admiration. â€Å"I wish I had a dress like that for trick-or-treat,† she said. â€Å"I like you best as a little white cat,† said Elena, dropping a kiss between the white velvet ears attached to Margaret's headband. Then she turned to her aunt, who stood by the door with needle and thread ready. â€Å"It's perfect,† she said warmly. â€Å"We don't have to change a thing.† The girl in the mirror could have stepped out of one of Elena's books on the Italian Renaissance. Her throat and shoulders were bare, and the tight bodice of the ice-blue dress showed off her tiny waist. The long, full sleeves were slashed so that the white silk of the chemise underneath showed through, and the wide, sweeping skirt just brushed the floor all around her. It was a beautiful dress, and the pale clear blue seemed to heighten the darker blue of Elena's eyes. As she turned away, Elena's gaze fell on the old-fashioned pendulum clock above the dresser. â€Å"Oh, no-it's almost seven. Stefan will be here any minute.† â€Å"That's his car now,† said Aunt Judith, glancing out the window. â€Å"I'll go down and let him in.† â€Å"That's all right,† said Elena briefly. â€Å"I'll meet him myself. Good-bye, have a good time trick-or-treating!† She hurried down the stairs. Here goes, she thought. As she reached for the doorknob, she was reminded of that day, nearly two months ago now, when she'd stepped directly into Stefan's path in European History class. She'd had this same feeling of anticipation, of excitement and tension. I just hope this turns out better than that plan did, she thought. For the last week and a half, she'd pinned her hopes to this moment, to this night. If she and Stefan didn't come together tonight, they never would. The door swung open, and she stepped back with her eyes down, feeling almost shy, afraid to see Stefan's face. But when she heard his sharp indrawn breath, she looked up quickly-and felt her heart go cold. He was staring at her in wonder, yes. But it was not the wondering joy she'd seen in his eyes that first night in his room. This was something closer to shock. â€Å"You don't like it,† she whispered, horrified at the stinging in her eyes. He recovered swiftly, as always, blinking and shaking his head. â€Å"No, no, it's beautiful. You're beautiful.† Then why are you standing there looking as if you'd seen a ghost? she thought. Why don't you hold me, kiss me-something! â€Å"You look wonderful,† she said quietly. And it was true; he was sleek and handsome in the tux and cape he'd donned for his part. She was surprised he'd agreed to it, but when she'd made the suggestion he'd seemed more amused than anything else. Just now, he looked elegant and comfortable, as if such clothes were as natural as his usual jeans. â€Å"We'd better go,† he said, equally quiet and serious. Elena nodded and went with him to the car, but her heart was no longer merely cold; it was ice. He was further away from her than ever, and she had no idea how to get him back. Thunder growled overhead as they drove to the high school, and Elena glanced out of the car window with dull dismay. The cloud cover was thick and dark, although it hadn't actually begun to rain yet. The air had a charged, electric feel, and the sullen purple thunderheads gave the sky a nightmarish look. It was a perfect atmosphere for Halloween, menacing and otherworldly, but it woke only dread in Elena. Since that night at Bonnie's, she'd lost her appreciation for the eerie and uncanny. Her diary had never turned up, although they'd searched Bonnie's house top to bottom. She still couldn't believe that it was really gone, and the idea of a stranger reading her most private thoughts made her feel wild inside. Because, of course, it had been stolen; what other explanation was there? More than one door had been open that night at the McCullough house; someone could have just walked in. She wanted tokill whoever had done it. A vision of dark eyes rose before her. That boy, the boy she'd almost given in to at Bonnie's house, the boy who'd made her forget Stefan. Was he the one? She roused herself as they pulled up to the school and forced herself to smile as they made their way through the halls. The gym was barely organized chaos. In the hour since Elena had left, everything had changed. Then, the place had been full of seniors: Student Council members, football players, the Key Club, all putting the finishing touches on props and scenery. Now it was full of strangers, most of them not even human. Several zombies turned as Elena came in, their grinning skulls visible through the rotting flesh of their faces. A grotesquely deformed hunchback limped toward her, along with a corpse with livid white skin and hollow eyes. From another direction came a werewolf, its snarling muzzle covered with blood, and a dark and dramatic witch. Elena realized, with a jolt, that she couldn't recognize half these people in their costumes. Then they were around her, admiring the ice-blue gown, announcing problems that had developed already. Elena waved them quiet and turned toward the witch, whose long dark hair flowed down the back of a tight-fitting black dress. â€Å"What is it, Meredith?† she said. â€Å"Coach Lyman's sick,† Meredith replied grimly, â€Å"so somebody got Tanner to substitute.† â€Å"Mr.Tanner ?† Elena was horrified. â€Å"Yes, and he's making trouble already. Poor Bonnie's just about had it. You'd better get over there.† Elena sighed and nodded, then made her way along the twisting route of the Haunted House tour. As she passed through the grisly Torture Chamber and the ghastly Mad Slasher Room, she thought they had almost builttoo well. This place was unnerving even in the light. The Druid Room was near the exit. There, a cardboard Stonehenge had been constructed. But the pretty little druid priestess who stood among the rather realistic-looking monoliths wearing white robes and an oak-leaf garland looked ready to burst into tears. â€Å"But you'vegot to wear the blood,† she was saying pleadingly. â€Å"It's part of the scene; you're a sacrifice.† â€Å"Wearing these ridiculous robes is bad enough,† replied Tanner shortly. â€Å"No one informed me I was going to have to smear syrup all over myself.† â€Å"It doesn't really get onyou ,† said Bonnie. â€Å"It's just on the robes and on the altar. You're a sacrifice,† she repeated, as if somehow this would convince him. â€Å"As for that,† said Mr. Tanner in disgust, â€Å"the accuracy of this whole setup is highly suspect. Contrary to popular belief, the druids didnot build Stonehenge; it was built by a Bronze Age culture that-† Elena stepped forward. â€Å"Mr. Tanner, that isn't really the point.† â€Å"No, it wouldn't be, to you,† he said. â€Å"Which is why you and your neurotic friend here are both failing history.† â€Å"That's uncalled for,† said a voice, and Elena looked quickly over her shoulder at Stefan. â€Å"Mister Salvatore,† said Tanner, pronouncing the words as if they meant Now my day is complete . â€Å"I suppose you have some new words of wisdom to offer. Or are you going to give me a black eye?† His gaze traveled over Stefan, who stood there, unconsciously elegant in his perfectly tailored tux, and Elena felt a sudden shock of insight. Tanner isn't really that much older than we are, she thought. He looks old because of that receding hairline, but I'll bet he's in his twenties. Then, for some reason, she remembered how Tanner had looked at Homecoming, in his cheap and shiny suit that didn't fit well. I'll bet he never even made it to his own homecoming, she thought. And, for the first time, she felt something like sympathy for him. Perhaps Stefan felt it, too, for although he stepped right up to the little man, standing face-to-face with him, his voice was quiet. â€Å"No, I'm not. I think this whole thing is getting blown out of proportion. Why don't†¦Ã¢â‚¬  Elena couldn't hear the rest, but he was speaking in low, calming tones, and Mr. Tanner actually seemed to be listening. She glanced back at the crowd that had gathered behind her: four or five ghouls, the werewolf, a gorilla, and a hunchback. â€Å"All right, everything's under control,† she said, and they dispersed. Stefan was taking care of things, although she was not sure how, since she could see only the back of his head. The back of his head †¦ For an instant, an image flashed before her of the first day of school. Of how Stefan had stood in the office talking to Mrs. Clarke, the secretary, and of how oddly Mrs. Clarke had acted. Sure enough, when Elena looked at Mr. Tanner now, he wore the same slightly dazed expression. Elena felt a slow ripple of disquiet. â€Å"Come on,† she said to Bonnie. â€Å"Let's go up front.† They cut straight through the Alien Landing Room and the Living Dead Room, slipping between the partitions, coming out in the first room where visitors would enter and be greeted by a werewolf. The werewolf had taken his head off and was talking to a couple of mummies and an Egyptian princess. Elena had to admit that Caroline looked good as Cleopatra, the lines of that bronzed body frankly visible through the sheer linen sheath she wore. Matt, the werewolf, could hardly be blamed if his eyes kept straying downward from Caroline's face. â€Å"How's it going here?† said Elena with forced lightness. Matt started slightly, then turned toward her and Bonnie. Elena had scarcely seen him since the night of Homecoming, and she knew that he and Stefan had drawn apart, too. Because of her. And though Matt could hardly be blamed forthat , either, she could tell how much it hurt Stefan. â€Å"Everything's fine,† said Matt, looking uncomfortable. â€Å"When Stefan finishes with Tanner, I think I'll send him up here,† Elena said. â€Å"He can help bring people in.† Matt lifted one shoulder indifferently. Then he said, â€Å"Finishes what with Tanner?† Elena looked at him in surprise. She could have sworn he'd been in the Druid Room a minute ago to see it. She explained. Outside, thunder rumbled again, and through the open door Elena saw a flash light the night sky. There was another, louder clap of thunder a few seconds later. â€Å"I hope it doesn't rain,† Bonnie said. â€Å"Yes,† said Caroline, who had been standing silent while Elena spoke to Matt. â€Å"It would be such apity if nobody came.† Elena glanced at her sharply and saw open hatred in Caroline's narrow, catlike eyes. â€Å"Caroline,† she said impulsively, â€Å"look. Can't you and I call it quits? Can't we forget what's happened and start over?† Under the cobra on her forehead, Caroline's eyes widened and then slitted again. Her mouth twisted, and she stepped closer to Elena. â€Å"I willnever forget,† she said, and then she turned and left. There was a silence, Bonnie and Matt looking at the floor. Elena stepped over to the doorway to feel cool air on her cheeks. Outside she could see the field and the tossing branches of the oak trees beyond, and once again she was overcome with that strange feeling of foreboding. Tonight's the night, she thought wretchedly. Tonight's the night when it all happens. But what â€Å"it† was, she had no idea. A voice sounded through the transformed gym. â€Å"All right, they're about to let the line in from the parking lot. Cut the lights, Ed!† Suddenly, gloom descended and the air was filled with groans and maniacal laughter, like an orchestra tuning up. Elena sighed and turned. â€Å"Better get ready to start herding them through,† she told Bonnie quietly. Bonnie nodded and disappeared into the darkness. Matt had donned his werewolf head, and was turning on a tape deck that added eerie music to the cacophony. Stefan came around the corner, his hair and clothing melting into the darkness. Only his white shirtfront showed up clearly. â€Å"Everything worked out with Tanner,† he said. â€Å"Is there anything else I can do?† â€Å"Well, you could work here, with Matt, bringing people in†¦Ã¢â‚¬  Elena's voice trailed off. Matt was bent over the tape deck, minutely adjusting the volume, not looking up. Elena looked at Stefan and saw his face was tight and blank. â€Å"Or you could go into the boys' locker room and be in charge of coffee and things for the workers,† she finished tiredly. â€Å"I'll go to the locker room,† he said. As he turned away, she noticed a slight faltering in his step. â€Å"Stefan? Are you all right?† â€Å"Fine,† he said, recovering his balance. â€Å"A little tired, that's all.† She watched him go, her chest feeling heavier every minute. She turned to Matt, meaning to say something to him, but at that moment the line of visitors reached the door. â€Å"Show's on,† he said, and crouched in the shadows. Elena moved from room to room, troubleshooting. In years before, she had enjoyed this part of the night the most, watching the gruesome scenes being acted out and the delicious terror of the visitors, but tonight there was a feeling of dread and tension underlying all her thoughts. Tonight's the night, she thought again, and the ice in her chest seemed to thicken. A Grim Reaper-or at least that was what she supposed the hooded figure in black robes was-passed by her, and she found herself absent-mindedly trying to remember if she had seen it at any of the Halloween parties. There was something familiar about the way the figure moved. Bonnie exchanged a harassed smile with the tall, slender witch who was directing traffic into the Spider Room. Several junior high boys were slapping at the dangling rubber spiders and shouting and generally making a nuisance of themselves. Bonnie hustled them on into the Druid Room. Here the strobe lights gave the scene a dreamlike quality. Bonnie felt a grim triumph to see Mr. Tanner stretched out on the stone altar, his white robes heavily stained with blood, his eyes glaring at the ceiling. â€Å"Cool!† shouted one of the boys, racing up to the altar. Bonnie stood back and grinned, waiting for the bloody sacrifice to rear up and scare the wits out of the kid. But Mr. Tanner didn't move, even when the boy plunged a hand into the pool of blood by the sacrifice's head. That's strange, Bonnie thought, hurrying up to prevent the kid from grabbing the sacrificial knife. â€Å"Don't do that,† she snapped, so he held up his gory hand instead, and it showed red in every sharp flash of the strobe. Bonnie felt a sudden irrational fear that Mr. Tanner was going to wait until she bent over him and then makeher jump. But he just kept staring at the ceiling. â€Å"Mr. Tanner, are you okay? Mr. Tanner? Mr. Tanner!† Not a movement, not a sound. Not a flicker of those wide white eyes. Don't touch him, something in Bonnie's mind told her suddenly and urgently. Don't touch him don't touch him don't touch†¦ Under the strobe lights she saw her own hand move forward, saw it grasp Mr. Tanner's shoulder and shake it, saw his head flop bonelessly toward her. Then she saw his throat. Then she began to scream. Elena heard the screams. They were shrill and sustained and unlike any other sounds in the Haunted House, and she knew at once that they were no joke. Everything after that was a nightmare. Reaching the Druid Room at a run, she saw a tableau, but not the one prepared for visitors. Bonnie was screaming, Meredith holding her shoulders. Three young boys were trying to get out of the curtained exit, and two bouncers were looking in, blocking their way. Mr. Tanner was lying on the stone altar, sprawled out, and his face†¦ â€Å"He's dead,† Bonnie was sobbing, the screams turning into words. â€Å"Oh, God, the blood's real, and he's dead. Itouched him, Elena, and he's dead, he's really dead†¦Ã¢â‚¬  People were coining into the room. Someone else began screaming and it spread, and then everyone was trying to get out, pushing each other in panic, knocking into the partitions. â€Å"Get the lights on!† Elena shouted, and heard the shout taken up by others. â€Å"Meredith, quick, get to a phone in the gym and call an ambulance, call the police†¦ Get those lightson !† When the lights snapped on, Elena looked around, but she could see no adults, no one entitled to take charge of the situation. Part of her was ice-cold, her mind racing as it tried to think what to do next. Part of her was simply numb with horror. Mr. Tanner†¦ She had never liked him, but somehow that only made it worse. â€Å"Get all the kids out of here. Everybody but staff out,† she said. â€Å"No! Shut the doors! Don't let anybody out until the police get here,† shouted a werewolf beside her, taking off his mask. Elena turned in astonishment at the voice and saw that it was not Matt, it was Tyler Smallwood. He'd been allowed back in school only this week, and his face was still discolored from the beating he had taken at Stefan's hands. But his voice had the ring of authority, and Elena saw the bouncers close the exit door. She heard another door close across the gym. Of the dozen or so people crowded into the Stonehenge area, Elena recognized only one as a worker. The rest were people she knew from school, but none she knew well. One of them, a boy dressed as a pirate, spoke to Tyler. â€Å"You mean†¦ you think somebody in here did it?† â€Å"Somebody in here did it, all right,† said Tyler. There was a queer, excited sound to his voice, as if he were almost enjoying this. He gestured to the pool of blood on the rock. â€Å"That's still liquid; it can't have happened too long ago. And look at the way his throat's cut. The killer must have done it withthat .† He pointed to the sacrificial knife. â€Å"Then the killer might be here right now,† whispered a girl in a kimono. â€Å"And it's not hard to guess who it is,† said Tyler. â€Å"Somebody who hated Tanner, who was always getting in arguments with him. Somebody who was arguing with him earlier tonight. I saw it.† Soyou were the werewolf in this room, thought Elena dazedly. But what were you doing here in the first place? You're not on staff. â€Å"Somebody who has a history of violence,† Tyler was continuing, his lips drawing back from his teeth. â€Å"Somebody who, for all we know, is a psychopath who came to Fell's Church just to kill.† â€Å"Tyler, what are you talking about?† Elena's dazed feeling had burst like a bubble. Furious, she stepped toward the tall, husky boy. â€Å"You're crazy!† He gestured at her without looking at her. â€Å"So says his girlfriend-but maybe she's a little prejudiced.† â€Å"And maybeyou're a little prejudiced, Tyler,† said a voice from behind the crowd, and Elena saw a second werewolf pushing his way into the room. Matt. â€Å"Oh, yeah? Well, why don't you tell us what you know about Salvatore? Where does he come from? Where's his family? Where did he get all that money?† Tyler turned to address the rest of the crowd. â€Å"Who knowsanything about him?† People were shaking their heads. Elena could see, in face after face, distrust blossoming. The distrust of anything unknown, anything different. And Stefan was different. He was the stranger in their midst, and just now they needed a scapegoat. The girl in the kimono began, â€Å"I heard a rumor-† â€Å"That's all anybody's heard, rumors!† Tyler said. â€Å"No one really knows a thing about him. But there's one thing Ido know. The attacks in Fell's Church started the first week of school-which was the week Stefan Salvatore came.† There was a swelling murmur at this, and Elena herself felt a shock of realization. Of course, it was all ridiculous, it was just a coincidence. But what Tyler was saying was true. The attacks had started when Stefan arrived. â€Å"I'll tell you something else,† shouted Tyler, gesturing at them to be quiet. â€Å"Listen to me! I'll tell you something else!† He waited until everyone was looking at him and then said slowly, impressively, â€Å"He was in the cemetery the night Vickie Bennett was attacked.† â€Å"Sure he was in the cemetery-rearranging your face,† said Matt, but his voice lacked its usual strength. Tyler grabbed the comment and ran with it. â€Å"Yes, and he almost killed me. And tonight somebodydid kill Tanner. I don't know whatyou think, but I think he did it. I think he's the one!† â€Å"But where is he?† shouted someone from the crowd. Tyler looked around. â€Å"If he did it, he must still be here,† he shouted. â€Å"Let's find him.† â€Å"Stefan hasn't done anything! Tyler-† cried Elena, but the noise from the crowd overrode her. Tyler's words were being taken up and repeated.Find him†¦ find him . . .find him . Elena heard it pass from person to person. And the faces in the Stonehenge Room were filled with more than distrust now; Elena could see anger and a thirst for vengeance in them, too. The crowd had turned into something ugly, something beyond controlling. â€Å"Where is he, Elena?† said Tyler, and she saw the blazing triumph in his eyes. Hewas enjoying this. â€Å"I don't know,† she said fiercely, wanting to hit him. â€Å"He must still be here! Find him!† someone shouted, and then it seemed everyone was moving, pointing, pushing, at once. Partitions were being knocked down and shoved aside. Elena's heart was pounding. This was no longer a crowd; it was a mob. She was terrified of what they would do to Stefan if they did find him. But if she tried to go warn him, she would lead Tyler right to him. She looked around desperately. Bonnie was still staring into Mr. Tanner's dead face. No help there. She turned to scan the crowd again, and her eyes met Matt's. He was looking confused and angry, his blond hair ruffled up, cheeks flushed and sweaty. Elena put all her strength of will into a look of pleading. Please, Matt, she thought. You can't believe all this. You know it isn't true. But his eyes showed that hedidn't know. There was a tumult of bewilderment and agitation in them. Please, thought Elena, gazing into those blue eyes, willing him to understand. Oh, please, Matt, only you can save him. Even if you don't believe, please try to trust†¦ please†¦ She saw the change come over his face, the confusion lifting as grim determination appeared. He stared at her another moment, eyes boring into hers, and nodded once. Then he turned and slipped into the milling, hunting crowd. Matt knifed through the crowd cleanly until he got to the other side of the gym. There were some freshmen standing near the door to the boys' locker room; he brusquely ordered them to start moving fallen partitions, and when their attention was distracted he jerked the door open and ducked inside. He looked around quickly, unwilling to shout. For that matter, he thought, Stefan must have heard all the racket going on in the gym. He'd probably already cut out. But then Matt saw the black-clad figure on the white tile floor. â€Å"Stefan! What happened?† For a terrible instant, Matt thought he was looking down on a second dead body. But as he knelt by Stefan's side, he saw movement. â€Å"Hey, you're okay, just sit up slowly†¦ easy. Are you all right, Stefan?† â€Å"Yes,† said Stefan. He didn't look okay, Matt thought. His face was dead white and his pupils were dilated hugely. He looked disoriented and sick. â€Å"Thank you,† he said. â€Å"You may not thank me in a minute. Stefan, you've got to get out of here. Can't you hear them? They're after you.† Stefan turned toward the gym, as if listening. But there was no comprehension on his face. â€Å"Who's after me? Why?† â€Å"Everybody. It doesn't matter. What matters is that you've got to get out before they come in here.† As Stefan continued simply to stare blankly, he added, â€Å"There's been another attack, this time on Tanner, Mr. Tanner. He's dead, Stefan, and they think you didit .† Now, at last, he saw understanding come to Stefan's eyes. Understanding and horror and a kind of resigned defeat that was more frightening than anything Matt had seen tonight. He gripped Stefan's shoulder hard. â€Å"Iknow you didn't,† he said, and at that moment it was true. â€Å"They'll realize that, too, when they can think again. But meanwhile, you'd better get out.† â€Å"Get out†¦ yes,† said Stefan. The look of disorientation was gone, and there was a searing bitterness in the way he pronounced the words. â€Å"I will†¦ get out.† â€Å"Stefan†¦Ã¢â‚¬  â€Å"Matt.† The green eyes were dark and burning, and Matt found he could not look away from them. â€Å"Is Elena safe? Good. Then, take care of her. Please.† â€Å"Stefan, what are you talking about? You're innocent; this will all blow over†¦Ã¢â‚¬  â€Å"Just take care of her, Matt.† Matt stepped back, still looking into those compelling green eyes. Then, slowly, he nodded. â€Å"I will,† he said quietly. And watched Stefan go.

Birth of the Republic

The birth of the United States is one of the turning points of history of humans. It enabled the New World to come full circle and make the perilous transition from the Old World to the New. The American Revolution also defined the role that Great Britain was to play in the world. With the breaking away of the American colonies, a new nation was born that would supersede the power and influence of the United Kingdom. Edmund S. Morgan provides a summary of the American Revolution and recounts how the Republic was born and struggled to create its own mark in history.Morgan managed to trace the historical developments in the original thirteen colonies in America and the issues that led them to push and fight for independence. At first, the major issue was taxation by the British government. However, as they went on with the struggle, the Americans started defining themselves as a nation and affirmed their freedom as a people independent from Great Britain. These ideas did not arise beca use of amazing political theory that the Americans in the colonies formulated. Rather, they arose out of the experiences and the needs of the people in the colonies. The American Push for IndependenceAccording to Morgan, the people who went to the colonies understood themselves to be free â€Å"Englishmen† who were entitled to the usual rights and privileges ascribed to Englishmen, particularly their right to liberty and freedom. As such, it came as a surprise to those in the colonies when Sugar and Stamp Acts of 1764-1765 demanded that extra tax be taken away from the colonies. As a response, the colony settlers demanded that they be directly represented to the British government. This was but the first of a series of demands that led the colonial settlers to redefine and rethink the nature of their relationship with Britain.It is important to note that the colonial settlers did not truly wage the Revolution because of nationalistic impulses or because of too lofty ideals. W hat they wanted was to have equal rights of liberty and representation enjoyed by Englishmen whether they are in England or not. Because the colonial settlers could not accept the idea of being represented virtually, they rejected the taxation system being imposed upon them. More than that, the settlers also began to question the jurisdiction of the British Parliament over them.The process of establishing a central government among the colonies was full of difficulties and challenges, which were confounded by the war against Britain. Even if the colonies managed to defeat the British, the colonies recognized the need to band together and form a government that can look after the colonies. Four years after signing the Peace Treaty, the colonies called for a Constitutional Convention in 1787. The process was far from smooth. What happened was that the process tended to be more controversial than the act of declaring freedom from Great Britain.Several issues that arose included the siz e of the states and the differences among them. Surprisingly, however, the equality of states in representation to the Senate was prioritized over the equality of men. The reality of slavery also became a contentious issue among the States. Ironically, a slave was considered as three-fifths the worth of a free man when it came to representation. This was a compromise so that slaves could not longer be imported after 1808. Private property was also protected. The idealism of the Declaration of Independence did not resound very loudly in the Constitution.Such was the case of compromises and political situation during the Birth of the United States. Morgan managed to highlight the different motives of the leaders of the Revolution throughout the process—from the first time that the issue of taxation arose, down to the actual revolution, and the writing of the articles and the Constitution. This whole process occurred within twenty-five years. Morgan also looked into the leaders of the Revolution and conceded that they were not always acting based on good motives and an appeal to idealism. They also worked for economic gain and they managed to include provisions that protected their properties.During that period, the ownership of land was the foremost indicator of wealth. However, these acts do not mean that they are no less committed to the ideals of liberty. The compromises made by the colonies among themselves, particularly the issue of slavery, was but part of the issues that were not smoothed out because the Constitution had to be put in place if the young nation were to stand on its own against the might of the stronger nations during that period. Conclusion Although the war during the American Revolution is interesting, Morgan did not devote a lot of pages in discussing it.Rather, he explained the broader issues and forces at work in the birth of the United States of America. More than just the dynamics of the war, the author traced the ideals, the i deas, and the issues that bonded together the colonies and their efforts in consolidating themselves into one nation. Furthermore, the author included the texts of important documents that have shaped the American nation since its inception. It is an amazing piece of work documenting the nation’s history. Reference Morgan, E. S. (1993). The Birth of the Republic: 1763-89. Chicago: University Of Chicago Press.

Patents and their role Essay Example | Topics and Well Written Essays - 2000 words

Patents and their role - Essay Example Introduction Writers, inventors, artist, scientists transform their idea into tangible products or property which is reflective of all the research and effort done in achieving that final product. When this property is protected under the law it is called intellectual property rights (IP). Patents, copyrights, trademarks and trade secrets are all examples of intellectual property rights. Inventions, innovations, discoveries and artistic work etc. are as old as human history then why patents are required now. With the onset of globalization and communication mediums such as internet etc. information and knowledge transfers very easily at a very high speed. Patent rights prevent others from copying, making, using or selling the property. Patent is basically a reward to the inventor. This paper aims at studying in detail what exactly patent rights are? What was the need of their development and implementation? Some research related to rules and regulations of the patent law will also be conducted. The paper will also discuss the importance and benefits of patents. Intellectual Property Rights Intellectual property can be defined as the product of human intellect which have commercial value and that is protected by law. Intellectual property generally includes creative works, products, processes, imagery, inventions and services. These intellectual properties are protected through patents, copyrights and trademarks. Intellectual property rights along with other regulations and court decisions secure the rights through following activities. Firstly it includes restriction on selling or licensing of intellectual properties. Secondly, resolution of conflict between companies over intellectual properties and services. Lastly it involves administrative procedures such as registration and administration of intellectual property rights. There are three types of intellectual property rights patent law, copy right law and trademark law. Patent types Patent law is further di vided into three categories according to the type of the product. The three categories are utility, design and plant. The most common type of patent right is utility patent. Utility patent is usually reserved for the invention of a new yet non-obvious product. The inventor of this innovative product is granted the exclusive right of selling, using and making of this product for a period of about 17-18 years. The patent granted for new but nonfunctional design is for the period of 14 years. The expiry date of the patent of plant is the longest it lasts for twenty years (Stim). Utility patents as described above are reserved for new, non-obvious, innovative and useful discoveries. These discoveries are further categorized into five types namely processes, machines, manufacturers, compositions of matter or improvement into any of these types. Design pattern is granted for an article of manufacturer (Law). Features of Patent A patent is not just a legal document but it is a technical pu blication and it even serves the purpose of a sales brochure. It is called a technical document because it must contain sufficient information about the product which is useful for person interested in making and using the patent. Such a document is a source of technical information for the public which is not available otherwise. It also serves the purpos

Religions Influencing the Policy Research Paper

Religions Influencing the Policy - Research Paper Example Though it has been assumed to play major roles in peace making around the world, divisions and battles have taken place in the name of religion. Over decades, religion has diversified and developed to include major religions like Christianity, Islam and Judaism. Christianity and Islam are the two major religions that have contributed to economic, social, political and cultural development in world societies. Christianity has over two billion followers throughout the world; God being the Supreme Being then there is Jesus the son of god believed to have died to save Christians from their sins and the Holy Spirit. Christians read the bible and believe in its teachings taught by pastors and priests across the world. Christianity describes the way of life, the reason for existence and the plans for the future nourished by the Holy Spirit. Christians believe that they should not have anything to do with politics instead they should simply preach the gospel. They insist that Christ died for our sins and rose on the third day but that does not make it a geographical or a social entity for violence or political gains (Livingston page 8). But this does not mean that Gods kingdom has nothing to do with the world or that politics are not important, it simply means that the gospel should not be reference for political violations. What Christians should strive for is how the politics will have impacts in their lives and how it can affect their belief in Jesus Christ and the church. It is believed that every Christian is a soldier of the Lord and there are Christians who entangle themselves with politics in the belief that God will not object. There is nothing wrong with fighting injustice or wanting things to be done differently because that’s part of expressing opinion but politics is not an easy way to take for Christians. There will always be question of why a Christians joins politics; their motives are they for fame, money, power or truly taking the seat to serve the people. Politics offers are promising and at times purity motives may be hard to sustain as one will be devoting more money, energy and time on politics than Christianity which encourages one to take on humble ways. Christians believe that you cannot eliminate wickedness by laws or legislation instead the easiest way which is also approved by God is through salvation and forgiveness of sins through his son Jesus. In the bible we see that God established government, but not political sciences that come up with new laws, better laws meant to make the world a better place or try to take advantage of the less elite. Government was meant to give people a leader who ensured that everyone lived according to God’s will and teachings (Livingston page 7). Politics cannot make a better world for humans to live in it or save souls but God can do both. The bible encourages people to follow and even obey the laws put across but it never gives a go ahead for Christians to be involved w ith politics. This is because Christianity is a big role the same goes for politics and keeping the balance between the two can be overwhelming. Keeping up with the two lives is nearly impossible that’s why Christians are encouraged to stick to their faith and practice the will of God which is spreading the gospel. Islam Islam has more than a billion followers who worship Allah, have Muhammad as their latest prophet and believe in angels. Muslims are the followers of Islam who are devoted to Koran and its teachings. Muslims unlike the Christians are required to know all the teachings of the Koran by the time they are a certain age. Though Islam religion is strict and disciplined in its customs and rules, its

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FINAL EXAM . strengths and weaknesses in american society between 1900 and present - Term Paper Example The 20th century started with the passing of the Gold Standard Act, which controlled the value of the dollar (McCulley 39). In 1901, inclusion of Cherokee, Seminole, Muscogee, Chickasaw and the Choctaw boosted cultural diversification of America. In 1907, America experienced a state of economic panic caused by a fall in the stock market (U.S. Department of the Treasury 1). The incidence affected the country’s economic performance. The year 1924 saw the granting of citizenship to Indians through the enactment of the Indian Citizenship Act (Sadiq 11). The year 1991 saw the involvement of America in the formulation of the treaty of Versailles, which positioned her as an influential country in the world. The American art industry saw which covered the civil war and the aftermath consequences. The film also  featured  the  incidence during the  assassination of Abraham Lincoln. Arnold Schoenberg influenced the music industry through the development of the twelve-tone music composition method. The year 1917 saw the buying of a war bond by the America as an initiative to support war against the central powers. Eliot, T.S. wrote the poem â€Å"The Waste Land† poem, which covers the cultural problems that resulted after the World War I. The poem marked a revolution in the art sector of the country. The Great Depression started in 1929. The consequences of the incidence were increased unemployment and the massive closure of many of the U.S banks. Franklin Roosevelt advocated the New Deal in 1933, whose aims were to set up programs to solve the economic state of the country (Boyer et al. 737). The primary social occurrence of this period was the increased support of the isolationism. Due to the profound negative effects of the world war, the Americans thought that it was wise to withdraw from their involvement in the European issues. In 1938, Mexico expropriated foreign oil companies operating in the country. As a reaction to

Academic style paper Article Example | Topics and Well Written Essays - 1750 words

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International Business - Essay Example | Topics and Well Written Essays - 2750 words

International Business - - Essay Example This paper is a business report that explores the issue of complicating stakeholder responsibility for expanding companies. The paper explores expansion in terms of factors involved and how this exposes companies to increased population and different types of stakeholders. The paper also explores the linkage between stakeholders’ responsibility and the foreign direct investment. Expansion of business has become a normal concept today. The emergence of the multinational corporations and the internationalization of existing companies is viewed as an indication of growth. As businesses expand, the revenue is expected to increase and so is the reputation and the customer coverage (Branco & Rodrigues 2006). Further, such an internationalization also affects the responsibility of the business to the community and the people. This means that the more a company expands internationally, its stakeholder responsibility becomes more complex (Melà © 2008). This can be viewed to happen for two main reasons. First, the stakeholders’ environment, socially and economically drastically change as the company secures a stakeholder base in the new country. Secondly, the number of people that the company or business has a responsibility towards increases and their demographic characteristics change (Hooijberg & Schneider 2001). Corporate social responsibility (CSR) are t he basic strategies that companies conduct their business in a way that is socially friendly, ethical and responsive to the community needs in development and safety. The companies are required to go an extra mile and put up measures to benefit the community that literary accommodate them (Winch 2004). Theories such as utilitarian, managerial and relational theories of CSR supported by works of other scholars in the area could be used to suggest that CSR becomes an international concern due to globalized nature of business that knows no border. CSR

Madonna Granduca Painting Essay Example | Topics and Well Written Essays - 1250 words

Madonna Granduca Painting - Essay Example The essay "Madonna Granduca Painting" focuses on the painting of Madonna Granduca. It is painted with oil on wood and is the size of 84 x 55. The painting shows Madonna holding a baby in her arms. The background is black with the main focus on the baby, with Madonna as the secondary figure of the portrait. The hands of Madonna are holding the baby, with one arm under the baby and one on the stomach, with the presentation of the child on the side. This position is what provides the main focus to the child. The pose that Madonna has is facing the canvas and is in the middle of the portrait. Her head is slightly tilted to the side, which also points toward the child as the main figure. Her eyes in this particular portrait are closed and pointing downward, specifically to show a presentation of care for the child. The hand of the child is on the heart of Madonna, which shows the relationship between the two. The pose that is in this painting is able to show the sacredness of the child as well as the motherly figure that is a part of Madonna. The colors that are used with this painting also help with the association of the child as the main figure. The background being black helps to present the portrayal of the child. The contrast with the child is from the cream and peach texture and color that stands out as the brighter part of the picture. The Madonna is wearing a green robe and red dress, both which fade into the bottom part of the picture. The texture that is used with the colors is richer.

History of the Phantom of the Opera Essay Example for Free

History of the Phantom of the Opera Essay In 1911, Gaston Leroux published Le FantÔme de l’Opera, the now famous book that gave birth to the legend of the Phantom.   Leroux had been fascinated by the mystery and design of the Paris Opera House.   As a theatre enthusiast, he had toured all the levels of the Opera House including a visit to the underground lake, cellar and hidden passageways. The mysterious events at the Paris Opera House which ignited Leroux ‘s interest began with Napoleon III’s call for a new opera house to be built in Paris in 1860, after he had survived an assassination attempt one evening when returning from the Opera.    The construction of the Opera House, faced many delays and construction stopped during the Franco Prussian War. After the war, the then unfinished Opera House was occupied by the working class who used it as a warehouse, observation post, communications center, military post and a powder store.   The cellar was once used as a torture chamber.   The new Paris Opera House was finally finished in 1875.   Finally, adding to the mystery, an unfortunate incident occurred in the Paris Opera House in 1896, a counter-weight of six and a half ton chandelier fell from the ceiling, killing a patron. Gaston Leroux always claimed that the ghost in the story was true, based on his investigations and tours of the Opera House.   He is quoted as saying: The Opera ghost really existed.   He was not, as was long believed, a creature of the imagination of the artists, the superstition of the managers, or the absurd and impressionable brains of the young ladies of the ballet, their mothers, the box-keepers, the cloak-room attendants, or the concierge.   No, he existed in flesh and blood, though he assumed all the outward characteristics of a real phantom, that is to say, of a ghost.   (Leroux, G, n.d) In 1925, began the chain of events that would give rise to the phenomenon of the Phantom.   Universal Studios made the first film of the book – the silent movie, Phantom of the Opera, which starred Lon Chaney Snr.   A second version of the film, this time with sound and color, starring Claude Raines was produced in 1943.   Followed by a Spanish version in 1962, and a 1974 version starring Herbert Lom and Heather Sears. The Phantom was produced twice on stage in 1935 and 1975, without much success. Then, in 1986, the legend of the Phantom of the Opera would become one of the most famous stories in the world, when Andrew Lloyd Weber’s Musical – Phantom of the Opera hit the stage in London.   In the 21 years since the Musical began, it has broken all theatre records and is now the longest running Broadway Show in History. The success of the musical spurred the movie industries interest again in 2004, with a moderately successful movie called â€Å"Phantom of the Opera† based on Andrew Lloyd Webber’s opera.   Critical acclaim for the movie has been varied. The Phantom has outlived his creator who died in April 1927 and has become iconic to the 20th and 21st Century.    History of the Hit Musical – The Phantom of the Opera   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Andrew Lloyd Webber’s musical The Phantom of the Opera opened in London’s Majesty Theatre on 9 October 1986.   In the original London Cast, â€Å"The Phantom† was played by Michael Crawford, and â€Å"Christine† by Sarah Brightman (then wife of Andrew Lloyd Webber). The original creative team of the Phantom was: Harold Prince  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Director Cameron Mackintosh  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Producer Andrew Lloyd Webber  Ã‚  Ã‚  Ã‚   Composer, Book, Co-orchestra Maria Bjà ¶rnson   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Production Designer    While Andrew Lloyd Webber had already been phenomenally successful with productions like Evita and the Sound of Music, â€Å"The Phantom† made stars of the actors and creative team members. The musical is still running 21 years later (2007) in London, Broadway (N.Y) and touring worldwide.   The Phantom has won over 50 awards including 3 Olivier, an Evening Standard Award, 7 Tony’s and 3 Outer Critic Circle Awards. At the time of writing, it is estimated that over 80 million people have seen the musical, with total ticket sales of over $3.2 billion.    Reviews of the Phantom of the Opera: The Daily Mirror’s first review of the Phantom of the Opera in 1986: It’s fantastic, fabulous and phantasmagorical! Its fantastic, fabulous and phantasmagorical! From the eerily flickering lights that greet you outside Her Majestys Theatre to the last, glorious curtain call, Andrew Lloyd Webbers long-awaited new musical, Phantom of the Opera, is a triumph. The special effects are among the most spectacular ever seen in the West End. The music is very bit as memorable as one would expect from the man who wrote Evita, Starlight Express and the rest. But most of all, the show belongs to Sarah Brightman and Michael Crawford, who soar and swoop through their hugely demanding roles like eagles. After all the well-publicised false starts and back-biting, Lloyd Webber has created a musical which deserves to be around well into the next decade. The story is based closely on the original novel of 1911 unlike most of the Phantom of the Opera films which have been made over the years. Michael Carwfords Phantom hides his hideously disfigured face by skulking in the stage caverns and pools deep beneath the Paris opera. His passion for music is the only thing which gives his life meaning until he becomes obsessed by Sarah Brightmans Christine a young opera singer whose beauty is matched only by the purity of her voice. He coaches her in secret while visiting dreadful catastrophes on anyone who refuses to advance her career. A hanged scene shifter is suddenly hideously dropped on to the stage in the middle of a performance. A vast crystal chandelier crashes on to the audience. As the phantom becomes more fiendish so Christine becomes increasingly mixed in her feelings towards him. A dreadful climax is fast approaching. The eerie sets of the unfolding drama great stages filled with mist and shining candles are interspersed with all the colour and spectacle of the operas being prepared and presented at the theatre. Despite all the ghost train theatricals the greatest thrills of the show come from Michael Crawford. He not only sings superbly but also captures the torment of the Phantom perfectly. If you only see one show this year, make sure it is this one! (Blake, J, 1986) In 2002, The Times wrote: Long-runners One answer is obvious: Maria Bjà ¶rnson’s stunning designs. The story, based on Gaston Leroux’s novel, begins on the Paris Opera’s stage in 1911. The building is dusty and neglected, the stage festooned with great swags of grey fabric. Old theatrical props are being auctioned off. Then, as the auctioneer announces the final lot — the opera’s enormous chandelier — the dustsheets fall away, the scene seems almost to dissolve and the theatre travels back in time to 1881 before our very eyes. It’s a vision of gaudy grandeur: gas lamps flicker, red velvet glows in the light and plaster nymphs and satyrs frolic on pillars. The opera is dogged by misfortunes that are rumoured to be the work of the Phantom, a malevolent figure who haunts the theatre. This sinister creature has become obsessed with Christine Daaà ©, a pretty chorus girl. But only cadaverous Madame Giry, the formidable ballet mistress, knows the terrible secret that lies behind the mask the Phantom wears. The musical’s best sequence occurs when the Phantom leads Christine through labyrinthine passages to his lair beyond a hidden lake underneath the building. As their boat glides over the misty water, surrounded by flickering candles, the effect is breathtaking. The problem is that this spectacle takes place early on and nothing afterwards can really compete. Harold Prince’s direction is slick and Gillian Lynne’s choreography effective, but Lloyd Webber’s music is often trite and dated. There’s little depth to any of the characters, either, yet the musical’s central relationship intrigues. For while Christine is Beauty to the Phantom’s Beast, she is haunted, not only by the opera ghost, but by the memory of her dead violinist father. This lends a pleasingly perverse Freudian twist to the erotic tension between the two characters, and the performers John Owen-Jones and Celia Graham make the most of it. Not only are they both excellent singers, they are fine actors too. Graham brings both passion and a childlike neediness to her portrayal of Christine. Owen-Jones uses his rich, powerful voice to great effect, crooning one moment, spitting bitterness the next. But the real star of the show is Bjà ¶rnson’s work. The designer died earlier this month, aged 53, and if Phantom has stood the test of time, it’s because of her. It is not the music audiences will remember; it’s the opera’s chandelier swinging crazily over the stalls, or a masked figure crouched menacingly over a gilded angel. And for those images alone, this show is still worth seeing. (Marlowe, S,   2002) The New York Times revisited the Phantom in 2005 and wrote this review: New York Times revisits the Phantom Old and Ghostly but Still a Hoot The paint on the balconies of the Majestic Theater looks chipped and the electronic drum machine sounds like something left over from a music video from the 1980s. But The Phantom of the Opera really shows its age (17 years and running) when the signature special effect is presented. Musicals have opened and closed in the time it takes that chandelier to lumber to the floor. Looking like one of Ed Woods teetering flying saucers, it crashes to the stage with the force of a shopping cart, the biggest, most extravagant anticlimax in town. Seventeen years later: Sandra Joseph and Hugh Panaro are now playing the roles of Christine and the Phantom. Under the fearsome shadow of Hugh Panaro in The Phantom of the Opera. But what do you expect? It was designed during the Reagan administration. For a top-of-the-line chandelier, you will have to wait for the $40 million production of Phantom opening in Las Vegas next spring. But if the technology of the Broadway show seems a bit quaint, the real news is that the rest of the production has grown old gracefully. Judging by sheer invention, emotional punch and onstage talent, the venerable blockbuster still beats out almost all of the whippersnappers currently on Broadway. Maria Bjornsons flamboyant gothic design and Harold Princes fantastical staging still have the gleam of finely polished professionalism. Led by the current Phantom (there have been 10 after Michael Crawford), Hugh Panaro, an up-and-coming musical theater star who finds the right mix of shock and schmaltz, most of the cast retains the freshness of opening night. That does not mean that Andrew Lloyd Webber haters, a large and very grumpy contingent, will be won over. Sorry, The Music of the Night hasnt changed. Nor has Charles Harts bumbling lyrics (You have brought me to that moment when words run dry). But for those sentimental souls looking for a popular entertainment to transport them to a baroque, romantic new world with a powerful smoke machine, Phantom, Im happy to report, still delivers the goods. Which is especially impressive, given that not long ago, the musical seemed to be on its last legs. By the fall of 2003, its peers Miss Saigon, Cats and Les MisÃÆ' ©rables had faded away. Ticket sales were down and rumors of its demise were common around Broadway. Flash-forward to today: crowds are lined up around the corner to see the show, which regularly sells out. Last week, 99 percent of the seats were filled. In January, barring a strike, disaster or nuclear holocaust, Phantom will eclipse Cats as the longest-running show in Broadway history. What happened? For one thing, it received a boost from Joel Schumachers film version of the musical, which opened in December. Even though it wasnt a smash hit, the movie introduced a new audience to the show (as evidenced by the large number of young girls at the Majestic) and reminded old ones how superior the musical is. In fact, the bombastic film may be the only thing that makes the musical look understated. Mr. Prince, who continues to oversee casting and reportedly checks up on the show every few months, deserves credit for tending to it with care. When the box office dipped, he never panicked and cast a former Backstreet Boy for a short-term boost in sales. Unlike so many long-running shows, Phantom has not resorted to stunt casting. Although dont be surprised if Mr. Panaro, who has been rumored on theater Web sites as the choice to star in Lestat, Elton Johns vampire musical heading to Broadway next season, becomes a household name someday. A young, charismatic actor, he brings a maniacal energy and Grand Guignol charm to the tortured Phantom. In his hands, the show concentrates more on the horror than the romance; but only once does he turn to the audience and growl which, considering how scenery chewing this role could be, counts as admirable restraint. Surrounding him is a solid supporting cast who deliver disciplined performances free of the lazy flourishes that sneak into a role when an actor becomes bored by repetition. As the diva Carlotta, Anne Runolfsson flashes a hundred-watt smile and shows off a richly textured voice in the opening song, Think of Me. Jeff Keller and George Lee Andrews, the only actors with major roles who have been with the company since the beginning, are marvelous as the nervous theater managers who made the mistake of buying the Paris Opera House. In 2001, Mr. Prince had them switch roles to keep things fresh. Sandra Joseph (who doesnt perform Wednesday evenings or Saturday matinees) is perfectly competent as Christine, although in her scenes with the Phantom she can come off as a bit bland. As her other love interest, Raoul, a terribly underwritten role, Tim Martin Gleason provides a strong voice and a stiff performance. In the romantic songs, ones mind easily wanders to the bitingly funny Lloyd Webber parody in Spamalot, which droned on and on until the stars looked tired of their own voices. Then again, the winking and eyebrow-raising in satirical musical comedies like Spamalot and The Producers are part of what makes the proudly melodramatic and unironic Phantom a nice change of pace. The musical may seem as if it is from a different time, but thats not necessarily a bad thing. (Zinoman, J, 2005) Personal Review:    The Broadway production of The Phantom of the Opera captures your attention right from the start and then you will be you will be drawn into a mysterious world of horror, romance and tragedy. Your journey keeps you spellbound through resonating songs sung by a handpicked cast, Maria Bjornsons magnificent sets and costumes to both delight and frighten you. Gaston Leroux’s gothic novel comes to life through Andrew Lloyd’s Webbers’ Phantom.   The musical beautifully combines a mixture of genres, performed through opera, leaving the audience entrapped in a tragic tale of love. Whether you are recovering from fright or floating on Phantoms’ songs – this musical will keep, you entertained, wistful and somewhat disturbed leaving you thoughtful as to who should triumph in the end. New fans and old are still being enraptured by the phenomenon of The Phantom.       Works Cited: Blake, J, (1986) It’s fantastic, fabulous and phantasmagorical!, The Daily Mirror U.K. Retrieved 04/18/2007, http://www.thephantomoftheopera.com/poto/news_mediareviews_story.php?id=38 Leroux, G. n.d. Quotation Phantom of the Opera Official Site. Retrieved 04/18/2007, http://www.thephantomoftheopera.com/poto/show/the_show_history_filmography.php Marlowe, S, (2002), Long Runners, The Times, UK.   Retrieved 04/18/2007 http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/article805339.ece Zinoman, J, (2005), New York Times revisits the Phantom: Old and Ghostly but Still a Hoot, The New York Times, USA.   Retrieved 04/18/2007 http://www.thephantomoftheopera.com/poto/news_mediareviews_story.php?id=216    Bibliography: Paris Opera House (n.d.), Music of the 19th Century Paris, Opera. Retrieved 04/18/2007 http://gallery.sjsu.edu/paris/music/opera/opera_house.html The Phantom of the Opera (n.d.), Official Website.   Retrieved 04/17/2007, http://www.thephantomoftheopera.com

The Impact of Digital TV on audiences and TV companies Essay Example for Free

The Impact of Digital TV on audiences and TV companies Essay Fifty years ago, TV was the new thing that would enhance our lives. Even up to this day, we still captivate ourselves to this evolving culture which has had such an impact to us. Just imagine if one of the worlds greatest events would not have been shown in TV (imagine people across America not watching the twin towers fall-what impact would it have on other people?). But these recent times, the advent of Digital Television is another step towards the progression of television itself. It opens a whole window of possibilities- more channels, more choices, better interactivity. Even the television companies itself will be given a new challenge by introducing this new technology to its current and future customers. It is up to them however to find the gap in the market to gain full advantage of Digital TV. When there is progression, so will be regression. Digital TV will not just catch on and be the next best thing instantly. There will be some people who will oppose to the idea and the companies will try and fight over viewing rights of channels. A recent Ofcom report said more than 60% of UK households now receive digital TV. With a digital switchover planned to take place from 2008-2012, should the government say yay or nay? Let us imagine ourselves when the digital switchover has taken place. What are the advantages and disadvantages of each? First off, let us discuss the advantages of digital TV. It has a great appeal to the majority of people. Even though the cost of gaining access to one is still expensive experts say that the price of present digital subscriptions and hardware will drop dramatically after a few years. However, the cheapest free view set-top-box presently is as low as à ¯Ã‚ ¿Ã‚ ½25.00. Another advantage is that digital TV could allow the audience to pause record their programmes without the use of tapes. It is also said to be quicker and simpler process than the old VCR. In line with digital TV, the actual television set is changing. There are now ones that are called HDTV (high definition TV). This technology coupled with digital TV provides us with high quality video and sound that is dramatically noticeable. In more simple terms, pictures and sound will have more consistency and less interference. Digital TV has also embraced the convergence of interactivity. Extra information and interactive features now accompany most programmes. Compared to analogue TVs teletext, digital TVs interactivity takes it to a new level. It is more user-friendly and makes the viewer more involved. There is even an electronic programme guide which gives you far more information about programmes content. This hands-on approach is what makes digital TV unique. Of course, these advantages over the audiences equate to the benefits that companies and the government get. At the moment, there are 3 main ways to go digital: Satellite (SKY, Canal +, RAI, etc.), Cable (NTL and Telewest) and Freeview. At the moment, Satellite access is ahead in terms of market share with 7.1 million subscribers (Sky subscribers), followed by 3.9 million homes supplied by freeview and 2.5 million subscribers get their digital TV through cable. These statistics suggest that competition is fierce at the moment. It said up to 1.5 million boxes had been sold in the lead-up to Christmas, with 190,000 sold in each of the two weeks before the holidays. There might be fierce competition, but this is deemed to be a healthy competition. There will be a time when existing sales are starting to tail off. The introduction of the switch off will be a seizing opportunity for them to increase their sales. These opportunities are enhanced services-which adds value to a subscription (or in the case of freeviews, a sharp increase in set-top boxes and HDTVs-which is already happening). Recently, Sky has recently offered a new free satellite service called Sky FreeSat. It allows access to 140 non-subscription channels for a one-off fee. Even the likes of BBC and ITV are to launch a free-to-view satellite TV service to cater for viewers unable to receive Freeview digital coverage-and to rival the monopoly that Sky has. Also, in line with the HDTV technology, the BBC aims to produce 100% HD programmes by 2010. The government will also have some advantages over the switch off. When all the analogue signals have been switched off, those signals could be sold to telephone, communications or aerospace companies to make use of the cleaned up space. The countrys image is also on the line. It essentially propels the country into the digital age in order to gain a more competitive advantage. Furthermore, there are more opportunities for a better efficiency of the operation of government services reducing costs and keeping down taxes. I have used the word majority because there are people who are not in full favour of digital TV. There are also drawbacks for the companies and the government. Digital is an all or nothing technology. The pictures are either crystal clear or absent. In heavy rain or snow an analogue signal might give a grainy but watchable picture. Digital signals are more robust and will tolerate a high level of interference but, when conditions become too bad, both the picture and the sound will vanish. In addition, because all the work is done by an internal computer, it sometimes makes mistakes and the picture can disappear in a maze of coloured squares or simply freeze on the screen. However, this trade off between pictures which might always be grainy and crystal-clear pictures which occasionally disappear will be preferable to most people. Digital provides just one channel from the set top box at a time (the same as existing satellite TV receivers). You cant watch one digital channel and record another unless you: 1. Have more than one set top box 2. Keep your existing analogue satellite receiver 3. Continue to use analogue terrestrial TV (as long as the transmissions last about 5 10 years is anticipated) In a survey, when asked to identify the disadvantages of digital television, a third (32%) state that it is too expensive, 9% that you have to pay for a subscription, and 8% that there are too many channels and choice. Also, the 40% who do not have digital television yet will discover that the present cost of service is not attainable in their opinion. Of course, without the funding that the BBC get from the TV license lowered, they would obviously look to increase the cost threefold. The increase in the number of channels isnt without disadvantages. For viewers, the absence of original programming can lead to a feeling of nothing being on across hundreds of channels. Event programmes are also under threat; virtually gone are the days when 30 million people tuned into the same programme. For channel owners selling advertising time is increasingly difficult. Niche broadcasters may be advantageous in terms of reaching a specific target audience but many have official audience shares of 0%. There was even a study made by Dr Jeremy Klein claiming that Millions of people are not using digital TV because they find it too confusing. He says that Elderly and short-sighted people find it laborious and demanding changing channels. It is said that two million people are affected by this problem. As a result, the elderly and people with low-income will be put off with this news. They feel that it will be better to stick with the old and what they are used to. Companies are also having trouble with the changes.

CMOP-E Case Study Example

CMOP-E Case Study Example Mrs. B is a 54 year old woman diagnosed with schizophrenia. After being stabilized with medication and receiving treatment, she struggled with finding and maintaining employment but eventually found a job as a sales associate. Recently, she was referred to see the OT because she was beginning to feel dissatisfied with her job and wanted to explore other options. In the past, she worked 4 or 5 day shifts a week; however, currently, her employer was giving her fewer shifts per week. Her shifts were in the evening, which made it difficult for her to spend time with family. She felt stressed because her employer was expecting her to complete more tasks but did not give her adequate time to complete them. She was also having interpersonal problems with her co-workers which added to the stress. She also indicated that she wanted to expand her social network as she felt that she had few friends. The OT provided her with resources that would assist with vocational readiness. To assist with e xpanding her social circle, the OT provided Mrs. B with a website that connected people based on interests. Using the above case study, this paper will discuss how the CMOP-E relates to OT practice. The focus of this paper is on the interaction between occupation and environment. CMOP-E Models provide OTs with a framework to gather information about the individual and to plan interventions. The Canadian Model of Occupational Performance (CMOP) is based on a set of values and beliefs concerning occupation, person, environment, and client-centered practice (Hagedorn, 2001). A central construct of this model is that the client is involved in the process of determining needs and planning action; the therapists role is to enable this process and enable clients to engage in occupation (Hagedorn, 2001). The CMOP is an interactive model showing relationships between person, environment, and occupation (See Figure 1, part A) (Townsend Polatajko, 2007, p. 23). In the CMOP, the person, represented as a triangle, has three components cognitive, physical and affective, with spirituality at the core (Townsend Polatajko, 2007). The model shows that occupation connects the person and the environment (Townsend Polatajko, 2007). The key components of occupation include self-care, productivity and leisure (Townsend Polatajko, 2007). A critical review of the CMOP led to the portrayal of a trans-sectional view (see Figure 1, part B) (Townsend Polatajko, 2007, p. 23). The trans-sectional view of the CMOP can be used to show that occupation is of central interest and delimits the OTs concern with persons and environments. The transverse view with occupation front and centre presents occupation as OTs core domain of interest, showing that OTs are primarily concerned with human occupation, and the connections with the occupational person and the occupational influences of the environment; those aspects of person or environment that are not related to occupation are beyond OTs scope (Townsend Polatajko, 2007, p. 23 24). OTs need to consider the actual performance of an occupation and the level of importance it holds or the degree of satisfaction it brings to the individual, family, group or organization. OTs also need to consider the potential and possibilities for occupational engagement that is allowed by the oc cupation-person-environment interactions. CMOP is now CMOP-E with the added word engagement to extend the occupational perspective (Townsend Polatajko, 2007, p. 24, 28). Environment The environment in the CMOP is the context in which an individual performs occupations and includes physical, social, cultural, and institutional elements (Cole Tufano, 2008). The physical environment includes natural and built factors. This may include home, classroom, workplace, or natural environments (Cole Tufano, 2008). Social environment is composed of social groups such as family, coworkers, and community organizations (Cole Tufano, 2008). The social environment is the source of personal relationships (Duncan, 2006). Cultural environment may overlap with social environment and include religious, ethnic, and political factors which can affect the opportunities for, and barriers to, participation (Cole Tufano, 2008). The institutional environment includes the political and social systems that affect the number of opportunities present and provides rules and limits to an individuals occupations (Cole Tufano, 2008). Occupation The definition of occupation is (excerpted from Enabling Occupation, CAOT, 1997): Occupation refers to groups of activities and tasks of everyday life, named, organized, and given value and meaning by individuals and a culture. Occupation is everything people do to occupy themselves, including looking after themselves (self-care), enjoying life (leisure), and contributing to the social and economic fabric of their communities (productivity). (Townsend Polatajko, 2007, p. 17) The area of self-care encompasses all the tasks an individual goes through in a day to take care of oneself. Personal care includes basic activities of daily living, such as bathing, dressing, or personal hygiene. Self-care also includes instrumental activities of daily living, such as budgeting, driving, or grocery shopping (Radomski Latham, 2008). Productivity refers to an individuals economic contribution to society through paid and unpaid work. Some examples of productivity include paid employment, volunteer work, childcare, and homemaking (Radomski Latham, 2008). Leisure is activities that are completed voluntarily, intrinsically motivating and for enjoyment (Radomski Latham, 2008). Leisure activities may include quiet activities, such as reading, or active leisure such as sports, and socialization. (Randomski Latham, 2008). Application in Practice In the case study, the interaction between the occupations of productivity and leisure and the environment is evident. Mrs. Bs satisfaction in her productivity was influenced by the social environment of her job. Her strained relationship with her co-worker affected her job satisfaction and stress level. Having time constraints placed on her by her employer to complete certain tasks also increased her stress. Sparks and Cooper (1999) conducted a study to investigate the influence of seven job characteristics on mental and physical health. Results of the study showed that the quality of the social environment in the workplace is associated with stress. Mrs. B.s leisure was also affected by her productivity and social environment. Mrs. B. had limited time to spend with her family when she was scheduled to work evening shifts. Working in the evenings limited her opportunities to meet new people and expand her social network. Leisure is important because it allows an individual to have a balanced life. Research has shown that a balance between work and family predicts well-being and overall quality of life. (Greenhaus, Collins, Shaw, 2003) The cultural environment also affected Mrs. Bs productivity. Schizophrenia or mental illnesses by their nature lack visibility; therefore, encouraging the stigmatization of individuals with a mental illness (Copeland, 2009). In addition, society expects these individuals to work. This affected Mrs. B. because the expectation placed on her from society was that she should be working. The impact of the institutional environment on Mrs. Bs productivity is that the Government of Alberta requires individuals to meet certain conditions in order to be eligible for financial and health-related assistance programs, such as Assured Income for the Severely Handicapped (AISH) and Alberta Works. Some of the eligibility criteria for AISH are: must have a severe handicap that is permanent and substantially limits ability to earn a living, and income or income of cohabiting partner must not exceed the limits allowed under the program (Assured Income for the Severely Handicapped, AISH, n.d.). The institutional environment required Mrs. B to work because she did not qualify for AISH or Alberta Works. Mrs. B.s physical work environment was not addressed; however, looking at the work environment would be beneficial because it affects a persons job satisfaction. Some elements that may affect job satisfaction include the effect of lighting, noise levels, and floor configuration and furniture layout (Vischer, 2007). Leather, Pyrgas, Beale, and Lawrence (1998) conducted a study that examined the direct and indirect effects of windows in the workplace on job satisfaction, intention to quit, and general well-being. Results from the study showed a significant direct effect for sunlight penetration on all three factors. Self-care was also not addressed by the OT; however, it could be concluded that it did not have an effect on Mrs. Bs productivity. She was observed to have dressed appropriately and was well kept. It could be assumed that it was not an explicitly stated criterion for Mrs. B to demonstrate proper self-care before engaging in productivity with the OT. Self-care is a component that is important to address in productivity because an individual is usually interacting with others when working or volunteering. Being able to maintain proper self-care allows the individual to be socially accepted. Proper self-care also allows the individual to make a good first impression during job interviews and throughout his or her time as an employee. Conclusion The CMOP-E is a theoretical model that illustrates how occupational performance evolves from the interactions among the person, environment, and occupation. It provides OTs with a clear conceptual framework for thinking about the person throughout the occupational process. The CMOP-E with a person at its centre, demonstrates OTs client-centered practice. The application of the CMOP-E to Mrs. Bs case study demonstrates the dynamic and interdependent relationships between all aspects of environment and occupation. Through applying this model to Mrs. Bs case study, it is evident that practice is strongly based in theory.

Kristina Laycock ICT and My Everyday Life :: ICT Essays

This report is going to be based on the different technologies I use at home, at school, with friends and at work. I am going to evaluate the extent of my needs for these technologies. Below is a list of the technologies I use at home, school and work: Home School Work Internet Internet Touch Screen Email Mobile Telephone Mobile Telephone SMS (Simple Message Service) Smart Boards SMS (Simple Message Service) WAP (Wireless Application Protocol) Lap top Mobile Telephone Email DVD’s SMS (Simple Message Service) Teletext PDA’s (Personal Digital Assistants) The Internet: I use the Internet to communicate with friends and family at home by visiting chat rooms on-line, it is very efficient and is cheaper than a phone call. I don’t just use the Internet for social reasons; I use it for schoolwork and coursework. The Internet helps adults as well as children; you can do research on just about anything by using search engines. I also use the Internet for revision there are many different sites you can visit that helps you with last minute revision. Email: emailing is another good way of communicating with people and having a laugh. I use my email account to contact teachers as well as friends to get some revision work sent to me, when I am not at school or during the holidays. I also use it to get coursework marked, it saves the waste of paper – I just print off the finishing copy! Mobile telephones: mobile telephones are a way of contacting family and friends when you are out and about; they are also great if you need to contact someone in an emergency, i.e. emergency services. However, there are a few disadvantages with mobile telephones; in certain areas (on top of hills, under bridges etc) you can loose reception on your mobile telephone, which means you are unable to make or receive calls. Also you have to make sure the battery is charged, because if it is not your mobile will go dead and therefore you will be unable to use it. I use my mobile constantly to make arrangements with friends and to keep in touch with family; I don’t know what I would do without it. My mobile also comes in use when I am at work on a weekend; I use it to contact my mum to tell her what time I need picking up. I also use it to keep in contact with my boss so she can tell me if she wants me to work extra hours or if I don’t need to work. SMS (Simple Messaging Service): SMS is a cost efficient service set up so the public can communicate with each other through text.

College Admissions Essay: Expressing Creativity through Mathematics :: College Admissions Essays

Expressing Creativity through Mathematics After his visit to a Shell Research Laboratory, my high school teacher in math told us in class that he was so happy with his education, because mathematics had helped him to understand the explanations and demonstrations that had been given by the Shell researchers. He said, "If you master mathematics then you can understand everything." That was certainly an exaggeration, but it nevertheless sounded like a golden message. Since I definitely wanted to have a better understanding of what was going on around me, mathematics seemed the obvious way to go. Also, if it was not much beyond high school math, then it was pretty easy in addition. What could one wish more? So I enrolled in every advanced math class offered in our high school. Pretty soon I discovered that mathematics was much more than a set of principles that helped one to solve intellectual riddles. It was not a finished system that one could aim to master after some limited time, but it was really a way of thinking, a means of expressing creativity: endless, an old established science, but still fresh and with undiscovered green meadows, nearby and far away. I also learned that mathematics was more than merely an intellectual activity: it was a necessary tool for getting a grip on all sorts of problems in science and engineering. Without mathematics there is no progress. However, mathematics could also show its nasty face during periods in which problems that seemed so simple at first sight refused to be solved for a long time. Every math student will recognize these periods of frustration and helplessness. My first opportunity to use math outside the academic world was in my part time job with United parcel Service. It was an eye-opener for me in that mathematical techniques, in combination with computers, could be used for solving very complicated real-life problems, such as predicting and controlling the continuos flow of 300 million packages per day. I was deeply impressed by the numerical masterpieces of Jim Gilkinson and Dick Marga, the project managers. They led the way in showing how one could overcome some serious limitations of computers for solving linear systems of equations.

Is Death of a Salesman A Modern Tragedy? Essay

In â€Å"Death of a Salesman†, the main character Willy Loman is epitome of a tragic hero as he is surrounded by various elements of tragedy. These Elements strip him of his dignity as he struggles to clinch his rightful position in the world. Arthur Miller uses corrupted society, a bad view of success, and delusional dreams, to create a path to Willy’s downfall. Willy’s destruction is calamitous, and did not have to happen. He had many opportunities to live a good life that he just failed to grasp, and he would get lost in a moment of joy. The intercity of this tragedy comes from the actual viewing of these failed attempts in finding happiness and a good life. One of the main forces that destroyed Willy Loman, is Willy Loman himself. Despite all other elements of tragedy in the story, Willy ultimately destroys himself, as his tragic flow slowly kills his existence. Willy enormously cogitates the concept that connections, and linked pasts can provide him with the future, as he as a salesman desires. Willy’s perception of what he could be, or should be, contradicts what he actually is. He sees himself as a success. However, we see Willy as a tired old salesman with a vintage view of society. Willy’s entire identity is tied up with an image of what a salesman should be. One of the most important causes of Willy’s suffering is the great villain of most modern writing in the realist vein – Society. Willy Loman is constantly trying to find the key to progressing into a genuine success, but the society prohibits his discovery. He suffers from the obsession of how he is observed by other people, and he blames his lack of victory, and a diversity of shallow personal traits like his weight: â€Å"I’m fat†¦.a salesman I know, as I was going to see a buyer, I heard him say something about walrus.† The fact that people do not take him seriously: â€Å"I know it, when I walk in, they seem to laugh at me.† His wardrobe: â€Å"I know I got to overcome it. I am not dressing to advantage maybe. The control of the amount of talking he does: â€Å"I don’t k now why – I can’t stop my self – I talk too much. A man ought to come in a few words. One thing about Charley, he is a man of a few words, and they respect him. † He uses all those excuses to explain his failure. In all reality, much of his failure results from his inability to recognise he world for what it really is – the professional world no longer dependant on contacts, or smooth talking, but focuses on specially skilled knowledgeable citizens. Willy Loman is a dreamer caught in a society ruled by machinery, rivalry, and the standard of getting ahead at any cost. In Willy’s early years as a salesman, success could be achieved by personality, kindness, and honesty alone. In a later years of his career, a salesman’s success comes to all those who are equipped with training and specialty. This is what Willy claims. Because Willy does not recognise these changes in terms of success, and it is at loss for those qualities, he is doomed to a failure in a world that demands such qualities. For his customers he struggles to be jovial yet dignifi ed salesman. For his sons he tries to be the firm, yet indulgent and protective father. For his wife, he wishes to be ever dependable breadwinner. He feels that in order to make success, he must be responsive to the demands of others, and make a good impression. He longs to be not just liked, but well liked, and he thinks this is a key to success in America. He longs to be like Ben, his brother, who has a life story that consists of: â€Å"I walked into the jungle, I was seventeen. When I walked out I was twenty-one. And by God, I was rich.† Willy looks up to Ben a lot, but this might be another one of his illusions, which he has created in his head. We never find that out. One of the saddest aspects of this play is even as we know Willy’s view of success is twisted, and distorted. Willy feels betrayed because he can not achieve the goals society has set for him. We see that especially in his younger years. Willy has never been able to achieve these goals and become successful. Linda tells us this as she reveals: â€Å"I don’t say he is a great man. Willy has never made a lot of money. His name was never in the papers. He is not the finest character that ever lived†¦Ã¢â‚¬ ¦.A small man can just be as exhausted as a great man. Willy simply does not realise that personality and friendship are not enough to become who he dreams. This is evident as he is fired by his boss, and receives the information with disbelief: â€Å"I was just fired†¦.Imagine that†¦.I named him. Willy convinces Biff that anyone confident enough, gorgeous, and born leader, such as Biff himself has the right to set the rules in life. Willy is convinced th at he is famous because of his career. He talks of going to New England on a summer trip and explains to his boys that: â€Å"they know me up and down in new England. I have friends. I can park my car in any street in New England, and the cops protect it like their own.† When he refers to his yet to come funeral, he proudly insists: â€Å"That funeral will be massive. They’ll come from Maine, Massachusetts, Vermont, New Hampshire. All the old timers with the strange licence plates – that boy will be struck. He has never realised – I am known.† The truth is that nobody showed up for his funeral, but his family and two friends. Willy even gets caught in a delusion of forming his own business one day: â€Å"Someday, I’ll have my own business, and I’ll never have to leave home any more.† For a disillusioned salesman in his sixties who can hardly complete simple tasks such as driving the mile down the road, this dream is on a brink of impossible. Willy refuses to realise that his sons are not all he has envisaged. Even as Biff tries to tell his father that he has failed miserably at an interview with Bill Oliver, Willy refuses to believe him, and even conjures up on imaginary lunch date to finalise Biff’s â€Å"success.† Eventually it is Biff who develops a keen understanding of his father, and urges Willy to drop the dreams which are holding him back, and threatening to destroy his life as he cries: â€Å"Willy you take that phoney dream, and burn it before something happens!† Willy is broken by what is false within him. He has been betrayed by the dreams that he invented for himself, but can not achieve. Every dream he has ever made for himself seems to have been pulled out from underneath him, leaving him floored and desperate. He longs for something to hold on to in life. He longs for something to make his life worth living. Willy spends much of his life dreaming, and though he brings much of his terror on himself by his dreams, a piercing sympathy rips through one’s heart as he completely lets go of life. After his death, Charley attempts to justify Willy’s constant and unrealistic dreaming by remarking â€Å"Nobody dast blame this man. You don’t understand: Willy was a salesman. A salesman is got to dream, boy. It comes with the territory† In the end, Willy’s tragedy lies as much in the bringing down of his dreams as in the bringing down of the man. In some curious way, his dreams just might have been the best part of the man. Willy’s other son, Happy, determines to make his fathers dreams come true one way or the other as he boldly states that â€Å"I’m gonna show you and everybody else that Willy Loman did not die in vain. He had a good dream. It’s the only dream you can have – to come out number-one man. He fought it out here, and this is where I’m gonna win it for him†. There is a bit of truth to this statement: Willy Loman did not die in vain – not completely anyway. Even though Willy was truly ready to lay down his own life, his death is seen as a triumphant revenge upon the dreams that have broken him. On his funeral, those who loved Willy, take a moment to pay a tribute to him. Biff proclaims the mistakenness of Willy’s ambitions. Having learned from his fathers sacrifice, he decides to head west again. Happy, as feeling in duty to his father, will stay behind in the hope of licking the system on its own terms. Charley rhapsodises the meaning and value that survives the defeat; and Linda utters the simple human grief of one who, without thought, loved. Linda is traumatized by Willy’s death. His suicide has baffled her; She cannot understand why he ended his own life. Just as Willy, she has struggled in life as she continuously attempted to keep the family together with what little money Willy brought home. She spends much time and effort adding up bills, encouraging Willy to ask for a â€Å"well-deserved† raise, and overall making ends meet. She has finally managed to pay off the house payments as the play draws to a close. â€Å"Help me, Willy, I can’t cry. It seems to me that you’re just on another trip. I keep expecting you. Willy, dear, I can’t cry. Why did you do it? I search and search and I can’t understand it, Willy. I made the last payment on the house today. Today, dear. And there’ll be nobody home. We’re free and clear. We’re free. We’re free†¦ We’re free†¦Ã¢â‚¬ . It seems that Linda, like the reader, understands that Willy’s disintegration did not have to happen. She realizes that the downfall has been tragic, just as Willy’s life. She knows that the joy and the promise of the right way of life were there for Willy, and she knows that he just missed it. But, despite the grieving done by his family, Willy finally achieves one of his numerous dreams as he is remembered, loved, and a guide for people. Though Willy’s life was a life of frustrated hopes and unfulfilled dreams, it is why we revere this tragedy in the highest. Tragedy is the most accurately balanced portrayal of the human being in his struggle for happiness, and that is why tragedies truly portray us. And that is why tragedy must not be diminished: It is the most perfect means we have of showing us who and what we are. As we watch Willy struggle for himself throughout this tragedy, we come to understand what we must strive to become.

Martin Luther King Jr. Paper

Juan Lopez Professor Lonsdale English 1A 27 September 2012 America’s Freedom Call We as all Americans know of our past history, Americans were never given the same rights as every person living in America. America was known for its unequal, unjust laws, and segregation.As a result of the segregation occurring in American, African Americans were the most involved ethnic group fighting for equal rights, as defined by in the Declaration of Independence by Thomas Jefferson: â€Å"We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain inalienable rights, that among these are Life, Liberty, and the pursuit of Happiness† (80). Throughout our history we have had extraordinary civil rights leaders such as Frederick Douglass, John F.Kennedy, Abraham Lincoln, and Malcolm X who have sacrificed their lives for equal rights in the United States of America. Between the years 1958 to 1968, it was Martin Luther King J r. who engaged in fighting for the equal rights of African Americans, primarily in the South. King was the most influential civil rights leader in America for a long period of time. During his struggle for civil rights, he was arrested in Birmingham, Alabama for a program of sit-ins at luncheon counters without a permit.As a result of this incident, King composed a famous letter, â€Å"Letter from Birmingham Jail† in response to the criticism he received after these nonviolent demonstrations. King states in the very beginning his reasoning for writing the letter as a response to the clergymen’s statement calling his â€Å"present activities unwise and untimely†(King 213). He wanted to make clear the misunderstandings from his fellow clergymen. The purpose in his letter was to clarify to them his reasons for engaging in the demonstration.To get his reasoning across to his fellow Clergymen, King uses two compelling rhetorical strategies of logos and pathos to demo nstrate his intelligence and ability to compose a direct argument for the clergymen of Birmingham. He refutes all the points that his fellow clergymen make by using logical reasoning and tells them about the unjust situation in Birmingham. In his accomplishment of the letter, King seeks to convince his fellow clergymen as well as the entire world that civil rights should be granted to African Americans along with ending segregation once and forall.King’s use of logos makes his argument strong and evident. He ratifies facts that cannot be argued. Throughout the letter he supports his technique very adequately; for example explaining the difference between a just and unjust law. In his letter King states, â€Å"Let us consider a more concrete example of just and unjust laws. An unjust law is a code that a numerical or power majority group compels a minority group to obey but does not make binding on itself. This is difference made legal. By the same token, a just law is a code that a majority compels a minority to follow and that it is willing to follow itself.This is sameness made equal† (219). Here King is basically saying that if a majority does not follow a law, but the law is enforced on a minority, it would be difficult to argue that this is a fair ruling. Any â€Å"just† law is obligated and must be followed by all the citizens of that country, majority or minority. Another vivid logic reason in his letter is when King remarks on the crooked methods that were being used to prevent African Americans from voting in public elections. As he states, â€Å"Who can say that the legislature of Alabama which set up that state’s segregation laws was democratically elected?Throughout Alabama all sorts of devious methods are used to prevent Negros from becoming registered voters, and there are some counties in which, even though Negroes constitute a majority of the population, not a single Negro is registered. Can any law enacted under su ch circumstances be considered democratically structured? † (219-220). The United States having a establish legal system set up on the bases of representative democracy, meaning that the population of that country elect officials and by default, choose who makes the laws.By delivering his used of logos, if a majority of the people is not granted to take democratic action, therefor the United States â€Å"legal system† is failing its goal. Another very effective rhetorical strategy that King uses to convince his audience his claim is pathos. King attempts to create a feeling of sympathy and proximity for the civil rights cause. To establish this point, he uses in his letter an emotional and powerful complex example to relate to the emotion felt by the African American, patiently waiting for their Constitutional rights.It states as follow, â€Å"But when you have seen vicious mobs lynch your mothers and father .. when you have seen hate-filled policemen curse, kick, and even kill your black brothers and sisters; when you suddenly find your tongue twisted and your speech stammering as you seek to explain to your six-year-old daughter why she can’t go to the public amusement park and see her beginning to distort her personality by developing an unconscious bitterness toward white people; when you are forever fighting a degeneration sense of â€Å"nobodiness†Ã¢â‚¬â€ then you will understand why we find it difficult to wait† (King 217-218).King acknowledges and understands that people who have never experienced segregation might not be able to fully put themselves in the position to make a fair decision through the use of pathos. He describes seeing police officers, people who are supposed to uphold the law killing African Americans or failing to enforce order when mobs make it their duty to lynch an innocent mother because of their skin color. He uses allusion as in â€Å"your tongue twisted and your speech stammering† in d escribing the disgrace he felt as a father having to tell his six-year-old daughter that she was â€Å"not good enough† to go the segregated amusement park (218).Kings use of pathos helps visualize and focus his audience on the words and imagine a clear mental image. Lastly, through the use of specific rhetorical strategies such as logos and pathos, Martin Luther King Jr. effectively refuted the clergymen’s argument. Kings success was also due to his unique strategy of directly addressing his audience, the clergymen, to create the basis of his argument. From that point on, King was able to slowly blame and refute the clergymen’s claims.This effective method allowed King to present his counterargument with more conviction and authority and achieve his goal: justifying the reasons for nonviolent demonstrations and ending segregation once and forall. Works Citied Jefferson, Thomas. â€Å"The Declaration of Independence. † A World of Ideas. Ed. Lee A. Jacobus . Boston: Bedford/St. Martin’s, 2010. 77-85. Print. King Jr. , Martin Luther. â€Å"Letter From Birmingham Jail. † A World of Ideas. Ed. Lee A. Jacobus. Boston: Bedford/St. Martin’s, 2010. 211-231. Print.