Children of the Abbey by Roche Essay -- Regina Maria Roche Gothic Genr

The Children of the Abbey as a Hybrid Text Regina Maria Roche’s 1796 The Children of the Abbey is a text that crosses the boundaries of genre: it at once engages with the conventions of the Gothic novel, the pedagogical text, the national tale, the novel of Sensibility, and travel literature. As an Irish-born British woman writing this novel during the politically volatile 1790s, Roche’s historical and temporal location may provide an explanation for her development of this hybrid novel. In its employment of multiple and potentially contradictory genres, The Children of the Abbey may be interpreted as Roche’s reflection of and engagement with the instability of her time. In order to more effectively understand the political and social implications of Roche’s work, it is necessary to disentangle the various literary strands within the novel, identify how each genre functions, and consider the possible reasons why it has been woven into the text. What is Genre? From Literature as Discourse: Textual Strategies in English and History: Genre thus refers to systems of classifications of types of texts. Genre classifications are part of a broader social system of classifications, not all of which use the term 'genre', but which have the same essential characteristics and functions. Genres (or types of texts) are classified in terms of both the semiosic dimension (primarily conditions of production and reception, matching kinds of author and writing to kinds of reader and readings) and the mimetic dimension (primarily what topics, themes or meanings will be included and what will be excluded, and their modality, i.e. how they are understood to relate to the real world). Sometimes the mimetic dimension is emphasized in a definition... ...plicated by â€Å"its actual [inclination] towards emotion that exceeded utility† (89). As Regina Maria Roche’s novel may arguably be connected to both the genre of the pedagogical text as well as to the novel of sensibility, tension may arise in the text as the two potentially-conflicting genres are both engaged with. Hybrid novels, therefore, may provide both clarification as well as confusion in the interpretation they encourage of their readers. Works Cited: Hodge, Robert. Literature as Discourse: Textual Strategies in English and History. Cambridge: Polity Press, 1990. Manning, Susan. "Sensibility." The Cambridge Companion to English Literature, 1740-1830. Eds. Thomas Keymer and Jon Mee. Cambridge: Cambridge University Press, 2004. Moynahan, Julian. Anglo-Irish: The Literary Imagination in a Hyphenated Culture. Princeton, NJ: Princeton University Press, 1995.

Succubus Shadows Chapter 10

I woke to blackness. Blackness and suffocation. I was in a small room, a box really, crammed in so tightly that my arms wrapped around me and my knees were drawn to my chest. Weirdly, my limbs seemed too long. My whole body did, actually. My body changed all the time with shape-shifting, but this wasn't what I'd been wearing with Roman. This was different. For a moment, that horrible space seemed to close in around me. I couldn't breathe. With great effort, I tried to calm myself down. There was enough air. I could breathe. And even if I couldn't have, it wouldn't have mattered. The fear of suffocation was a human instinct. Where was I? I didn't remember anything after the bedroom. I recalled the light and the music and Roman bursting in too late. I'd felt his power build up, like he was about to take action, but I hadn't seen the conclusion. And now, here I was. Before my eyes, two identical luminescent forms suddenly appeared, like torches being lit in the darkness. They were tall and thin, with willowy, androgynous features. Black cloth wrapped around their bodies, seeming to glow with a light of its own, and long black hair flowed from their heads, blending in and losing itself in the cloth. Their eyes were a startling radioactive blue, too blue for any human, and seemed to bug out of those long, pale faces that were neither male nor female. It was weird too because it was like they stood before me in a large room, as though they were ten or so feet away from me. Yet, I was still crammed into the confines of my box and its unseen walls, barely able to move. Aside from them, everything else was pure, unfathomable blackness. I couldn't even see my own body or any other features of the room. My brain couldn't get a grip on this spatial hypocrisy. It was all too surreal. â€Å"Who are you?† I demanded. â€Å"What am I doing here?† I saw no point in wasting time. The duo didn't answer right away. Their eyes were cold and unreadable, but I saw a bit of smugness in their lips. â€Å"Our succubus,† one said. His – my brain decided to assign them a gender – voice was low and raspy, with a lisp that reminded me of a snake. â€Å"Our succubus at last.† â€Å"Harder to catch than we thought,† added the other, voice identical. â€Å"We thought you would have succumbed long ago.† â€Å"Who are you?† I repeated, anger kindling. I squirmed in a futile attempt at escape. My confines were so tight that I didn't even have the space to beat my fists against the nonexistent walls. â€Å"Mother will be pleased,† the first one said. â€Å"Very pleased,† confirmed the other. The way they alternated phrases reminded me of how Grace – Jerome's former lieutenant demoness – and Mei used to interact. That had had a charming, moderately creepy The Shining feel to it. This†¦this was something else. Something terrible and icy, burning my senses like nails on a chalkboard. â€Å"Mother will reward us,† the first said. I decided to call them One and Two for the ease of mental processing. â€Å"She will reward us when she is free, when she escapes the angels.† â€Å"Who's your mother?† I asked. A troubling suspicion was beginning to form. â€Å"We will avenge her until she can do it herself,† said Two. â€Å"You will suffer for betraying her.† â€Å"Nyx,† I murmured. â€Å"Nyx is your mother. And you're†¦you're Oneroi.† They said nothing, which I took as affirmation. My head reeled. Oneroi? How had this happened? Oneroi were a type of dream demon – but not demons like the ones I interacted with. Heaven and Hell were forces in the universe, but there were others, others that mingled with and often ran parallel to the system I existed in. Nyx was one such force, an entity of chaos from the beginning of time, when the world had been created from disorder. And the Oneroi were her children. I knew a few things about them but had never seen them – or ever expected to. They visited dreams, feeding on them. Nyx had done this too, but the manner had been a little different. She had manipulated people into seeing the future in their dreams – a twisted version that didn't unfold the way the dreamer expected. It had led to crazy actions that spawned chaos in the world, allowing her to grow stronger. She'd also fed on my energy directly, taking it in its purest form and distracting me with dreams of my own. But Oneroi fed on the dreams themselves, deriving their power from the emotions and realities fueled by the dreamer. My understanding was that they also had the power to manipulate dreams but rarely had reason to. Humans provided plenty of hopes, dreams, and fears on their own. They needed no outside help. That was the extent of my Oneroi knowledge, but it was enough. Feeling even a little informed about the situation empowered me. â€Å"That's what this is about? You took me because of Nyx? I wasn't the one who caught her. The angels did.† â€Å"You helped them,† said One. â€Å"Led them to her.† â€Å"And then refused to save her,† added Two. With a pang, I remembered that horrible night, when Carter and his cronies had recaptured Nyx after her devastating free-for-all in Seattle. An angel had died that night. Another had fallen. And Nyx had promised to show me a future and family with a man I could love, if only I would give her the rest of my energy and let her break free. â€Å"She was lying,† I said. â€Å"She was trying to make a deal when she had nothing to offer.† â€Å"Mother always shows the truth,† said One. â€Å"Dreams can be lies, but truth is truth.† I decided pointing out the redundancy of that statement was useless. â€Å"Well, I'm sure she'll appreciate the Mother's Day gift, but you're wasting your time. Jerome will come for me. My archdemon. He won't let me stay here.† â€Å"He won't find you,† said Two. This time, I could definitely see smugness. â€Å"He can't find you. You no longer exist for him.† â€Å"You're wrong,† I replied, with a bit of my own smugness. â€Å"There's no place in this world you can take me where he can't find me.† That was, of course, assuming they hadn't managed to hide my immortal aura. To my knowledge, only greater immortals could do that. I wasn't sure where Oneroi fell in. One actually smiled. It was not attractive. â€Å"You aren't in the world. Not the mortal world. This is the dream world.† â€Å"You're one of many dreams,† Two said. â€Å"One dream among all the dreams of humanity. Your essence is here. Your soul. Lost in a sea of countless others.† My fear stopped me from offering commentary on his sudden shift into metaphor. The metaphysics of the universe and its layers and creation were beyond me. Even if someone had explained them to me, it was something past the comprehension of a mortal, lesser immortal, or any other being who was made-not-born. I had enough understanding, though, to recognize some truth in their words. There was a world of dreams, a world without form with nearly as much power as the physical one I lived in. Was it possible to trap my essence in it and hide me from Jerome? I was unsure enough that I couldn't write it off. â€Å"So, what?† I asked, attempting haughtiness but mostly sounding as uneasy as I felt. â€Å"You'll just keep me in this mime box and feel better about yourselves?† â€Å"No,† said One. â€Å"You're in the world of dreams. You will dream.† The world dissolved again. It was my wedding day. I was fifteen years old, jailbait in the twenty-first century but more than old enough to be a wife in fourth-century Cyprus. And more than tall enough too. The Oneroi had sent me into a memory or a dream of a memory or something like that. It was a lot like the dreams Nyx had put me in. I was watching myself like a movie†¦yet at the same time, I was in myself, experiencing everything quite naturally. It was a disorienting feeling, made worse by the fact that I had never wanted to see my human self again. Selling my soul had come with obvious downsides, but there had been perks too: the ability to shape-shift and never again have to wear the body that had committed such grievous sins in my mortal life. Yet, there I was, and I was unable to look away. It was like being in A Clockwork Orange. My younger self had been about five feet ten inches tall by today's standards and a giant of a woman in an era where people had been shorter. When dancing, I'd been able to put that long body and all those limbs to good use, moving gracefully and effortlessly. In everyday life, though, I'd always been painfully conscious of my height, feeling awkward and unnatural. Watching my old self walk now, from the outside, I was astonished to see I didn't appear as clumsy as I'd always believed. That didn't negate the revulsion I felt at seeing the thick, waist-long black hair or passably pretty face. Still, it was kind of a surprise to watch reality (if this was reality) and memory meshed. It was just after dawn, and I was carrying a large amphora of oil out to a storage house beyond my family's home. My steps were light, careful not to spill any of it, and I again marveled at the way I moved. I set the vessel down beside others inside the shed and started to head back toward the house. I'd barely taken two steps outside when Kyriakos, my husband-to-be, appeared. There was a covert expression on his face, one that instantly told me he had sneaked over here to find me and knew perfectly well that he shouldn't have. It was an uncharacteristically bold move for him, and I chastised him for the indiscretion. â€Å"What are you doing? You're going to see me this afternoon†¦and then every day after that!† â€Å"I had to give you these before the wedding.† He held up a string of wooden beads, small and perfectly formed with tiny ankhs engraved on them. â€Å"They were my mother's. I want you to have them, to wear them today.† He leaned forward, placing the beads around my neck. As his fingers brushed my skin, I felt something warm and tingly run through my body. At the tender age of fifteen, I hadn't exactly understood such sensations, though I was eager to explore them. My wiser self today recognized them as the early stirrings of lust, and†¦well, there had been something else there too. Something else that I still didn't quite comprehend. An electric connection, a feeling that we were bound into something bigger than ourselves. That our being together was inevitable. â€Å"There,† he said, once the beads were secure and my hair brushed back into place. â€Å"Perfect.† He said nothing else after that. He didn't need to. His eyes told me all I needed to know, and I shivered. Until Kyriakos, no man had ever given me a second glance. I was Marthanes' too-tall daughter after all, the one with the sharp tongue who didn't think before speaking. But Kyriakos had always listened to me and watched me like I was someone more, someone tempting and desirable, like the beautiful priestesses of Aphrodite who still carried on their rituals away from the Christian priests. I wanted him to touch me then, not realizing just how much until I caught his hand suddenly and unexpectedly. Taking it, I placed it around my waist and pulled him to me. His eyes widened in surprise but he didn't pull back. We were almost the same height, making it easy for his mouth to seek mine out in a crushing kiss. I leaned against the warm stone wall behind me so that I was pressed between it and him. I could feel every part of his body against mine, but we still weren't close enough. Not nearly enough. Our kissing grew more ardent, as though our lips alone might close whatever aching distance lay between us. I moved his hand again, this time to push up my skirt along the side of one leg. His hand stroked the smooth flesh there and, without further urging, slid over to my inner thigh. I arched my lower body toward his, nearly writhing against him now, needing him to touch me everywhere. â€Å"Letha? Where are you at?† My sister's voice carried over the wind; she wasn't nearby but could no doubt show up if she sought me. Kyriakos and I broke apart, both gasping, pulses racing. He was looking at me like he'd never seen me before. Heat burned in his gaze. â€Å"Have you ever been with anyone before?† he asked wonderingly. I shook my head. â€Å"How did you†¦I never imagined you doing that†¦Ã¢â‚¬  â€Å"I learn fast.† We stood there, locked in time for a moment. Then, he pulled me back to him, his lips crushing mine once more. His hand returned to my dress, hiking it up over my waist. He held my bare hips firmly and pressed himself to my body. I felt him hard against me, felt my body respond to something that seemed both new and natural at the same time. The fingers of one hand slid over, feeling the wetness between my thighs. His touch felt like fire, and I moaned, wanting him to stroke me there more and more. Instead, he turned me around so that I faced the wall. With one hand, he kept the skirt of my dress up, and with his other, I had the vague impression of him fumbling with his clothes. Then, a moment later, he pushed himself into me. It was a shock, like nothing I'd experienced before. I'd meant what I'd said earlier: that I'd never been with another man. And even wet with desire, it still hurt to have him inside me that first time. He seemed too big and me too small. I cried out at the pain, an odd sort of pain that didn't diminish the fire that had been building within me. His thrusts were hard and urgent, no doubt fueled by feelings he'd long been holding back on. And after a while, the initial pain seemed irrelevant. Pleasure began to grow as he moved into me over and over, and I adjusted myself so that I bent over more and let him take me more deeply. He thrust more forcefully, and I again exclaimed in surprise and blissful pain. I heard a muffled groan, and then his body shuddered as he spent himself, his movements at last slowing down. When he was done, he pulled out and turned me around. It was the first time I'd seen him naked in all of this. There was blood and semen on both of us, which I tried to clean off my thighs before finally just letting my dress fall back over me. I'd be bathing before the wedding anyway. Kyriakos had just finished putting his clothes back on when we heard my name again. This time, it was my mother. He and I stared at each other in wonder, scarcely believing we'd just done what we had. I was aglow with love and the joy of sex and a whole host of new feelings I wanted to explore in more detail. Fear of my mother drove us apart. Stepping back, he grinned and pressed my hand to his lips. â€Å"Tonight,† he breathed. â€Å"Tonight we†¦Ã¢â‚¬  â€Å"Tonight,† I agreed. â€Å"We'll do it again. I love you.† He smiled at me, eyes smoldering, and then hurried off before we were caught. I watched him go, my heart filled with joy. The rest of the day went by in a dreamy haze, partially because of the flurry of wedding activity and partially because of what had happened with Kyriakos. I'd had a vague idea of what would occur on our wedding night, but my imaginings had never come close to the real thing. I practically danced my way through the rest of the day, impatient to truly be Kyriakos' wife and make love again and again. The wedding was taking place at our home, so there was enough work (along with my own preparation) to almost keep me distracted. As the ceremony time grew nearer, I was bathed and dressed in my wedding gown: an ivory tunic of fine material, wrapped with a flame-red veil. I had to kneel a little for my mother to adequately adjust the veil, earning a number of jokes about my height from my sister. It didn't matter. Nothing mattered except me and Kyriakos being together forever. Soon, guests began arriving, and my heart rate increased. Anticipation and the day's heat made me sweat, and I fretted about ruining the dress. Someone called out that Kyriakos and his family were approaching. The excitement in the air grew palpable, shared by everyone now. Yet, when Kyriakos arrived, he barged right into the house, going against the traditional procession and stately ceremony that should have taken place. For half a second, some girlish part of me thought that Kyriakos – in his burning love for me – couldn't wait through the drawn out process of a ceremony. I was quickly enlightened. With a face flushed with fury, he marched up to my father. â€Å"Marthanes,† Kyriakos growled, finger in my father's face. â€Å"You insult me if you think I'm going through with this wedding.† My father was clearly taken aback – not an easy thing to accomplish. People chastised me for my sharp tongue, but that was largely because I was a woman. I wasn't half as bad as my father, and he'd intimidated a lot of men twice his size. (It was a sad irony that while I was tall for a woman, my father was short for a man.) A few moments later, my father recovered his usual bluster. â€Å"Of course you are!† he exclaimed. â€Å"We've made the betrothal. We paid the dowry.† Kyriakos' father was there, and judging from his fine clothes and surprised expression, this was all news to him too. He set a hand on his son's shoulder. â€Å"Kyriakos, what's this all about?† â€Å"Her,† said Kyriakos, pointing his finger at me. His gaze swung to my face, and I flinched from its force, as though I'd been slapped. â€Å"I will not marry Marthanes' whore of a daughter!† There were gasps and murmurs from those around us. My father's face turned bright red. â€Å"You're insulting me! All of my daughters are chaste. They're all virgins.† â€Å"Are they?† Kyriakos turned back to me. â€Å"Are you?† All eyes turned to me, and I blanched. My tongue felt dry. I couldn't muster any words. My father threw up his hands, clearly exasperated by this nonsense. â€Å"Tell them, Letha. Tell them so that we can end this and get our dowry back.† Kyriakos had a dangerous glint in his eyes as he studied me. â€Å"Yes, tell them so that we can end this. Are you a virgin?† â€Å"No, but – â€Å" Chaos erupted. Men shouted. My mother wailed. The guests were a mix of stunned shock and delight over a new scandal. Desperately, I tried to find my voice and shout above the din. â€Å"It was only with Kyriakos!† I cried. â€Å"Today was the first time!† Kyriakos turned away from where he'd been telling my father the dowry would not be returned. He glanced over at me. â€Å"It's true,† he said. â€Å"We did it today. She spread herself as easily and knowingly as any whore, begging me to take her. There's no telling how many men she's offered her body up to – or how many she would even when married.† â€Å"No!† I exclaimed. â€Å"It's not true!† But no one heard me. There was too much arguing now. Kyriakos' family was raging over the insult. My family was bristling against the name-calling, and my father was trying his best to do damage control, though he knew perfectly well that my own admission had damned us. Premarital sex was not so out of the ordinary for lower classes, but as a tradesman's family, we modeled a lot of our customs on our betters among the nobility – or pretended to. A girl's virtue was a sacred thing, one that reflected on her father and family as a whole. This disgraced all of them – and had serious repercussions for me. As Kyriakos well knew. He had moved toward me so that I could hear him through the noise. â€Å"Now they all know,† he said in a low voice. â€Å"They all know you for what you are.† â€Å"It's not true,† I said through my tears. â€Å"You know it isn't.† â€Å"No one will have you now,† he continued. â€Å"No one worth having. You'll spend the rest of your life on your back, spreading your legs for whoever comes along. And ultimately, you'll be alone. No one will have you.† I squeezed my eyes shut to try to stop the tears, and when I opened them again, I was surrounded in blackness. Well, not entirely in blackness. Before me, the Oneroi glowed more brightly than before, lit from within by that eerie light. â€Å"An interesting dream,† said Two, with what I think passed for a smile. â€Å"One that gave us much to feed on.† â€Å"It's not true,† I said. There were tears on my cheeks in waking, just as there had been in sleep. â€Å"That wasn't true. It was a lie. That wasn't how things happened.† The dream was muddling my brain, almost making me question myself, but my own memories soon won out. I remembered that day. I remembered kissing Kyriakos by the building and how we'd then gone separate ways, strengthened by the knowledge that we would soon be man and wife, making our wedding night that much sweeter. And it had been. It hadn't been rushed against a wall. We'd taken time to learn and explore each other's bodies. He'd been on top of me, staring into my eyes – not my back. He'd told me I was his life. He'd told me I was his world. â€Å"It was a lie,† I repeated more firmly, fixing the Oneroi with a glare. â€Å"That's not how it happened. That's not how it happened.† I knew I was right, yet I felt the need to keep repeating it, to make sure the words were true. One gave a small shrug, unconcerned. â€Å"It doesn't matter. I told you: Mother shows the truth. But dreams? Dreams are dreams. They can be truth or lies, and all provide food for us. And you?† He smiled a smile that was the mirror of his twin's. â€Å"You will dream†¦and dream†¦and dream†¦Ã¢â‚¬ 

Reyita Book Review Essay - 1155 Words

Reyita Book Review Part I: Summary Reyita tells the story of Maria de los Reyes Castillo Bueno, a black Cuban woman living through several pivotal moments in Cuban history as a member of perhaps the most disenfranchised group of people in Cuban society; Reyita was poor, she was black, and she was a woman. The story begins with a recounting of the story of Tatica, Reyita’s grandmother, and her trial of being abducted from her native Africa and brought to Cuba to be sold into slavery. Tatica’s story sets a precedent that is upheld by the next generations of her family of racial discrimination, struggle for survival and equality, and political activism. Reyita explains that her grandmother’s love of Africa instilled in Reyita a†¦show more content†¦Reyita’s next exposure to political activism and its potential power of destruction came when she was living with her aunt, Mangà ¡, who was the president of the Committee of Ladies for the Independent Coloured Party. Mangà ƒ ¡ participates and helps with the movement, only to have her shop burned to the ground, her life threatened, and then after she flees, she is found and arrested and sent to prison. Reyita is exposed to this sort of injustice throughout her entire life, due to her repeated close proximity to political leaders and activists. Reyita also faces race-based injustice and discrimination in her social life. This comes primarily in the form of her marriage. Reyita marries a white man, named Rubiera, which is seems was always an aspiration or plan of hers. She says I didnt want a black husband, not out of contempt for my race, but because black men had almost no possibilities of getting ahead and the certainty of facing lots of discrimination (p. 166). Unfortunately, Reyita’s marriage to Rubiera did not help her much in her struggle for survival and equality. Although Rubiera always had a job, the family still had to move around frequently, and Reyita often had to find ways to make extra money. Reyita’s main goal throughout her life is to make a better life for her children, which is why she resigns hersels to being â€Å"just a mother†. All of her children survive, except for her sons who are killed in conflicts, and although Rubiera was sometimes cold

Self-Contained Classrooms

Self-contained classrooms are classrooms specifically designated for children with disabilities. Self-contained programs are usually indicated for children with more serious disabilities who may not be able to participate in general education programs at all. These disabilities include autism, emotional disturbances, severe intellectual disabilities, multiple handicaps and children with serious or fragile medical conditions.  Students assigned to these programs have often been assigned to less restrictive (see LRE) environments and have failed to succeed, or they started in targeted programs designed to help them succeed. Requirements LRE (Least Restrictive Environment) is the legal concept found in the Individuals with Disabilities Education Act that requires schools to place children with disabilities most like the settings where their general education peers will be taught. School districts are required to offer a full continuum of placements from the most restrictive (self-contained) to the least restrictive (full inclusion.) Placements should be made in the best interest of the children rather than the convenience of the school. Students placed in self-contained classrooms should be spending some time in the general education environment, if only for lunch.  The goal of an effective self-contained program is to increase the amount of time that the student spends in the general education environment.  Often students in self-contained programs go to specials -- art, music, physical education or humanities, and participate with the support of classroom para-professionals.  Students in programs for children with emotional disturbances usually spend part of their day on an expanding basis in the appropriate grade level class.  Their academics may be supervised by the general education teacher while they receive support from their special education teacher in managing difficult or challenging behaviors.  Often, in the course of a successful year, the student may move from self-contained to a less restrictive setting, such as resource or even consult. The only placement more restrictive than a self-contained classroom is a residential placement, where students are in a facility that is as much treatment as it is education. Some districts have special schools made up of only self-contained classrooms, which might be considered halfway between self-contained and residential since the schools are not close to students homes. Other Names Self-contained settings, Self-contained programs Example: Due to Emilys anxiety and self-injurious behavior, her IEP team decided that a self-contained classroom for students with Emotional Disturbances would be the best place to keep her safe.

Supply Demand Paper Eco/365 - 1105 Words

Supply and Demand Simulation University of Phoenix May 9, 2013 ECO/365 - Principles of Microeconomics The Supply and Demand Simulation consist of microeconomics and macroeconomics concepts. The concepts are explained and how they apply to the principle of microeconomics and macroeconomics. The simulations presents shifts in the supply and demand curve, the rationale for the shift is given. Each shift is analyzed showing the effects of the equilibrium price, quantity, and decision making for the company presented. An explanation of the price elasticity affects the pricing strategy for consumers and company. In the simulation a neighborhood called Atlantis is used. Atlantis is a nice neighborhood with many amenities that†¦show more content†¦The price of rentals decreased to create less quantity that is available for rent creating an equilibrium and decrease in surplus. This is a hard decision to lower the price significantly but will continue to create revenue for the property management company while decreasing supply of vacancy. Microeconomics and macroeconomics concepts aide in the understanding on how they affect the shifts of supply and demand affect equilibrium price and quantity. Microeconomics focuses on supply and demand (Colander, 2010). A company would look at ways to increase production that could decrease their prices compared to competitors. This would adjust the equilibrium price of products by increasing the quantity that is available. This would allow the company the ability to pass price savings to consumers. Macroeconomics is used as the economy changes such as with inflation (Colander, 2010). Inflation would cause a company to have increase cost of materials in producing their product. This creates a change in quantity to be provided as supply has to be adjusted to meet the decrease of demand due to the economy affects on equilibrium price. Using the simulation as a guide the price elasticity of demand is reviewed to determine the effects of pricing strategies. Demand can either decrease or increase based on price of a product or service (Colander, 2010). Consumers tend to buy products were there is a decrease in price (Colander, 2010).Show MoreRelatedEco 365 Supply Demand Paper1082 Words   |  5 PagesSupply amp; Demand Simulation Erica Bradford ECO/365 June 19, 2013 Jeremy Alessandro Supply amp; Demand Simulation Goodlife Management is the sole provider of apartments available for rent in the city of Atlantis in which the supply and demand simulation provided by UPOX takes place. The simulation provides excellent, real-life examples of how the supply and demand curves may shift based upon various factors that occur within the market in Atlantis. The following details such examples asRead MoreSupply and Demand Simulation983 Words   |  4 Pages   ECO365 Supply and Demand Simulation Student Name ECO/365 – Principles of Microeconomics Instructor Name Date Introduction Supply and Demand is a phrase that every one hears in one way or another, Supply and demand phrase according to Colander, (2010) is the most used phrase by economist and the reason is because the phrase provides a good â€Å"off-the-cuff† answer for many question that have to do with economy. Example why are interest rates to Low? Because supply and demand. Why is GasolineRead MoreEco 365 Supply and Demand Simulation Essay855 Words   |  4 PagesSupply and Demand Simulation ECO/365 November 26, 2012 The purpose of this paper is to discuss the Supply and Demand simulation from the student website. The idea is to identify two microeconomic and two macroeconomic principles present in the simulation and to explain why these principles are categorized as macro or microeconomic. The paper will also determine one shift of the supply curve and one shift of the demand curve from the simulation, as well as why theseRead MoreAnalyzing Supply of Demand Simulation1042 Words   |  5 PagesAnalyzing Supply of Demand Simulation ECO/365 January 31, 2010 Analyzing Supply of Demand Simulation Supply and demand is a significant element of business procedures thus this paper will evaluate how supply and demand affects a business via a simulation provided by the University of Phoenix. In this paper, I will talk about the reasons for changes that occur in supply and demand. I will talk about how shifts in supply and demand influence the organization’s decision making processRead MoreSupply and Demand Simulation Paper886 Words   |  4 PagesSupply and Demand Simulation Paper ECO/365 Week 2 Individual Assignment February 25, 2013 Supply and Demand The analysis will identify two microeconomics and two macroeconomics principles or concepts from the simulation, and explain why each principle or concept is in the category of macroeconomics or microeconomics. The analysis will identify at least one shift of the supply curve, and one shift of the demand curve from the simulation and what causes the shifts. The analysis will showRead MoreApplying Supply and Demand Concepts1027 Words   |  5 PagesApplying Supply and Demand Concepts David Hodge ECO 365 April 29, 2013 Robert Watson Applying Supply and Demand Concepts The supply and demand simulation was a very helpful tool in understanding the effects of external factors on the supply and demand curves. Understanding this concept is fundamental in preparing for real life situations. I personally enjoyed the fact that the simulation was based on a real estate management company. I was able to understand and relate to the informationRead MoreEco-Products, Inc.7415 Words   |  30 PagesCAPSTONE CASE 1: ECO-PRODUCTS, INC. End-of-Case Assignments: Suggested Discussions and Analyses A. Describe Eco-Products’ early history (1990 through 2003). Would you view the firm during that period as being a life-style business, an entrepreneurial venture, or? Why? Steve Savage and his father founded the company in 1990 with the intent to provide eco-friendly paper and janitorial supplies. They chose to locate the business in Boulder, Colorado, a community known for its support of environmentalRead MoreCurrentmarketconditions798 Words   |  4 PagesCurrent Market Conditions Competitive Analysis Principles of Microeconomics ECO 365 David Norcross April 13, 2015 Current Market Conditions Competitive Analysis In this paper, Team A is participating in a strategic planning group creating a new product at General Motors. The following is a competitive market analysis on the potential of our new 2016 Chevy Volt’s success. We will be focusing on our competitor Toyota and their Prius lineup. Additionally, we will summarize our target consumerRead MoreEco-Products, Inc.7406 Words   |  30 PagesCAPSTONE CASE 1: ECO-PRODUCTS, INC. End-of-Case Assignments: Suggested Discussions and Analyses A. Describe Eco-Products’ early history (1990 through 2003). Would you view the firm during that period as being a life-style business, an entrepreneurial venture, or? Why? Steve Savage and his father founded the company in 1990 with the intent to provide eco-friendly paper and janitorial supplies. They chose to locate the business in Boulder, Colorado, a community known for its supportRead MoreFIN 370 Week 3 Learning Team Assignment1676 Words   |  7 PagesLaninga Spencer ECO/365 December 4, 2013 H. Todd Young Learning Team: Current Market Conditions Competitive Analysis This paper will give a short history and descriptions of Apple’s I Pad minicomputer. It will also give factors that affect demand, supply, and equilibrium prices in the market. Issues that Apple faces that affect its competitiveness will also be addressed. Lastly, this paper will identify the long term profitability of the iPad including, price elasticity of demand, technological

Sculpture of the Old Kingdom of Ancient Egypt Essay Example For Students

Sculpture of the Old Kingdom of Ancient Egypt Essay Introduction Egypt is situated in the north-eastern corner of the African continent. It is composed of two very different regionsUpper Egypt and Lower Egypt. Lower Egyptthe Black Land as it was also called by the ancient Egyptianswith its fertile soil strip along the Nile River makes up the northern part of the country. The Red Landthe Upper Egyptis a desertous southern part with the red, sun-baked soil. The history of ancient Egypt starts around 3000 B. C. when, according to the tradition, Menes Narmer unified the two lands and founded the first dynasty. That was the beginning of the Old Kingdomthe period of stability of the state that lasted until 2263 B. C. and included the dynasties Ist to VIth. Old Kingdom is known as the Golden Age of Egyptian art: during this period the famous pyramids of Giza and the legendary Sphinx were built and the canon that lasted for two millenniums was established. Influences Even though Egyptians were the first to build a civilization they werent the first artists. Obviously the first artists on Earth were the cavemen who produced the beautiful cave paintings found all over the world. However, the artworks that date tens of thousands of years back had little influenceor at least little direct influenceon the Egyptian art. The characteristic features of the art of the Old Kingdom were derived almost exclusively from the works of the Bronze Age 4500-3000 B. C.. Made in that period, there were sculptures of animals that were the predecessors of the statues of Egyptian gods and goddesses in the shape of animals. There were terra-cotta figures of womenprobably the slaves from the African tribeswhich probably were to represent the Mother Goddesses. However the art of the Old Kingdom had much more to borrow from that prehistoric period than just bits and pieces of ideas here and there. Probably the most important thing that the Bronze Age should be noted for in this context is the development of the canon of Egyptian sculpture. Here is quite long, but very complete and precise definition of the word canon given by the Polish Egyptologist Kazimierz Michalowski in his book called Great Sculpture of Ancient Egypt: 1 The canon is a historically conditioned element of indigenous character. It is a result of a mass of observations and experiences that lead to the fixing in art of the most typical forms found in nature but brought down to specific and constant proportions. 3 Its aim is to depict in the most legible and comprehensible idiom and to reflect reality not only as a visible but also a social experience. It fulfils an active function in the ideological superstructure, which serves the ruling class, by reinforcing the conviction that the social order is stable and just through the glorification of the gods and the king. It is one of the essential conditions for creating teamwork in workshops, to maintain a high level of production and quality. The sculptures from the predynastic period and the Old Kingdom were similar in many ways. General stiffness, unnatural positions, and little attention to detail and musculature mark the sculptures from both time periods. However, during the Old Kingdom the elaboration of human figure occurred adding more realism to the sculptural works. General Analysis of The Sculpture of Old KingdomDifferent Canons To me its a very logical approach to analyze ancient Egyptian sculpture using the canonical criteria and analyzing the rigid sets of art rules that determined the appearance statues. Obviously all the sculptures of the Old Kingdom can be recognized as such because of the general features barely indicated musculature, lack of detailing, and general squareness and materials used painted limestone, wood, terra-cotta. However, there were different canons for the people of different social classes. The sculptures of pharaohs i. e. ings and the high royalty were the most canonical of all. The statues possess the very hierarchic attitudes and are depicted only in two posesseating and walking. They have perfectly shaped young bodies and the only defects that can be found on the sculptures are due to the age of the stone that obviously did wear down in more than four millenniums. This approach is very logical since the pharaohs were considered to be the children of Egyptian greatest god Horus. The subjects of the pharaoh could only see him seating or walking and probably couldnt even dare to imagine him doing anything like yawning, jumping, crawling, you name it. Art History Assignment Ancient Egypt EssaySitting on the ground there is a man holding the papyrus that Egyptians used to write on in his hands. We can say its a portrait even bearing in mind that Egyptian portraits do not necessarily aim to depict likeness. Background and foreground can hardly be identified since all we see is a front of a seating man. In fact, Egyptian sculptures often were done to be looked at only from one side, and this is the case with the Scribe too. Some scholars tend to call Egyptian art abstract because the sculptures do not resemble men realistically enough. However, I believe its not correct to call the art of Old Kingdom abstract for it looks too realistically for that. After all, we all can see totally recognizable objects on them. I think that the Scribe can be called a realistic sculpture; maybe the people who have Renaissance as the mark for realism might call the Scribe semi-abstract that leans much more towards realism than abstraction. The most important element of the sculpture is form since the object is three-dimensional and is, actually, composed of forms. Colour in this statueas well as many other ones by ancient Egyptian artistis another very important element. Even though a lot of the paint came off, we still can see the orange-pinkly skin, dark hair, green eyes with a green rim around I wonder if the rim represents the make-up that was used not only by ancient Egyptian women but by men as well. The colours add a lot to the realism of the sculpture and make it more interesting to see than the non-coloured statue. The balance of this work can be called asymmetrical because of the slightly different positions of hands and legs, but its extremely close to the complete symmetry because the artists goal was not to make the sculpture interesting but to follow the canon, which is symmetrical. Obviously the author created the sense of three-dimensional space because the sculpture it self is three-dimensional. However, as I have mentioned earlier the space does not look very deepagain, its because the artist didnt want it to be deep since canon says it shouldnt. In my own opinion, this piece of art is a masterpieceit has a charm and spirit of ancient Egypt and it looks beautiful because of the skilfully carved shapes and nice bright colours. My Opinion on The Sculpture of Old Kingdom I found it hard to talk the ancient Egyptian sculpture from the point of view of aesthetics because most of it was not necessarily made for the purposes of pleasing the eye. Usually the statue had either religious purposesdepicting one of several hundreds of ancient Egyptian gods or representing the owner to live in the world of dead instead of himor social purposes like spreading the image of stabler society of the Old Kingdom and glorifying the pharaohs. However, even in those cases the Egyptian sculpture has a certain artistic meritsometimes very highotherwise, it wouldnt have been called great art and it truly is great art. Many sculptures that Ive looked at when doing this project wonderfully represented the power and dignity of pharaohs, depicted with the great realism different shades of peoples mood and personality, caught the movement beautifully when making the statues of working. Every sculpture of the Old Kingdom resembles the other in appearanceand yet they are not exactly the same. I think that the great ancient sculptors had an amazing ability to catch mood and personality just with a few lines without showing all the detail. Some people say that they find ancient Egyptian statues lifeless. Maybe they are lifeless, but its not because they are deadits because they are magically frozen in time. Every single one carries the flavour of the great Old Kingdom of Egypt, and through its lifeless art ancient Egypt continues the journey through the millenniums. The lifeless statues keep the spirit of the amazingly great ancient civilization alive.

Sexual child abuse Essay Example For Students

Sexual child abuse Essay Sexual child abuse Essay There are many types of child abuse. I am going to tell you about sexual child abuse. Sexual abuse is defined as the engage of a child in sexual activities the child does not understand, to which the child cant give informed consent, which are developmentally inappropriate and/or which violate the laws of society. In 1986, 20% of child abuse cases were sexual abuse. Every child is vulnerable to sexual abuse. Research shows that as many as one out of every four children will be a victim of sexual abuse. Very young children as well as older can be victimized. Studies show that almost all children victimized will be abused by; someone they know and trust: a relative, family friend, or caretaker. Sexual abuse can be physical, verbal, or emotional and includes: Sexual touching and fondling Exposing children to adult sexual activities such as pornography movies and photos Having children pose, undress or perform in a sexual fashion, in film, or in person Peeping into bathrooms or bedrooms to spy on child Rape or attempted rape Abuse begins gradually and increases over time. The use of force is rarely necessary to engage a child in sexual activity because children are trusting and dependent. They want to please others and gain love and approval. Signs that the child may be being abused: Fear of certain people or places Sleep disturbances School problems Withdraw from family and friends Depression Low self-esteem Discipline problems Babyish behaviors Self-destructive behaviors Suicide attempts Hostility or aggression More specific symptoms: Copying adult sexual behaviors Sexual play with other children Unexplained pain, swelling, bleeding, or irritation of the mouth, genital, or anal areas Children who have been sexually abused may feel fear, anger, isolation, sadness, guilt, shame, or confusion. To protect your child from sexual abuse you should provide the child with information in a matter-of-fact way. Although children who are educated on sexual abuse are more well prepared and more likely tell someone if abuse has occurred. If the child tells you something has happened, LISTEN! Some children dont tell you because they are afraid. They are afraid no one will believe them, or that the abuser will hurt them. They may not tell because they feel guilty, they dont want to get and adult in trouble. Children are ,at times, threatened by the abuser that they will be taken away from home. Hopefully the information I have provided you will help at least on parent avoid the pain and trauma of an abused child. Sources: www.dogpile.com keyword child sexual abuse, www.childaabuse. org/facts.html .