Exploring Psychological Explanations of Criminal Behaviour Essay

It has been long the interest of psychologists in understanding the factors that determine psychopathy (Skeem et al., 2011). Family factors, whether they being genetic or environmental, have always been classified preponderant in the development of psychopathy (Millon et al., 2002, cited in Hildebrand, 2004). Researchers have looked and established that psychopaths are at a higher risk to be violent offenders than normal population (Theodorakis, 2013). Likewise, researchers have demonstrated that among family factors, a large number of children in the family was the strongest predictor of offending (Farrington et al., 2006). This study aims to explore whether a large family size is a contributing factor to the development of psychopathy and offending. 1.1 The research problem A review of literature shows that there is very little research and evidence as regards to the correlation between large family size and psychopathy (Farrington et al., 2006). Thus, the research problem is to investigate the extent large family size impacts the development of psychopathy. 1.2 The purpose of the study The purpose of the study is to determine whether family size, previously acknowledged having an effect on delinquency, likewise exerts an impact on the development of psychopathy. There is very little and very limited research that speaks to this theory, thereafter the conduction of this study will allow to further people’s understanding of the causes or what triggers psychopathy and violent offending and what can be done to prevent it. 1.3 The objectives of the study Taking into account the above reasoning, three research hypotheses were formulated. Hypothesis 1: There will be a significant positive relationship between ... ..., C.J., Lilienfeld, S.O. (2011). Psychopathic Personality: Bridging the Gap Between Scientific Evidence and Public Policy.Psychological Science in the Public Interest. 12 (3) 95-162. doi: 10.1177/1529100611426706 http://pspi.sagepub.com. - Theodorakis, N. (2013). Psychopathy and its relationship to criminal behaviour . IALS Student Law Review. 1 (1) 47-56. Retrieved from file:///C:/Users/u1273529/Downloads/1705-2277-1-PB%20(1).pdf. - Tibbetts, S. G. and Gilbert, T. D. , 2006-11-01 "The Effects of Family Size on the Development of Delinquency" Paper presented at the annual meeting of the American Society of Criminology (ASC), Los Angeles Convention Center, Los Angeles, CA . 2013-12-16 from http://citation.allacademic.com/meta/p124920_index.html - Wadsworth, M. (1979). Roots of Delinquency: Infancy, Adolescence and Crime. Oxford: Martin Robertson.

In what ways does Shakespeare make the opening scenes of Macbeth dramatic? Essay

The play Macbeth written by William Shakespeare is skilfully structured to engage an audience’s interest through effective techniques in the opening scenes. These are the use of setting, characterisation, language and the structure of the play. The setting is cleverly used to create the appropriate atmosphere to the scene and plays on the 17th century expectations and assumptions of weather. The characters introduced in the opening scenes are captivating, Shakespeare’s use of rhyme, rhythm, repetition and dialogue help establish this. The play’s structure in the scenes and character’s dialogue create an engaging and inquiring effect, helping to make the opening scenes of Macbeth captivate the audience’s interest. The setting in the opening scenes is crafted to create a dramatic effect through the place its set in and the weather used. In act one, scene one, the stage directions are given as â€Å"An open place†¦Thunder and lightening. Enter three witches.† This is quite significant, especially in the 17th century, as in those superstitious times it was believed that storms were representative of and released forces of evil. The audience is already informed that it’s a spooky and eerie atmosphere and are then intrigued as to what frightening or supernatural event might follow. A stormy setting is used prior to the witches’ entrance in both scene one and three, which acts as an effective prelude to a sinister and immoral mood. Act one, scene three’s stage description â€Å"A heath†¦thunder†¦Ã¢â‚¬  is not only using pathetic fallacy to set the evil and unsettled tone, but also landscape. A heath can be described as wasteland overgrown with shrubs, uncultivated. This uncared for and abandoned environment reflects that the witches are socially unacceptable and rejected, emphasising and reminding the audience how ill-favoured and god-awful these witches are. This provokes the audience’s curiosity as they’re ‘sheltered’ or not used to seeing this kind of living, and shows the dramatic impact Shakespeare crafts through setting. Another technique used to maintain interest and stimulate inquisitiveness is the structure of the opening scenes. Shakespeare purposely organises the order in which the characters are introduced and limits the storyline revealed to the audience to captivate them. The first scene with the witches mentions their plans involving Macbeth. â€Å"There to meet with Macbeth†¦Ã¢â‚¬  and as the character of Macbeth hasn’t yet made an entrance, the audience indecisively creates an image of doom around him, as his name is associated with the witches. However, scene two sets up a more assuring perception of Macbeth. The Captain praises his name and noble actions to King Duncan, â€Å"For brave Macbeth†¦disdaining fortune, with his brandished steel†, this follow through scene leaves the audience assured, but having the preceding thought of Macbeth being doomed creates curiosity in the audience. Having been introduced to two completely contrasting personas of Macbeth, the audience wants to know whether he will turn out to continue being noble or change to being evil. In scene three Macbeth meets with the witches, as they’d predicted at the beginning of the play. They then foretell Macbeth’s destiny as becoming Thane of Glamis, Thane of Cawdor and then King, â€Å"All hail Macbeth, hail to thee, Thane of Glamis!†¦Thane of Cawdor!†¦that shalt be King hereafter!† In sequence, Macbeth is informed that he’s now Thane of Cawdor. â€Å"And for an earnest of a greater honour†¦call thee Thane of Cawdor.† The audience is now aware that the witches’ predictions have been proven correct. Macbeth is also now aware of this, and a curious seed of greed has been planted into his mind. This is where he then starts brooding on thoughts of becoming King, and what he might have to do to achieve this, â€Å"†¦My thought, whose murder yet is but fantastical†¦Ã¢â‚¬  Aside to the audience, Macbeth is explaining his thoughts of killing Duncan, in order to be King. This creates a lot of interest amongst the audience as Macbeth was described as being a noble, respectable and courageous man prior to his soliloquy, yet now after the witches’ prediction has come true, Macbeth is falling into the witches hands- favouring their other prediction of him becoming King. This order of events is effective in the way that intrigue is raised as to whether Macbeth will become King or not. Structure is not only used in the scenes, but also in the dialogue to build up an alluring and tense effect. In scene two the Captain has been delivering victorious news about a battle Macbeth had led to triumph. In sequel he begins â€Å"†¦whence comfort seemed to come, discomfort swells.† The Captain raises Duncan’s expectations of defeat by using ‘comfort’ and ‘discomfort’ as contrasting words. Duncan now assumes an unsuccessful loss, as well as the audience, â€Å"Dismayed not this our captains, Macbeth and Banquo?† However the Captain continues to announce Macbeth’s second victory, â€Å"†¦As cannons overcharged†¦strokes upon the foe.† His order of dialogue, by preparing Duncan for loss, effectively emphasises the victorious event of Macbeth’s second triumph in battle. So Shakespeare’s use of structure in scenes and dialogue contribute to making the opening scenes of Macbeth dramatic. Setting and structure in the opening scenes are used effectively to engage the audience’s interest. Furthermore the characters and language Shakespeare constructs are the utmost intriguing, completing the dramatic tone in the opening scenes of Macbeth. In act one, scene one the witches’ dialogue is in rhyme and rhythm, â€Å"When shall we three meet again In thunder, lightening, or in rain?† This gives it a sense of chanting and makes it spell-like, emphasising the supernatural characterisation of them. Another example of the witches speaking in rhyming couplets is in scene 3, â€Å"But in a sieve I’ll thither sail, and like a rat without a tail†¦Ã¢â‚¬  This habit is not only spell-like, but it also separates the witches from the other characters in the play, accentuating the fact that they’re evil and opposing to the natural ways of humanity. The three witches also take it in turns to speak, completing and answering each other’s speech. This pattern and unity suggests that they act together like one, almost as if they’re representing an inverse of the holy trinity. This underlying image of them is significant in the way of reversing the ‘natural order’ that God had originally set up- again opposing to the natural ways of humanity. This is also shown through a spell they chant together in scene one, â€Å"Fair is foul, and foul is fair†. They believe everything evil is good, contradicting what the society they live in believes- that everything evil is bad and sinful. Another habit of the witches’ speech is repetition of threes. In scene three witch 1 is discussing taking revenge on a woman’s husband, as she’d not given her chestnuts, â€Å"†¦and munched, and munched, and munched†¦Ã¢â‚¬â„¢Aroint thee witch,’†¦I’ll do, I’ll do, and I’ll do.† The woman tells the witch to get lost, ‘aroint’, and this angers the witch to take revenge, ‘I’ll do’. To speak words or phrases in triplets really states how powerful or magical they are as in Shakespeare’s time the number 3, and multiples of 3, were regarded as magic numbers. The witches cite triplets and magic numbers a number of times in the opening scenes, â€Å"†¦nine times nine†¦thrice to thine, and thrice to mine, and thrice again, to make up nine.† So in addition to speaking in rhyming couplets and rhythm, Shakespeare uses society’s superstition to enhance the witches’ dark and forbidden characterisation. In addition to these unusual ways of speaking, the witches are portrayed to be physically unappealing. Banquo’s first impression was dismayed and confused, â€Å"What are these, so withered, and so wild in their attire†¦Ã¢â‚¬  He describes how unattractive and degraded they appear, â€Å"†¦look not like th’ inhabitants o’ th’ earth†¦Live you, or are you aught that man may question?† Banquo is suggesting that they look nothing like humans, and is hesitant to ask if they are as he fears they’re evil spirits. This really exemplifies the witches’ characteristics to be spooky, eerie and devious. This would be more so appealing to an Elizabethan audience as they’d been sheltered and kept away from anything dark and sinful. Being able to witness these strange characters on stage would be extremely interesting. By constructing the witches to be physically unattractive enhances the intrigue, as they’re even more u nfamiliar and ‘different’. This helps to capture the audience’s intrigue and make the opening scenes dramatic. As well as the witches, Macbeth is set up to be a very interesting character successfully captivating the audience in the opening scenes. As discussed in the structure of the play, Macbeth is portrayed to be a very loyal, courageous and noble man. To depict these qualities, Shakespeare uses descriptive language which is very effective, especially when the Captain compares Macbeth to Macdonwald, â€Å"†¦multiplying villainies of nature do swarm upon him [Macdonwald]†¦like a rebel’s whore† Using a harsh and sinful tone about Macdonwald sets up a great contrast against Macbeth, â€Å"For brave Macbeth†¦ with his brandished steel, which smoked with bloody execution, like valour’s minion carved out his passage†¦Ã¢â‚¬  The Captain’s description of Macbeth not only seems incredibly worthy compared to Macdonwald, but also mighty and potent due to using bold words such as ‘brandished’, ‘smoked’ and ‘carved’. The Captain also glorifies Macbeth through the use of irony. As in the discussion on the play’s structure, the Captain had prepared Duncan for bad news only to praise Macbeth’s second victory. He says the second attack dismayed Macbeth and Banquo as much â€Å"As sparrows [dismayed] eagles, or the hare [dismayed] the lion.† Macbeth is being described as an eagle or lion that prey upon the sparrows and the hare, which represent the King of Norway- the second opposition. Eagles and lions are very majestic animals in the animal kingdom, giving Macbeth a high authority and status. The dialogue is kept very enthralling through different techniques. Assonance keeps the pace quick and poetic to listen to, â€Å"†¦doubly redoubled strokes upon†¦Ã¢â‚¬  Some of the similes used are very effective â€Å"As cannons overcharged with double cracks†¦Ã¢â‚¬  The Captain is describing the power and conquest Macbeth has over the King of Norway, ‘overcharged with double cracks’ creates a very powerful image as it’s described to be immoderate- more than enough. Another technique common in the character’s dialogue is the use of metaphors. Again when the Captain is lauding Macbeth, he refers to him as â€Å"Bellona’s bridegroom†. This trope instantly gives Macbeth a high status and supremacy as it’s referring to him as Mars, the god of war, who was wedded to Bellona. All these high praises have set up the audience’s perception of Macbeth to be very valiant, and this makes his developing characterisation to be intriguing because the audience wants to see if he can be both n oble and associated with the witches. Even though Macbeth’s persona is portrayed to be noble, his righteous ways are uncertain when the audience meets him which hooks the audience. His first words in his first entrance mimic the witches’ in scene one, â€Å"So foul and fair a day†¦Ã¢â‚¬  Although Macbeth is presumably referring to the bad weather yet satisfying victories, this echo of ‘foul and fair’ suggests that Macbeth is sub-consciously crossing over to the evil ways and beliefs of the witches. It could also be suggesting that even though Macbeth isn’t aware, the witches are already in control of him. Either way, the echo of ‘foul and fair’ underlies a connection to the witches and their evil characteristics. This possibility of Macbeth being villainous only increases after the witches’ prediction of him becoming thane of Cawdor comes true. Macbeth then obsesses with the idea of becoming King and tries to evaluate this occurrence, questioning whether the wi tches only let this come true to gain his trust so they can betray him. â€Å"If ill, why hath it given me earnest of success, Commencing in a truth? I am Thane of Cawdor.† Macbeth questions why these predictions might be bad if it has made him successful as a Thane. â€Å"If good, why do I yield to that suggestion†¦Ã¢â‚¬  By suggestion, Macbeth means the thought of him killing Duncan to be King, â€Å"†¦my thought, whose murder yet is but fantastical†¦Ã¢â‚¬  As he’s in this state of confusion, it intrigues the audience to think whether Macbeth will turn evil or stay true to his virtues. In the end of his deliberation, he decides to let destiny take its place without his interference, â€Å"†¦chance will have me King†¦without my stir† This lessens the tension of the audience until noble Macbeth hears that Duncan is naming his son future King. â€Å"We will establish our estate upon our eldest, Malcolm†¦Ã¢â‚¬  Despite Macbeth originally deciding to let destiny take place, he instantly sees Malcolm as an obstacle to becoming King, â€Å"The Prince of Cumberland-that is a step, On which I must fall down, or else o’erleap, For in my way it lies.† His obsessing ambition now makes him consciously think evil deeds. â€Å"†¦Stars hide your fires, Let not light see my black and deep desires.† By referring to his thoughts as ‘desires’, it’s evidently showing that Macbeth is crossing over to the witches ‘side’- believing in what they believe. The other characters are unaware of this; it’s only Macbeth and the audience who know. This makes the development of the play enthralling to the audience, as they want to know how the other characters fall into Macbeth’s other persona, his dark side. He continues his obsession, describing how awful his thoughts are. â€Å"The eye wink at the hand; yet let that be, Which the eye fears when it is done to see.† Macbeth’s saying ‘the eye’, any witnesses, should be blind to what he’s about to do (in thought) as, if anyone’s exposed to what he’s done they’ll be in fear. Alternatively, Macbeth could be suggesting that his eyes should be blind to what his hands are doing (his actions) as if he let’s both his personas clash (his noble side and evil side), he’ll regret what he’s done. Macbeth’s character is so episodic, changing his beliefs and qualities from scene to scene. The language in the dialogue is so varied and interesting through assonance, irony, similes and metaphors, that the audience are immediately absorbed and inquiring. The opening scenes of Macbeth are made dramatic through a series of techniques including setting, structure, characters and language. Shakespeare effectively uses weather and landscape to create and enhance an eerie and immoral mood, mostly prior to the witches’ entrance. Intrigue is also stimulated through the play’s structure, in both Shakespeare’s order of scenes and use of dialogue. Limiting the storyline revealed and purposely organising the order in which characters are introduced develop anticipation and inquisitiveness amongst the audience. Overall the characters and language introduced in the opening scenes are the utmost captivating. Their characterisations are constructed through language compiling of techniques such as similes, assonance, metaphors, rhythm, rhyme and irony. All of these effectively help to make the opening scenes of Macbeth extremely enthralling, interesting and dramatic.

Describe Romeo and Juliet’s love Essay

Describe Romeo and Juliet’s love and the way it develops in the course of the play. (Look carefully at the language used and use short quotations to illustrate your answer. ) Shakespeare meant for his plays to be performed on a stage and not to be read, he was a very skilled play write and he made his audiences believe things that in reality could not happen in such a short space of time. Romeo and Juliet’s love for one another shows their disobedience towards their parents. The houses that the pair of ‘star cross’d lovers’ belong to are involved in an ‘ancient’ feud. We are made aware of the feud before we even meet the lovers; it is the very first thing that the Chorus, who is a single person on the stage which Shakespeare and many other play writes used to calm down a disorderly audience and give background information on the play, says: ‘Two households both alike in dignity In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. ‘ Their love is ill-fated from the moment they first meet, at Capulet’s party, because of the dispute that has been going on for generations. When we first meet Romeo, his father Lord Montague describes Romeo’s melancholic mood, this fits exactly the contemporary ideas of lovesickness in Shakespeare’s time. Lord Montague and Benvolio contrast Romeo’s feelings for Rosaline and how they have changed his personality. We can see that Romeo is not himself as he says: ‘Tut, I have lost myself; I am not here; This is not Romeo, he’s some other where. ‘ The many oxymorons, Romeo uses in his speech are meant to suggest his confused state of mind: ‘Feather of lead, bright smoke, cold fire, sick health, Still-waking sleep,’Romeo sees Rosaline as the most beautiful woman on earth he matches her beauty to those of saints: ‘When the devout religion of mine eye Maintains such falsehood, then turn tears to fire! ‘ It seems that Romeo is only in love with the idea of being in love. On our first meeting with Juliet her mother is calling her. She replies to her mother in a formal way: ‘Madam, I am here. What is your will? ‘ She is modest, quiet and beautiful. Since she is from a powerful Verona family she is well dressed. When Lady Capulet suggests that the County Paris would make a good husband, Juliet responds:’I’ll look to like, if looking liking move. But no more deep will I endart mine eye Than your consent gives strength to make it fly. ‘ In the times when the play was written it was normal for parents to arrange who their daughter would marry. When Romeo sees Juliet for the first time his extravagant declarations of love for Rosaline vanish in a second. He now speaks with tenderness and plainness: ‘Beauty to rich for use, for earth to dear! So shows a snowy dove trooping with crows, As yonder lady o’er her fellows shows. ‘ In the last line of his speech, ‘Did my heart love till now? Forswear it, sight! For I ne’er saw true beauty till this night. ‘ What Romeo says, is that what he said earlier in the play was silly and wrong. Ironically, when Benvolio was persuading Romeo to go to the party he told him he would soon forget Rosaline and this is just what happened. Romeo anticipates the line of approach he will take during the dance by saying that her touch will ‘bless’ his hand. It was believed at this time that true love always struck at first sight; love that grew gradually was no love at all. ‘This holy shrine, the gentle sin is this: My lips, two blushing pilgrims, ready stand’. This is a quick-witted bout of flirtation in which both sides are equally smitten, as is made clear by what follows, but in which Juliet plays the proper young girl’s role of cutting up Romeo’s ‘lines’ as fast as he can think them up. ‘Saints do not move, but grant for prayers’ sake. ‘ ‘Then have my lips the sin that they have took. ‘ and ‘You kiss by the book. ‘ This shows Juliet to be much wittier than a typical 13 year old girl. This flirtatious fourteen-line passage is actually a sonnet; it was popular in the sixteenth century and generally regarded as the proper means for love poetry. Juliet manages to tease Romeo slightly in the earnest gesture of the devotion that they declare: ‘For saints have hands that pilgrims’ hands do touch,’ and ‘Ay, pilgrim, lips that they use in prayer. ‘ Juliet is encouraging Romeo to kiss her in a subtle way. She takes early charge of the relationship. Romeo’s love for Juliet is unmistakably passionate, which an Elizabethan audience would have loved. He uses a lot of effective imagery. For example the image of the sun: ‘It is the east, and Juliet the sun! Arise, fair sun, and kill the envious moon,’ Romeo is putting Juliet on a higher pedestal, saying she is a higher being, he is also referring to the brightness of her beauty, and that she brings light into his world of darkness. In calling for the triumph of the sun over the moon, Romeo is hoping she will not remain a virgin much longer. Women who prolonged their virginity excessively were thought to suffer from â€Å"green-sickness,† a problem that could only be cured by healthy lovemaking. The entire opening soliloquy to this scene is devoted to Romeo’s fevered desire that Juliet will make love with him. Despite his passion, he is shy enough, and polite enough, not to simply burst in upon her. It is the tension between his overwhelming desire and his reserve that shows how much he truly loves her. The comparison of a woman’s eyes to bright stars was a usual thing, but Romeo elaborates it in a dazzling series of lines dwelling on the brightness of Juliet’s beauty: ‘The brightness of her cheek would shame those stars As daylight doth a lamp. Her eyes in heaven’ Romeo is impetuous, impulsive and has his head in the clouds; he uses phrases of elaborate description. Whereas Juliet is down-to-earth, practical, natural and spontaneous by her speech we can tell that it is her first experience of love and that she is young and because of the language she uses that Romeo excites her. It is Juliet who is thinking through the consequences of their love more systematically and practically than is Romeo. She almost immediately speaks of the death that threatens him: ‘And the place of death, considering who thou art, If any of my kinsmen find thee here’ Romeo replies that love cannot be held out by ‘stony limits’. Romeo believes that love has directed him to Juliet. From the beginning their dialogue is riddled with reference to death. This is dramatically ironic because the chorus already told the audience that they will die because of their love. When Romeo says: ‘Alack, there lies more peril in thine eyes; And thou but love me, let them find me here’ He is using conventional and courtly language, which goes back centuries. Juliet’s long speech makes clear that she is still an honourable young woman who wishes her love had not been so promptly revealed; but now that it has been, she does not intend to look backward. She indirectly refers that Jove laughs at the oaths of lovers. Just as Romeo had scorned the moon for its virginity, Juliet rejects it as too variable: ‘O swear not by the moon, th’ inconstant moon, That monthly changes in her circled orb, Lest that thy love prove likewise variable. ‘ Juliet is honest. She feels that she has been too easily won by Romeo: ‘Or if thou think’st I am too quickly won, I’ll frown and be perverse and say thee nay, So thou wilt woo; but else, not for the world. ‘ Again Juliet allows herself to flirt with oath in calling Romeo her God. Romeo insists that he will love Juliet faithfully. Having proclaimed her love once, the basis of Juliet’s expression is unstopped, and she becomes the dominant figure in the rest of the scene. This young pair know very little about each other except that they are extremely attractive and witty. Juliet’s has split moods in this scene one is lead by her head and one by her heart. Her head is her practical side; her heart is spontaneous and excited. Falconry was a popular sport in Elizabethan England. Juliet is comparing Romeo to a falcon, and what she would like is for Romeo to be her falcon, she likes the idea of being able to call him back to her hand whenever she needs him: ‘Hist! Romeo, hist! O for a falconer’s voice, To lure this tassel-gentle back again! ‘ When Romeo asked the Friar to marry Juliet and himself, the Friar agreed only because he is hoping that the marriage of Romeo and Juliet will put an end to feud between the houses of Montague and Capulet. From the text we can tell that Friar Laurence is Romeo’s confident, a father-figure. Children in the 14th/15th Centuries who had important parents didn’t have the same relationship as children today have with their parents. This is why Juliet confides in her nurse and Romeo in Friar Laurence. The last line in Act two Scene one, Friar Laurence is saying to Romeo that he should take it slow because those that go to fast will ‘stumble’ later on: ‘Wisely and slow: they stumble that run fast. ‘ In the marriage scene it is Friar Laurence who is thinking ahead, he says: ‘So smile the heavens upon this holy act, That after hours with sorrow chide us not! ‘ Romeo, lives only in the present, and says so: ‘Amen, amen! But come what sorrow can, It cannot countervail the exchange of joy That one short minute gives me in her sight. ‘ In his view, the joy of a minute with Juliet will be greater than all the possible sorrow of any later hours. Romeo adds that he is ready to face the greatest sorrow of all: ‘Do thou but close our hands with holy words, Then love-devouring death do what he dare; It is enough I may but call her mine. ‘ These exulting words foreshadow what actually happens; ‘love-devouring death’ makes its first appearance shortly after the wedding. The Friar understands that Romeo thinks love will make him bullet-proof, and tries to talk some sense into him: ‘These violent delights have violent ends And in their triumph die, like fire and powder, Which as they kiss consume. ‘ On their wedding night Friar Laurence anticipates that they will ‘consume’ each other (consummate their marriage). Just like the nurse anticipates for Juliet. The Friar says that the ecstasies of love can’t last forever. ‘The sweetest honey Is loathsome in his own deliciousness, And in the taste confounds the appetite†:’ In other words, too much honey can ruin its taste. The Friar concludes his little talk by advising Romeo to ‘love moderately’ as, ‘Too swift arrives as tardy as too slow’. Juliet reveals her innermost feelings in her soliloquy. She is apprehensive and excited: she makes a reference to the classical god Phoebus Apollo: ‘Gallop apace, you fiery-footed steeds, Towards Phoebus’ lodging; such a waggoner. ‘ Juliet uses a lot of phrases that make her seem impatient like, ‘Gallop’, ‘leap’ and ‘fiery-footed steeds’. Juliet is nervous about what is going to happen when Romeo arrives. She extends the falcon image: ‘Hood my unmann’d blood, bating in my cheeks, With thy black mantle; till strange love, grown bold,’ She gives the impression that she is worried about her body and that she will not fulfil Romeo’s needs. The repetitive use of the word ‘come’ refers to her impatience for Romeo to arrive quickly to her. Most of the soliloquy is of a sexual nature but some of it is not, for example: ‘Give me my Romeo. And when I shall die Take him and cut him out in little stars, And he will make the faces of heaven so fine That all the world will be in love with night,’ This is extremely romantic. It also refers to death. When the nurse tells Juliet that Romeo has killed Tybalt, Juliet uses oxymorons, these show that she is confused, ‘beautiful tyrant’ and ‘fiend angelical’. However, when the nurse starts to criticise Romeo, Juliet cuts off the nurse and defends him, ‘Blister’d be thy tongue’. Juliet implies that banishment is worse than death. She seems more mature and her practical side is seen especially when she says: ‘My husband lives, that Tybalt would have slain; And Tybalt’s dead, that would have slain my husband:’ Romeo uses direct and romantic speech that shows his sincere and loving feelings; ‘It was the lark, the herald of the morn, No nightingale. Look, love, what envious streaks Do lace the severing clouds in yonder east. Night’s candles are burnt out, and jocund day Stands tiptoe on the misty mountain tops. I must be gone and live, or stay and die. ‘ This shows that he is mature; much more than Juliet earlier in the play. Their mature dreamy roles are swapped. Romeo reassures Juliet that they will be together again: ‘I doubt it not; and all these woes shall serve For sweet discourses in our time to come. ‘ Juliet’s reply to this phrase is: ‘O God! I have an ill-divining soul: Methinks I see thee, now art so low, As one dead in the bottom of a tomb: Either my eyesight fails, or thou look’st pale. ‘ This is dramatic irony because when Juliet wakes up from the potion she does see Romeo on the floor of the tomb. Juliet seeks the help of Friar Laurence because she has been abandoned by her parents and her nurse, the one person she is closest to, except for Romeo but it seems that he too has deserted her. She feels suicidal when she talks to Friar Laurence; she would rather die than marry the County Paris. When Friar Laurence suggests that she takes the potion she appears to be relieved. Though out the scene she is very courageous. The soliloquy dwells on her fear of the vault; it enlarges what she had already said to Friar Laurence. The speech confirms that the vault is connected with the catastrophic climax of the play. She is determined to kill her self in the potion does not put her in a slight coma: ‘What if this mixture do not work at all? Shall I be married than tomorrow morning? No, no; this shall forbid it: lie thou there. ‘ She fears it could be poison and she then contradicts that statement in the next one. She feels that she may go mad in the tomb if Romeo is not there when she wakes, the horror of these images make her go mad. In the end she takes the potion for Romeo’s sake: ‘Romeo, Romeo, Romeo! Here’s drink – I drink to thee! ‘ Romeo’s speech before taking the poison is direct and simple poetry. He is still referring to Juliet as ‘light’. In the speech Romeo personifies death and accuses death of trying to keep Juliet beautiful so that death can use her for his pleasure: ‘That unsubstantial death is amorous, And that the lean abhorred monster keeps Thee here in the dark to be his paramour? ‘ He uses grotesque metaphors and similes. He appears to be preparing himself for death. ‘A dateless bargain to engrossing death! ‘ He is trying to prolong the moment. His love for Juliet is obvious at this point in the play; he drinks the poison for Juliet, ‘Here’s to my love! ‘ all he wants is to be with Juliet and if they can’t be together in life then the must be in death. As a result of the lovers’ deaths the families are brought together. Prince Escalus makes sure that the blame is shared; he makes that very clear: ‘Where be these enemies? – Capulet! Montague! See what a scourge is laid upon your hate, That heaven finds means to kill your joys with love; And I, for winking at your discords too, Have lost a brace of kinsmen. All are punished. ‘ The prince is also blaming himself; he knows that all had a part to play is Romeo and Juliet’s deaths, and this is why it is such a tragic ending which is written in a very expert way.

Analysing an Advertisement Through Barthes’ Analytical Model Essay Example

Analysing an Advertisement Through Barthes’ Analytical Model Essay Example Analysing an Advertisement Through Barthes’ Analytical Model Essay Analysing an Advertisement Through Barthes’ Analytical Model Essay Essay Topic: Analytical The advertisement I’ve chosen to be my case of study in analyzing an advertisement through Barthes’ analytical model is an ad from Folgers Coffees. The ad is actually a print of a cup of Folgers coffee placed on top of manhole covers in New York City. Holes on the print allow the steam to come out, and the wordings around the cup read ‘Hey City That Never Sleeps. Wake Up. Folgers. ’ As I recently learned, Folgers are well-known to be innovative with its ads: always trying to do something creative and funny to attract customers and coffee consumer’s attention. This Folgers’s ad is by all means a clever way to ask for people’s attention. First of all, let’s analyze the linguistic message in this ad. The simple phrase ‘Hey city that never sleeps. Wake up’ is a direct call to New Yorkers, people who are always on the move, always in the need of being awake, in the need of caffeine. ‘Wake up’ is in the imperative form, what lays the impression that Folgers is actually giving an order to New Yorkers to wake up by having a cup of Folgers’s coffee, what, in my opinion, plays with the audience emotions as it suggests that the only way you can be awake is by having a cup of coffee, a Folgers’s cup of coffee. Not to mention that it reinforces the contemporary idea that coffee should be part of every morning’s routine as a way to keep things functioning well. Another ‘tool’ used in the ad’s text to call for people’s attention is the capitalization of all the words, and the contrasting use of white against the grey concrete. Red is used for the word ‘Folgers,’ and the general effect of red is stimulating and appetizing, that is why companies like Coca-Cola use red in their logotypes and ads. Red is also known for grabbing people’s attention and getting people to take action. In this case the action is waking up by having a Folgers’s cup of coffee. Another way to analyze this ad is by taking a look in the image and what it entitles connotatively and denotatively. The image in this ad is a print of a white cup of coffee with coffee. Because the print is placed on the top of a manhole cover, and because of the steam coming out of the holes you get the impression that it is real, fresh, hot coffee right there on the street. When I saw this ad for the fist time, I honestly felt in the need for a shot of either Italian espresso or Brazilian coffee. I could even taste it and smell its aroma. Seeing it on real life might make this coffee allusion even more stimulating since you are seeing the steam coming of this cup of coffee in the middle of the street. The image is provoking, and whether you like coffee or not, it will certainly evoke the idea that coffee is a great way to start your day.

Scutellosaurus - Facts and Figures

Scutellosaurus - Facts and Figures Name: Scutellosaurus (Greek for little shield lizard); pronounced SKOO-tell-oh-SORE-us Habitat: Woodlands of southern North America Historical Period: Early Jurassic (200-195 million years ago) Size and Weight: About four feet long and 25 pounds Diet: Plants Distinguishing Characteristics: Small size; long tail; bony studs on back About Scutellosaurus One of the persistent themes of evolution is that large, imposing creatures descend from small, mouselike progenitors. Although no one would think of comparing Scutellosaurus to a mouse (it weighed about 25 pounds, for instance, and was covered with bony spikes), this dinosaur was certainly rodent-sized compared to its multi-ton armored descendants of the late Cretaceous period, such as Ankylosaurus and Euoplocephalus. Although its hind limbs were longer than its forelimbs, paleontologists believe Scutellosaurus was ambidextrous, posture-wise: it probably stayed on all fours while eating, but was capable of breaking into a two-legged gait when escaping predators. Like other early dinosaurs, Scutellosaurus was anatomically very similar to the prosauropods and small theropods that roamed the earth during the late Triassic and early Jurassic periods.

Technology Education relevant to Curriculum Methods Article

Technology Education relevant to Curriculum Methods - Article Example In addition, it is important to note that the instructional technology is very important in the curriculum and knowledge accumulation amongst the students. This is because, when the instructional technology is employed, the curriculum can be individualized to suit the specific learning styles of different students (Scherer, 2011). This improves learning in a broader perspective amongst students. This article plays a critical role in molding the technological learners to become persons of commendable reputation in their future careers. This is evident in the instructional system relevant to the curriculum methods (Scherer, 2011). The article is very important in strengthening the curriculum methods relevant to technology education. This relates a lot towards some of the strengths vested in the article. For example, the article equips the students with lots of knowledge of the principles as well as practices of teaching and learning relevant t the field of technology (Scherer, 2011). I n addition, the article has greatly succeeded in articulating relevant curriculum documents that are very important to the students. These comprise of the manner in which the article has succeeded in instilling into students the ability to generate plans for lessons, as well as units of work in association with the contents of the curriculum documents.

REFLECTIVE STATEMENT ON PAST CLASSWORK Assignment

REFLECTIVE STATEMENT ON PAST CLASSWORK - Assignment Example The site was also well maintained and retained its functionality at all times. This facilitated study and contributed to the preparation for the final papers. At a personal level, the course was an eye opener to opportunities that exist for personal career growth and development. From the presentation of the course outline, it was clear that the training offered would be rigorous as well as holistic in its approach to the subject. The learning program was full of fun due to the practical activities that enabled me to learn by doing thus breaking the monotony of theory. Being able to interact freely with classmates and have meaningful discussions always made me feel valued due to the positive responses I got from colleagues. The tutors were always helpful and gave their support over and above what they were obliged to do. As a result, the course has contributed to my pursuance of the goal of attaining professional skills to ensure that I enter the job market when planned. Secondly, my goal to help disseminate knowledge has also been enhanced as I have acquired education that will propel me to teaching positions in future. Currently, I am a ble to share knowledge acquired through discussions with colleagues. I will build upon the training obtained to open opportunities for further studies and become a course tutor. The course has also enabled me to practice my values in pursuance of success. Since I am a hardworking and dedicated person, I have been able to concentrate on the rigorous work so as to finish assignments in time and to read all material in the time allocated as required. I have also utilized my strengths to advance performance both in class and outside of class. In the class environment, my ability to understand learnt material and put it to practical use has tremendously improved. Each time I learn a new concept, I almost certainly evaluate how to put it into practice. Finally, the rubric was written clearly and precisely. This enabled me