Exoskeletons for Human Performance Augmentation

By definition, an exoskeleton is a skeleton on the outside of the body. One example of an exoskeleton is the hard outer covering that makes up the skeleton of many insects. Today, there is a new invention that claims the name of exoskeleton. Exoskeletons for human performance augmentation is a new type of body army being developed for soldiers that will significantly increase their capacity. An exoskeleton will allow you to carry more without feeling the weight, and move faster too. History of Exoskeleton General Electric developed the first exoskeleton device in the 1960s. Called the Hardiman, it was a hydraulic and electrical bodysuit, however, it was too heavy and bulky to be of military use. Currently, exoskeleton development is being done by DARPA under their Exoskeletons for Human Performance Augmentation Program lead by Dr. John Main. DARPA began phase I of the exoskeleton program in 2001. Phase I contractors included Sarcos Research Corporation, University of California, Berkeley, and the Oak Ridge National Laboratory. DARPA selected two contractors to enter the program’s second phase in 2003, Sarcos Research Corporation and the University of California, Berkeley. The program’s final phase, which began in 2004, is being conducted by the Sarcos Research Corporation and focuses on the development of a fast-moving, heavily armored, high-power lower and upper body system. Sarcos Research Corporation The Sarcos exoskeleton being developed for DARPA utilizes a number of technological innovations, including. A combustion-based driver to support advanced hydraulic actuators that produce robotic limb movements with very high strength, speed, bandwidth, and efficiency.A control system that allows the operator to move naturally, unencumbered and without additional fatigue, while the exoskeleton carries the payload. Application-specific packages can be attached to the exoskeleton. These packages could include mission-specific supplies, protective outer coverings capable of operation in extreme threat and weather conditions, various electronic systems, weapons, or supplies and instrumentation for medical support and surveillance. The exoskeleton could also be used to move material in places inaccessible to vehicles, on board ships, and where forklifts are not available.

Educating Rita - 1570 Words

New stages of experience often bring about growth and change in one’s life. As one experiences new phases in their life, change is an implicit part of moving ‘into the world’. This is clearly demonstrated in the play Educating Rita, by Willy Russell, where Rita’s growth and change comes about with her education and experiences in her social, working-class life. The Devil Wears Prada, directed by David Frankes and an interview titled 2 of us, John van Tigglemen, also demonstrate how new stages of experience can bring about growth and change in one’s life leading to a transition into a new world. Growth and change often comes about when new stages of experience allow a transition ‘into the world’. This is illustrated in Educating Rita†¦show more content†¦When Rita returns from summer school Frank is quite surprised at Rita’s confidence and progression. Rita not only has become more confident but she has bought new second hand clothes, a symbol of her growth into the world. We are able to see this change in Rita as she fought her old-self at summer school when approached by a professor in regards to Ferlinghetti. Instead of Rita persisting to say ‘Only when its served with Parmesan cheese’ she holds back and replies with ‘Actually I’m not too familiar with American poets’. This is a clear indication that Rita has changed her ways to move into the world of education and her new life. Rita’s confidence in herself is demonstrated as she tells Frank how often she stood up during lectures and asked question s constantly. Further growth in Rita is seen when she quotes Blake, to Frank’s surprise, and it is evident that Rita has come so far. Frank paved the way for Rita’s transition into the educated world and he now finds it difficult to accept she has successfully made a transition from one world to another and no longer needs to depend on him. Jealousy begins to arise in Frank as Rita is now able to analyse and criticise which Frank does not like. Frank believes he has created a monster one he can no longer control, making an allusion to Mary Shelley’s Frankenstein ‘Oh I’ve done a fine job on you, haven’t I.’ Rita however believes her growth and change has allowed herShow MoreRelated The Character of Rita in Educating Rita1374 Words   |  6 PagesThe Character of Rita in Educating Rita In the play of Educating Rita, which is written by Willy Russell, there is a student aged twenty-six years old who is a hairdresser and also is a working class called Rita. Rita lives with her husband called Denny however Rita and Denny love each other so very much. Denny wants Rita to have a baby but Rita is on a pill to stop from having a baby, but Denny does not know about it, but then finds out later in the play. Rita wants to explore herself andRead MoreEducating Rita By Willy Russell1469 Words   |  6 Pagesâ€Å"Educating Rita† written in 1980 by Willy Russell, is a play that explores the way in which a working class Liverpudlian woman, Rita (Susan), follows the change from unhappiness to happiness. The story is a comedy, which revolves around the growing personal relationship between Rita, and her Open University Literature tutor, Dr. Frank Byrant. Russell often mocks many parts of society at a time when the play was set including education, social class and patriarchy. Rita is used to create comedy withinRead More The Humour in Educating Rita Essays1551 Words   |  7 PagesThe Humour in Educating Rita ‘Educating Rita’ is a humorous play that was written by Willy Russell in 1979, based on his own life. It is set in Liverpool and depicts the perseverance of a working class, 26-year-old hairdresser with no qualifications called Susan, or as she is called throughout the play, ‘Rita’, as she tries to ‘discover herself’ by participating in an English literature course at the Open University. Her lecturer, who is from a more middle class background, Frank, is somewhatRead MoreEssay on Educating Rita Into the World Speech720 Words   |  3 Pagesthe World Speech â€Å"Explain how Educating Rita and Step Brothers portray the consequences of moving into the world† When a person moves into the world, they are often met with consequences for seeking this change. Willy Russell’s â€Å"Educating Rita† and Judd Apatow’s â€Å"Step Brothers† portray both positive and negative consequences of this change. Both protagonists experience the change of moving into a new life; however they are met with different consequences. Rita is first portrayed as a poorlyRead MoreEssay on Educating Rita by Willy Russell1611 Words   |  7 PagesEducating Rita by Willy Russell Educating Rita, is a two-handed play which only has two characters and one set. Educating Rita was written in 1985 by Willy Russell, it looks at how the relationship between two people, Rita and Frank, develops as the play goes on. Educating Rita is the story of Rita, a hairdresser who decides to go to University in order to discover who she really is. When she arrives at University she meets Frank, a lazy alcoholic who doesntRead MoreThe Effect of Summer School on Rita in Educating Rita by Willy Russell751 Words   |  4 PagesThe Effect of Summer School on Rita in Educating Rita by Willy Russell Of course; you dont do Blake without doing innocence and experience, do y? When Frank explains to Rita that after summer school they will study William Blake, Rita says that she has already studied Blake and implies in such a way that she almost disgraces Frank. Before summer school Rita has only been taught Frank and has only learnt his ideas, when she gains her own confidence she then challengesRead More Achieving Humor in Educating Rita by Willy Russell1095 Words   |  5 PagesAchieving Humor in Educating Rita by Willy Russell Written by Willy Russell in 1985, Educating Rita is a comical interpretation of his own life as a young Liverpudlian hairdresser and his aspirations to become educated. The play is based on Rita, the hairdresser who wants a better life, and begins this adventure by enrolling in an Open University course. It is here she meets her tutor, Frank. You could say, the key to her dreams. If I were to direct this play, I would seek to achieve humourRead MoreAnalysis of Educating Rita by Willy Russel Essay669 Words   |  3 PagesAnalysis of Educating Rita by Willy Russel The opening scene of Willy Russels â€Å"Educating Rita† is very affective in introducing the characters and the theme of the play. He gains the interest of the audience in many different ways. Firstly as the curtain rises we see frank a man in his early fifties in a room on the first floor of a Victorian built university in the north of England. This gives the effect of an intellectual play in a grand environment. As we firstRead More Opening Scene of Educating Rita Essay examples965 Words   |  4 PagesOpening Scene of Educating Rita Explore the ways in which Russell engages the audiences interest in the main characters and themes in the opening scene of Educating Rita and explain whether you think the play written in 1979 is still relevant to 2005. Willy Russell’s play, Educating Rita, written in 1979, is a story about a typical lower class woman called Rita who decides she wants to lead an ‘educated life’ and she tries to do this by getting a private tutor called Frank to teach herRead MoreEssay on Educating Rita - Comparing the Movie and Play963 Words   |  4 PagesEducating Rita - Comparing the Movie and Play       The play Educating Rita by Willy Russell gained great popularity especially during the early eighties. There has also been a movie made from it starring Julie Walters and the more famous Michael Caine. As so often the case, the movie was more elaborate with additional scenes, some of which were spoken of or retold by the actors in the play. The movie also included several actors while the play only featured two, Frank and Rita.

Development organisation in an urban facility Free Essays

As we venture into this major event of building a manufacturing factory, which will be situated within a major residential development area, concerns are being raised about noise and the impacts it will have on the health of the community nearby. Since relocating, the company to a different place is an uphill task and very expensive, we have involved the local community in the decisions that might affect them due to the operations of our factory. In line with our goal to embody environmental sustainability and to support economic activity that will improve the quality of life of the nearby community and the urban residents, we will engage the residents in discussions to obtain their views and to alleviate their worries. We will write a custom essay sample on Development organisation in an urban facility or any similar topic only for you Order Now In consultation with the community, which consists of people with various economic, education and occupation backgrounds, we have brought their needs, concerns and aspirations and presented them in this strategy. PURPOSE, AIM AND OBJECTIVES OF THE CONSULTATION STRATEGY We believe that a strategy is needed to provide a coordinated and effective approach to consulting our neighbouring residents. Industrial noise generated from stationary sources such as production plants, refineries, manufacturing facilities, factories, pumping stations, etc. can affect people in various ways depending on a number of key variables. The discussion would involve the residents nearby and not factory workers. Noise emissions from factories to the environment pose the greatest challenge to the industry and the regulators to establish and maintain appropriate limits. Noise is considered a biological stressor and excessive exposure to it is a health risk since it can contribute to the development and aggravation of stress related conditions such as high blood pressure, ulcers, migraine headaches, coronary disease and colitis. The body usually responds automatically to noise as a warning signal. Though reactions to a one time exposure to noise do not result in any irreversible effects, research suggests otherwise in some cases.   The purpose for this strategy is to provide clear guidelines on how to undertake the consultations and then implement the recommendations. The aim of this strategy is to minimize the noise levels that emanate from our factory into the environment by seeking the views of the neighbouring community and giving them a chance to influence our decisions. Our agreed objectives is to carry out a consultation that is inclusive, accessible and valuing diversity; communicate back the results of the consultation back to the community; implement the results of our consultation. TRANS-CULTURAL CHALLENGES Why Culture? To determine these challenges, a framework definition of culture is important. Culture defines how we work, communicate, interact, decide, act and respond in the working world. Our backgrounds such as race, gender, or national origin shape our culture. Our economic status, groups that we join, where we live brand us with different cultures. Conflict resolution draws much from our cultural backgrounds. Since our factory is sited in a major urban residential area, the nearby people hail from different cultural backgrounds shaped with their economic status, place of birth etc. We expect to be misunderstood by some of our neighbours while illustrating to them our strategy, much of this might be because of different cultural values. Just as anthropologists Avruch and Black (1993) stated â€Å"†¦One’s own culture provides the â€Å"lens† through which we view the world; the â€Å"logic†Ã¢â‚¬ ¦ by which we order it; the â€Å"grammar† †¦ by which it makes sense†, we expect people to respond to our solution differently. Some might also interpret it as â€Å"abnormal†, â€Å"weird†, or â€Å"wrong† (Avruch Black, 1993). Facing the Challenges To carry out this consultation, the influence of culture on our communication has to be understood. As engineers, we will be tasked with interpreting to the community what we believe and have tested to be low noise and with minimum or no health hazard. We will also be expected to help in the decision making process for the implementation of the consultation results. We must also involve some representatives of the community in the daily operations of the factory and the environmental safety achieved at different stages. Sample Project In a survey conducted on cross-cultural challenges involved in Japanese overseas projects, 33 Japanese professionals from various organizations educational institutions in Japan responded to the survey. This research investigated the challenges faced by the Japanese workers in international projects. Most of them preferred cross-cultural training to better equip them with what to expect from other cultures. Effectiveness of trans-cultural approaches Training for our employees is necessary for them to understand the complaints that might be raised from time to time by the residents during the operations of the factory. The residents will also be notified of the allowable noise levels recommended by organizations like the World Health Organization (WHO). In doing these, we expect to improve our interaction and communication with the residents and achieve our goal of environmental sustainability to improve the quality of life of the nearby community. LIST OF REFERENCES: Avruch, K. and Black, P. (1993). Conflict Resolution in Intercultural Settings: Problems and Prospects. Conflict Resolution Theory and Practice Integration and Application. Manchester: Manchester University Press. How to cite Development organisation in an urban facility, Papers

A Pinter puzzle still unsolved Essay Example For Students

A Pinter puzzle still unsolved Essay The Roundabout Theatre Companys new mounting of Harold Pinters The Homecoming opened in New York last October just a few days after the tragicomic, hothouse confrontation between Clarence Thomas and Anita Hill. Suddenly, this once enigmatic play (routinely referred to in the late 60s as Pinters puzzle) seemed all too clear, almost didactically so. Ruth, the lone woman in the Homecoming, is involuntarily dragged into an all-male household, where three predatory members of the clan proceed to project upon her various male fantasies of womanhood: madonna and whore, earth mother and bitch goddess. In Anita Hills version of this story, only the fantasies were changed: spurned-woman-out-for-revenge, innocent dupe of Thomass political opponents, nut-case whose delusions were so powerful she could successfully negotiate a polygraph test. But the most compelling parallel between life and art was the role played in both by a nerdish character named Teddy: Pinters (as well as the Senate Judicia ry Committees) embodiment of detachment, ineffectuality and moral cowardice. It was as if The Homecoming had transformed before our eyes into one of those disease-of-the-week docudramas culled from the pages of People magazine. Of course, at the same time, it also felt as if Thomass confirmation hearings had been secretly scripted by Harold Pinter. As in: Who put the pubic hair on my Coke can? Is there a more Pinteresque moment anywhere in Pinter? All of the playwrights classic stategies were in evidence: the defamiliarizing of the commonplace, the sexualizing of objects, the verbal power plays, the territorial imperatives. Pinter, weve all been taught, is supposed to be about the weasel under the cocktail cabinet. But here, on the Senate committee, the weasels were very much out in the open: a Hatchetman named Orrin, the smarmy Specter of Arlen, and a Simpson considerably less benign than Bart. The Homecoming had never seemed timelier. And that was precisely the problem. Timeliness and relevance are ultimately impovershing to all great plays (and I believe that The Homecoming will prove to be the most enduringif not endearingof Pinters works). Such plays (we used to call them classics) always by definition transcend the period in which they were created. But thats because they simultaneously speak to and transcend every period, including the one in which theyre revived. Without an aura of strangeness and distance, great plays shrink in stature. They deliver only a quick fix that fades as fast as the headlines they momentarily, if powerfully, evoke. (Literature, as Ezra Pound once reminded us, is news that stays news.) So in approaching Pinters play we might bear in mind Andre Gides famous admonition to his eager admirers: Please, do not understand me too quickly. Where then does the problem lie? With the Roundabouts production? The Zeitgeist? The headlines? The play itself? Arguably, all of the above. But rather than assigning blame, Id prefer to raise a few questions that may help to clarify the nature of my complaint. Is the only problem that the Roundabouts production makes the play seem paaraphrasable, that it enables us all too easily to say what Pinters Puzzle is about (e.g., the objectification of women or something that sounds similarly fashionable)? Put differently: Should an ideal production of The Homecoming be infinitely more ambigous than this one? Not necessarily. For despite all the talk about puzzles and puzzlement, the most distinctive quality of the legendary Peter Hall/Royal Shakespeare Company production of The Homecoming that came to Broadway in 1967 was not its opaqueness or ambiguity, but rather its clarity, its concreteness and specificity. Not specificity of meaning, mind you but of sound and gesture, a palpable physicality which strongly suggested that any search for meaning would ultimately lead one back to the clean, sensuous surface of the production. For me, this was the theatre experience that best illustrated the wisdom of Susan Sontags then immensely influential essay, Against Interpretation. Transparence, wrote Sontag, is the highest, most liberating value in art. . . .Transparence means experiencing the luminousness of the thing in itself, of things being what they are. And in her oft-quoted, aphoristic conclusion to the essay, she maintained, In place of a hermeneutics we need an erotics of art. But Sontags essay and Pinters play were written in the mid-1960s. Clearly, times have changed. Is it possible to ever again view this play the way we did then? The answer to that question is yesyou can go Homecoming again. That at least, was what I concluded after seeing Peter Halls 25th anniversay staging of Pinters play in London last spring. Perhaps the earth didnt move beneath my feet as it seemed to in 1967 when I saw the RSC production of the play in New York. But it convinced me that I hadnt been merely imagining, misremembering or embellishing things all these years. What I remembered deserved to be remebered as one of the three or four most formative experiences of a theatregoing life. In 1967, I was a precocious (maybe precious is the more accurate word) 18-year-old, determined to appear More Sophisticated Than Thou. My principal enthusiasms of the period included Alain Robbe-Grillets and Alain Resnaiss Last Year at Marienbad, Bergmans Persona, Antonionis Blownup, Andy Warhols silkscreens of Marilyn Monroe, the music of the Velvet Underground, the dances of Merce Cunningham and, of course, the essays of Sontag. Was there a place for the theatre in this celestial pantheon? Halls production of The Homecoming went a long way toward persuading me that the theatre might, on occasion, be able to hold its own alongside this cool, brainy, elegant company. The heart of Halls and Pinters strategy seemed to me to lie in Ruths response to the pseudo-philosophical bantering of Lenny and Teddy (e.g., Take a table. Philosophically speaking, what is it?). Lenny prattles on about this business of being and non-being, but Ruth emphasizes the palpability of the here and now. She may or may not speak for Pinter at this moment; but it seems to me that she affirmed (by physically embodying through speech and gesture) the very same values that distinguished this glacially elegant production as a whole: The Renaissance condition EssayLenny: Excuse me, shall I take the  ashtray out of your way? Ruth: Its not in my way. Lenny: It seems to be in the way of  your glass. The glass was about to fall.  Or the ashtray. Im rather worried  about the carpet. Its not me, its my  father. Hes obsessed with order and  clarity. He doesnt like mess. So, as I  dont believe youre smoking at the  moment, Im sure you wont object if I  move the ashtray. (He does so.) Lenny gets a laugh when he suggests that his father is obsessed with order and clarity: but the obsession he describes is evident nonetheless throughout the production. Given the fact that John Burys setting for the Hall production was so uncluttered to begin with, the ashtray and glass assumed an eerie prominence and intensityrather like the remaining pieces in the final moments of a championships chess match. Lenny continues the match as follows: Lenny: And now perhaps Ill relieve  you of your glass. Ruth: I havent quite finished. Lenny: Youve consumed quite  enough, in my opinion. Ruth: No, I havent. Lenny: quite sufficient, in my own  opinion. And then a few lines later: Lenny: Just give me the glass. Ruth: No. (Pause) Lenny: Ill take it, then. Ruth: If you take the glass. . .Ill take  you. Whether it was the moment when Lenny first invades Ruths private space by searching across her body for the ashtray, or the moment when Ruth decides to retaliate by pressing her hand firmly down on top of the glass, the blocking was wo cleanly chiseled that the results were positively sculptural. This was equally true of many other moments in Halls production: the stunning physical tableau at the end (Ruth sitting in the displaced patriarchs chair as he pathetically grovels on the floor, begging her for a kiss) or the scene in which Teddy, Ruths husband, is left holding her empty coat while she slow-dances with one of his brothers and then rolls on and off of the couch with another brother, or the precisely choreographed way in which the elderly uncle Sam collapses, presumably of a heart attack, toward the end of the play. These sequences were always realistic and yet strangely ritualized, as physically palpable as that glass of water, yet mysteriously reverberent, evoking distant ec hos of Lear, Oedipus and Greek tragedy. Ironically, Halls original production arrived at the very moment the American experimental theatre was becoming increasingly committed to a theatre of the body. (And as coincidence will have it, playing concurrently with Roundabouts revival of The Homecoming was a reconstruction at nearby La Mama ETC of Tom OHorgans production of Rochelle Owenss Futz, which also originally played in New York in 1967.) But the physical concreteness of The Homecoming was very different from the sort of physicality that informed the work of OHorgan, the Living Theater, the Open Theater or the Performance Group. The overtly choreographic stylization in a production like Futz was bodily with a vengeance, but it often bordered on group mine. And as a result, ones attention was ultimately deflected away from the body itself and onto what the body represented. In addition, much of this work was so determined to advertise the new freedom presumably offered by the liberated life of the body that it lacked the exacting physical discipline of Halls production. That sort of discipline was presumably at odds with the orgiastic and egalitarian ethos at the heart of so much of the company-created work of the period. So, paradoxically, at least for me, the most palpable and sensual theatre of the body was not to be found in the perpetual motion machines of Tom OHorgan (or for that matter, even in the work of Jerzy Crotowski) but in the unmistakably British collaboration of Harold Pinter, Peter Hall and the Royal Shakespeare Company. Critic Roger Copeland teaches at Oberlin College.

The Escape by Maugham Essay Example

The Escape by Maugham Essay William Somerset Maugham is one of the best known English writers of the 20th century. He was not only a novelist, but also a one of the most successful dramatist and short-story writers. Maugham wants the readers to draw their own conclusion about the characters and events described in his novels. His reputation as a novelist is based on the following prominent books: â€Å"Of Human Bondage†; â€Å"The Moon and Sixpence†; and â€Å"The Razors Edge†. Though Maugham doesn’t denounce the contemporary social order, he is critical of the morals and the narrow-mindedness. Realistic portrayal of life, keen character observation, and interesting plots coupled with beautiful, expressive language, a simple, clear, unadored style, place Somerset Maugham on a level with the greatest English writers of the 20th century. In general, Maughams novels and short stories could be characterized by great narrative facility, an ironic point of view, cosmopolitan settings, and an astonishing understanding of human nature. His short stories gained the greatest popularity. And it’s right time to speculate upon one of the stories â€Å"The Escape†- which impressed me deeply and made me think about its subject. It is about a man (Roger) and a woman (Ruth), their complicated relations and scheming in order to achieve different aims. So they are the main characters. The author hides behind the narrator who is the secondary character. The essence of â€Å"The Escape†, to my mind, is that Roger and Ruth have diverse approaches towards the relations. Of course, the men and the women like the first step: flowers, attentiveness, passion. But then their paths diverge. The romance disappears, the man looks for the way out, he craves for new emotions, but the woman deems that the relations should develop into the marriage. We will write a custom essay sample on The Escape by Maugham specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on The Escape by Maugham specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on The Escape by Maugham specifically for you FOR ONLY $16.38 $13.9/page Hire Writer And â€Å"The Escape† is the example of such a mismatch. From the very beginning the narrator convinces us that if a woman once made her mind to marry a man nothing but instant flight could save him. One of his friends seeing the unavoidable hazard before him, took ship and spent a year traveling round the world. He hoped the woman who was considered to be his bride would forget him being fickle, but he was mistaken; when he got back thinking himself safe, the woman, from whom he had fled, was waiting for him on the dockside. This funny thing supports the idea that the inevitable loom of the marriage frightens some men and they try to evade it. This portion of the text is some kind of preamble, it prepares the reader for the following plot-development and presents a piece of narration. Its syntax is complicated, there are compound sentences with many subjects and verbs of action not to loose the thought. The epithets â€Å"instant flight†, â€Å"the inevitable loom†, â€Å"menacingly† show us fear and trembling of such men. They don’t know and don’t respect women, the epithet â€Å"fickle† confirms it, that why they are afraid of difficulties of the marriage. And through these stylistic devices we feel the author’s tone, it is humorous, but this humor is with bitter flavor, so it’s natural to begin to reflect once more on the essential principles of the relations between the man and woman, but the story continues, let’s turn to the text again. Further on the narrator says that he knows only one man who escaped successfully. Once upon a time his friend, Roger Charing told him he was going to marry. Roger was tall and handsome, rich, experienced middle-aged man. Of course, many women wanted to marry him. But he was happy to live the life of an unmarried man: the epithets â€Å"sufficient experience†, â€Å"careful† give the direct description of his lifestyle. But then he met Ruth Barlow. He fell in love with her. He immediately wanted to look after her and make her happy. Ruth was twice a widow, she was younger than Roger. She was quite good-looking and she had big, beautiful, dark eyes and she had the gift of pathos. When a man saw those big, sad eyes, he wanted to help Ruth. The epithet â€Å"defenseless† expose the power of her look. It was Ruth’s mode to get what she wanted because she had no other means (I mean money). This â€Å"gift† helped Ruth to reach her goals. The metaphor â€Å"the gift of pathos†, the epithets â€Å"splendid dark eyes†, â€Å"the most moving eyes†, â€Å"big and lovely eyes† and the repetition of the word â€Å"eyes† make us pay our attention to this peculiarity. And Ruth made her mind to marry Roger: he was rich, considerate, tactful and was glad to take care of her, so he was the best variant for her. He didn’t let down and made a proposal of marriage to her. They were going to marry as soon as possible. While reading we came across a lot of pure literary words (gift, splendid, wonderful, hazards, sadness, lovely) and some clich? s (â€Å"the world was too much for her†, â€Å"stand between the hazards of life and this helpless little thing†, â€Å"how wonderful it would be to take the sadness out of those big and lovely eyes†) which are peculiar to the description of ordinary situations concerning love affairs, so we see what kind of story â€Å"The Escape† is. The narrator provoke us to perceive it ironically. Through Roger’s vision, Ruth was very unlucky. Indeed, she seemed to be very miserable, everything was wrong with her. If she married a husband he beat her; if she employed a broker he cheated her; if she engaged a cook she drank. She never had a little lamb but it was sure to die. The epithets â€Å"helpless little thing†, â€Å"rotten time†, â€Å"unfortunate†, â€Å"poor dear†, the metaphor â€Å"a little lamb†, parallel constructions â€Å"if she married†¦ â€Å" and pure literary words such as â€Å"sufferings†, â€Å"hazards†, â€Å"sadness† display hopelessness of Ruth’s life. Roger took an interest in her destiny and was ready to relieve it: the repetition of the pronouns â€Å"she† and â€Å"her† in Roger’s speech, the epithet â€Å"dreadfully sorry† prove my assumption. The epithets â€Å"very happy† and â€Å"pleased† make us believe that it wasn’t a nuisance for him. But according to the narrator’s opinion, Ruth was two-faced woman of few ideas: he called her stupid and scheming. The epithets â€Å"stupid†, â€Å"scheming†, the similie â€Å"as hard as nails† add some points to her description, so the method of character-drawing here is direct. We see two people, Roger and Ruth, as the future family, so this is the idea of this portion of the text. The author describes the first part of their relations which were rather standard. As thousands of men and women, they met, fell in love and decided to be together. But then, on a sudden, Roger fell out of love. This was the second part of their relations. There was no evident reason. Perhaps, his heart-strings were no longer touched by Ruth’s pathetic look. Roger became acutely conscious that Ruth had a mind to marry him. He gave a solemn oath that nothing would induce him to marry Ruth. But he was in a quandary. He was aware that Ruth would assess her feelings at an immoderately high figure if he asked her to release him. Besides, he didn’t want people to say that he jilted a woman. The epithets â€Å"acutely conscious†, â€Å"a solemn oath† and â€Å"an immoderately high figure† stress the importance, significance of his decision; as to the epithet â€Å"pathetic look† and the metaphor â€Å"heart-strings† (at the same time it is a clich? ), they produce the humorous effect. Falling out of love is the most terrible thing I can imagine. Recently it was an acute pleasure for Roger to do everything for Ruth. He was charmed, but, as I suppose, it wasn’t a serious and profound feeling – Roger lost it too easily. It is obvious Ruth was narrow-minded woman and she didn’t really love Roger. But there are some arguments to be said in her defense, she lonely and wanted to be protected. Probably she would be a good wife. The repetition of the expression â€Å"to have a mind to† reveals the conflict of Roger’s and Ruth’s interests. Ruth desired to have relations of long duration she cried for the moon. On the contrary, Roger wanted to escape with no loss. And again we are the witnesses of the usual continuation of the love story. It’s rather banal. Roger kept his own counsel, he remained attentive to all her wishes. It was decided that they would be married as soon as they found a suitable house. Roger applied to the agents and visited with Ruth house after house. It was very hard to find a satisfactory one. Sometimes houses were too large, sometimes they were too small, sometimes they were too expensive and sometimes they were too stuffy, sometimes they were too airy. The idea is that only such dishonest, shabby act as the flat-chase tactics seemed to be appropriate for Roger. I think, it was like a committing a crime. Roger’s behavior wasn’t fair, it was even disgraceful, but unfortunately such conduct is not uncommon, the men trick the women very often, because their attitude towards the relations differ. Parallel constructions â€Å"sometimes they were too large, sometimes they were too small, sometimes they were too expensive and sometimes they were too stuffy†, the metaphor â€Å"house-hunting†, the epithet â€Å"innumerable kitchens† describe Roger’s scheme. Firstly I took Roger’s side, because I consider that each person should have a right for free choice, but then I was sorry for Ruth, Roger tired her out, she didn’t understand what was happening. The epithet â€Å"exhausted† demonstrates her state brightly. At last Ruth revolted. She asked Roger if he wanted to marry her. There was an unaccustomed hardness in her voice, but it didn’t effect the gentleness of his reply. Roger persuaded her that they would be married the very moment they found a suitable house. Ruth took to her bed. She didn’t want to see Roger, but he was as ever assiduous and gallant. Every day he sent her flowers, wrote that he had some more houses to look at. The epithets â€Å"assiduous†, â€Å"gallant† display his dissimulation. A week passed and he received the letter: Ruth let him know that she was going to get married and claimed that Roger didn’t love her. He answered that her news shattered him, but her happiness had to be his first consideration. He sent Ruth seven orders to view. He was quite sure she would find among them a house that would exactly suit her. This is the end of the story. At that moment there was no love, there was no even the sympathy between them. They became the enemies. It was Roger’s victory. He achieved measurable gains at this story. In this portion of the text the tone changes, it is still ironical, but there appears some serious element. This story carried me with its eternal intrigue – the war between male and female, playing games between the sexes. We may be in earnest about it or may try to ignore it, but it really takes place and this problem will exist until the end of human history.

King Lear Essay

King Lear Essay King Lear, follows the time old tradition in which children take advantage of the love and trust of their parents. In the world of action in King Lear, balance and symmetry in structure are apparent. Lear’s banishment and disinheritance of Cordelia are paralleled not only by his exile of Kent, but also by Gloucester’s banishment of Edgar (Eddy 15). In King Lear the main plot and the sub plot intertwine in such a way that you start to wonder if either of Lear’s daughter’s, Goneril or Regan, or Gloucester son Edmund have any respect for their fathers. Do they even care about their fathers or are they all about doing what is best for them? Then you have the two good children Cordelia and Edgar who are banished from both of their father’s kingdoms. Cordelia and Edgar devotion to their father in King Lear shows a great since of dramatic irony. Cordelia and Edgar are banished by their fathers while Regan, Goneril and Edmund plan to throw their fathers out of power. In the main plot Lear asks his daughters to profess their love for him. The first two daughters Goneril and Regan go into great detail about the love they share for their father. Goneril goes on to tell her father, â€Å"I love you more than words can wield the matter; dearer than eye sight, space, and liberty.† Of course Lear takes this as a great compliment. His second daughter Regan then goes on to say, â€Å"Sir, I am made of the self-same mental that my sister is, and prize me at her worth. In my true heart I find she names my very deed of love†(King Lear Act I Scene I lines 56-57, 70-73). After Lear hears his two eldest daughters proclaim their great love for their father he expects great words from his favorite daughter Cordelia. Too much dismay of her father the only word from Cordelia’s mouth is, â€Å"Nothing†(King Lear Act One Scene One Line 89). Lear is puzzled by the words of Cordelia. Cordelia explains that she can add nothing to what her older sisters have said. Cordelia refuses to go beyond her own heart and conscience, she loves her father, but not to the exclusion of everything else. Throughout the play Cordelia never regrets of her early rigor, though to the very end puts the blame entirely on her sister (Jorgensen 85). Lear expects Cordelia to dazzle everyone with her words of passion that she feels for him and instead says, â€Å"Nothing.† Lear is so shaken up and angry by Cordelia’s response that he banishes her. In the mist of everything going on Kent, Lear’s right hand man, tries to restore Cordelia. Unfortunately L ear does not take Kent’s words lightly and he is also banished. Later on in the play Kent will return in disguise to be with Lear in his time of need. When both of his daughter’s turn against him and he has no one else to turn to. In the sub plot we have a similar situation occurring. Edmund, the bastard son of Gloucester, is devising a scheme to set his father against Edgar, Gloucester’s legitimate son. Edmund shows Gloucester a phony letter in which Edgar tries to enlist Edmund into a murder plot against his father. Edmund then plans for Gloucester to overhear an exchange between the two brothers. Once Gloucester is nearby, he makes it seem that Edgar is conspiring to kill his father, by causing Edgar to leave suddenly and then wounding himself making it look as if Edgar had inflicted the wounds on him. Gloucester feels deceived and vows to execute his son Edgar. As we jump back to the main plot we have the two sisters Goneril and Regan who have decided to join forces and overthrow their father. Lear cannot understand why daughters who were thought to have loved him so much, can not treat him with any respect or dignity. At this point the main plot and the sub plot begin to intertwine. Kent, who is in disguise, has stayed by Lear’s side in his time of need. Edgar, who is disguised as Mad Tom, meets up with Lear and Kent while they are wandering in the storm. The three of them find shelter at Gloucester’s. It is there that Gloucestor reveals to Lear that Gonerial and Regan plan to kill their father. The tension between Lear’s two roles in life, one as king and the other as father generates the tragic situation that now arises in the play (McFarland 100). The main plot and the sub plot share many of the same traits. Both have disloyal children. Gonerial and Regan turn against Lear after allowing Lear to believe that they care for him more than anything else. In the sub plot Edmund turns against Gloucester by allowing him to believe Edgar has plotted to kill his father. In both cases Lear and Gloucester have turned against their loyal children. When Cordelia’s sisters falsely declare their love for Lear, Cordelia refuses to take part in such a mockery of the true love she feels for her father. If Lear really loved Cordelia he would understand why she did not follow her sisters. A parent should never question the love that child feels for their parent. A child’s love should be unconditional and as a parent Lear should understand that. This is a major flaw of Lear that leads to the tragic death of Cordelia (Lyons 27). As for the sub plot the loyal child Edgar is caste out by his father, Gloucestor, who believes that Edgar is threatening his life. If Gloucestor really loved Edgar and had approached him about his motives Edgar would not have fled. When Edgar left the estate he gave Edmund the upper hand. Now Edmund knew that his father trusted him and this allowed him to take control over Gloucestor and his estate. In both of these cases the loyal children felt no resentment towards their father. Cordelia and Edgar both realize that their siblings are to blame. Both Lear and Gloucestor have chosen sides and turned their backs against the children who love them the most. While Goneril and Regan fight over the interest of Edmund, Cordelia returns to help her father from the fate of her evil sisters. Jealous Goneril poisons Regan and then commits suicide. Next Edmund sends his henchman to kill Cordelia. Lear, now realizing that it was Cordelia all along who truly loved him, dies of a broken heart. Edga r reveals himself and battles Edmund. Edmund is wounded and shortly thereafter dies. In the parallel sub-plot, after realizing Edgar’s true identity and worth, a saddened Gloucester also dies. What makes Shakespeare’s King Lear such a tragedy is the amount of death at the end of the play. It is sad to see at the end Lear and Gloucestor realize that the children that loved them the most were the same children they banished. No matter how Edgar and Cordelia were treated they stuck by their fathers. These two parallel plots told a great story of the eternal love these two children felt for their fathers. Tragedy never tells us what to think; it shows us what we are and may be. And what we are and may be was never more memorably fixed upon a stage than in this kneeling old man whose heartbreak is precisely the measure of what, in our world of relatedness, it is possible to lose and possible to win. The victory and defeat are simultaneous and inseparable (Mack 69). You can order a custom essay, term paper, research paper, thesis or dissertation on King Lear topics at our professional custom essay writing service which provides students with custom papers written by highly qualified academic writers. High quality and no plagiarism guarantee! Get professional essay writing help at an affordable cost.

POVERTY-NO MONEY-DEPRIVATION,LACK OF RESOURCES IN UK Essay

POVERTY-NO MONEY-DEPRIVATION,LACK OF RESOURCES IN UK - Essay Example An illness has wider social implications and refers to the personal experience while a disease is a malfunctioning diagnosed by a qualified health practitioner as suggested by Davey and Seale (2002). The negative approach is dominant over the positive approach and has implications on health measurement since it indicates health in a negative perspective by measuring how unhealthy the population is. Social surveys including the General Household survey (GHS) research on health matter giving unbiased analysis. Health matters vary in many ways according to sex, age, social classes, ethnic groups, location and the social structure. There are multiple factors affecting health and inequality including socio-economic, physical environment and psychological factors. Unequal access to proper transport has adverse implications on social mobility and this determines access to health services and education. According to reports lack of access to a vehicle is the main transport factor affecting exclusion of the low-income group. It is stated that transport provision and cost may act as a hindrance to access to health facilities which leads to poor health among the excluded people. A Social Exclusion Review Unit studied the problems associated with access to health care and the impact of traffic on marginalized communities. Levels of exclusion are associated with economic status of individuals, age and geographical location and affect both urban and rural inhabitants’ lack of money, physical immobility and timings and routing of public means of transport. There is a positive relationship between ownership of proper housing and the affordability of quality health services by an individual. This is affected by the income of an individual and affects other factors including education of the individual. Proper housing has evidence of positive health choices and development of attitudes and aspirations for the