Octavia Butlers Kindred vs. Harriet Jacobs Incidents In...

Octavia Butlers Kindred vs. Harriet Jacobs Incidents In The Life of a Slave Girl According to the conventions for slave narratives, it is possible to categorize Kindred by Octavia Butler as a slave narrative. However, the circumstances that take Dana back in time are imaginative and fantastical compared to slave narratives such as Incidents In The Life Of A Slave Girl by Harriet Jacobs. While reading Kindred, one doesnt really get the experience of the slaves, but how Dana feels as she participates in slave times. Compared to the lives of slaves, her life is much easier and she has the luxury of knowing she is not and never was a slave. In contrast, Incidents In The Life Of A Slave Girl is a direct portrayal of slavery through†¦show more content†¦It wasn?t just racial. They were used to black people. Maybe I could get Kevin to find out what it is. (Butler 70) Most slaves knew that education got slaves killed. Yet it never occurs to Dana that her speech, her education, her whole aura was unlike any other slave encountered before and therefore she was a potential threat to the slaveholder?s way of life. Further parallels exist in the relationship they have with their masters. Jacobs? master, Mr. Flint, is obsessed with having her and takes every chance he gets to proposition her in some vulgar fashion. Yet while he desires her, he never tries to force or beat her into submission. Instead he attempts to manipulate her and when that fails threatens to beat or kill her. Jacobs does not hide her dislike of Dr. Flint and at times wonders herself why he does not punish her. She states, ?Sometimes I so openly expressed my contempt for him that he would become violently enraged, and I wondered why he did not strike me? (Jacobs 35). With the threat of physical violence constantly hanging over her head, she is terrified and traumatized by Dr. Flints constant harassment. Dana?s master Rufus treats her much the same. Once he grows into a young man, he too becomes obsessed with her and makes every attempt to seduce her. He is often kind and sweet but once rejected he becomes enraged and violent. Dana recalls, I can?t be with you Rufus. You don?t love me. You just want what you can?t

The Scheduling Of Project Management - 1045 Words

Hypothesis: The scheduling in project management is the discipline for stating how to complete a project within a certain timeframe, usually with defined stage, and with designated resources. The project schedule reflects all of the work associated with delivering the project on time. It shows how the work will progress over a period of time and takes into account factors such as limited resources and estimating uncertainty. Without a full and complete schedule, the project manager will be unable to communicate the complete effort, in terms of cost and resources, necessary to deliver the project. Scheduling: Scheduling in simple words would be defined as tabulating different tasks in a project in a proper sequence from start to end of the†¦show more content†¦Precedence: An activity must be preceded by another activity, i.e. the activity cannot start until a predecessor activity has been completed (e.g. a hole must be excavated before concrete is poured for a pier) Succession: an activity must be succeeded by another activity, i.e. the activity should be performed immediately after another activity (e.g. concrete must be immediately consolidated after it is poured, and it must be immediately finished after it is consolidated). Thus, an activity may have: †¢ No predecessor or successor. †¢ Only a predecessor. †¢ Only a successor. †¢ Both a predecessor and a successor. Event: Event is the start or end state of an activity. It doesn’t consume any resource. Each activity must have two events. Event may serve more than one activity at a time and is used to connect the activities. Event is a point in the time but not a passage of the time. It is denoted by a circle with a number or a dot with a number. Network: A structure that connects activities in a system that allows us to complete the project objective. To bring the project into network form, we can determine activities within it via a work breakdown structure (WBS). In general, the network format consists of two elements: Nodes: Junctures in the network (normally represented by a bubble, circle or other closed shape in a

A Tale of Two Cities free essay sample

Repetition is one of the linguistic devices of which Charles Dickens is very fond, and the novelist makes things easy for his readers by his constant repetitions, and his habitual phrases are remembered by readers who are not used to reading with close attention. Dickens’s stylistic use of repetition reaches its climax in A Tale of Two Cities (1859). Therefore, it is fruitful to deal with the language of Dickens, especially that of A Tale of Two Cities, from the point of view of repetition in order to explore his linguistic artistry with which the novelist, inheriting the language of the 18th century, improved upon the style of English prose. In fact, Dickens exploits various types of repetition, that is, repetition of sounds, morphemes, words, phrases, and sentences for various stylistic purposes, such as association, implication, irony, characterization, or verbal iconicity. However, in this paper I focus my attention on the repetitive use of words or phrases. â€Å"Dickens makes a broader use of the symbols and allegories that had long been dear to him. † (Monod) In reality, A Tale of Two Cities is full of repeated imagery and symbolic patterns. We hear again and again the footsteps and the rising storm; we see the drinking of wine and the staining blood. This novel achieves linguistic and stylistic contiguity through the repeated use of symbolic words like â€Å"footstep,† â€Å"echo,† and â€Å"wine,† â€Å"blood,† which are closely related to the subject matter of the novel. To put it another way, repetition of symbolic words fulfills an important function of promoting the thematic cohesion, by which the themes of this novel are brought to light. Here, I concentrate my attention on the repetition of the key word â€Å"wine,† and its related words â€Å"red† and â€Å"blood. These words often co-occur with one another, and convey additional and different meanings as well as their own specific meanings, in accordance with the scenes or contexts, especially between the English and the French scenes. The word â€Å"wine† occurs 120 times, â€Å"red† 56 times, and  "blood† 35 times in total. 11 The chapters of the novel are divided into three groups: English chapters, French chapters, and English-French chapters, depending on the location of the incidents in each chapter. It is often pointed out that the word â€Å"wine† and its related words â€Å"red† and â€Å"blood† frequently co-occur as an indication of the French Revolution’s slaughter and bloodshed. This does not reveal how the words create the symbolical imagery of the bleeding Revolution. Needless to say, the Revolution’s slaughter and bloodshed are not simply hinted at and represented through the repetition and co-occurrence of these three words, but the related words co-occurring with them in the same contexts contribute to creating the bloody imagery. The different or contrastive use of repeated words in the English and the French scenes in A Tale of Two Cities enables the reader to realize the author’s deliberate exploitation of words in terms of the subject matter, that is to say, contrast between the two cities. The repetition of â€Å"plane-tree† together with that of â€Å"pleasant† serves to create a favorable family atmosphere in the English scenes. In sharp contrast to this, in the French scenes, the words â€Å"fountain† and â€Å"fate† directly convey some of the dominant themes of the book: death, future life, fate, and resurrection. It seems that Dickens suggests the inevitable outbreak of the French Revolution and the characters’ sealed destinies through the verbal associations of such repetitive words arranged mainly in the French scenes. It is worth examining the repetitive use of â€Å"plane-tree† and â€Å"fountain† more closely and concretely. The words convey not only their own meanings but additional ones as well, for instance, foreshadowing. One example of the repeated use of â€Å"plane-tree† and â€Å"pleasant† in the English scenes can be observed in passage (8): 8) On this occasion, Miss Pross, responding to Ladybirds pleasant face and pleasant efforts to please her, unbent exceedingly; so the dinner was very pleasant, too. It was an oppressive day, and, after dinner, Lucie proposed that the wine should be carried out under the plane-tree, and they should sit there in the air. As everything turned upon her, and revolved about her, they went out under the plane-tree , and she carried the wine down for the special benefit of Mr. Lorry. She had installed herself, some time before, as Mr. Lorry’s cup-bearer; and while they sat under the plane-tree, talking, she kept his glass replenished. Mysterious backs and ends of houses peeped at them as they talked, and the plane-tree whispered to them in its own way above their heads. (Bk. II, Ch. 6) In the context of the passage above, Dr. Manette, Lucie, Mr. Lorry, and Miss Pross are in the courtyard after dinner. The repeated use of â€Å"plane-tree† and â€Å"pleasant† in close proximity serves to create a comfortable and cozy atmosphere of domestic peace. At the same time, however, I find the repetition of the word â€Å"wine. † As already mentioned, â€Å"wine† in the English scenes is associated with a serious development in the plot. Through the co-occurrence of â€Å"plane-tree† with â€Å"wine† we can sense an impending misfortune to threaten Lucie’s happy family life, even though the â€Å"plane-tree† itself carries a good connotation. In fact, in the scene which follows the passage above, all the characters who gather under the â€Å"plane-tree† hear the footsteps of the people in the street caught in the sudden storm, which seems to be indicative of the outbreak of the French Revolution. Additionally, the personification of the â€Å"plane-tree† and â€Å"houses† in the last sentence also serves as an ominous harbinger. As another example of the repeated use of the â€Å"plane-tree,† let me examine the following two passages. Passage (9) is observed at the very beginning, and passage (10) at the very end of Chapter 17 of Book II: (9) Never did the sun go down with a brighter glory on the quiet corner in Soho, than one memorable evening when the Doctor and his daughter sat under the plane-tree together. Never did the moon rise with a milder radiance over great London, than on that night when it found them still seated under the tree, and shone upon their faces through its leaves. Lucie was to be married to-morrow. She had reserved this last evening for her father, and they sat alone under the plane-tree. â€Å"You are happy, my dear father? † â€Å"Quite, my child. † (Bk. II, Ch. 17) (10) (Lucie sits by her father’s bedside for a while. ) She[Lucie] timidly laid her hand on his[Dr. Manette’s] dear breast, and put up a prayer that she might ever be as true to him as her love aspired to be, and as his sorrows deserved. Then, she withdrew her hand, and kissed his lips once more, and went away. So, the sunrise came, and the shadows of the leaves of the plane-tree moved upon his face, as softly as her lips had moved in praying for him. Bk. II, Ch. 17) The first passage appears in the context where Lucie and her father sit outside under the â€Å"plane-tree† the night before her wedding, and she reassures her father that her love for Darnay will not alter her love for him. The repetitive use of the â€Å"plane-tree† (and also the words â€Å"the tree† twice) along with the words indicative of light, â€Å"sun,† â€Å"brighter,† â€Å"moon,† â€Å"radiance,† or â€Å"shone† is closely related with the domestic happiness and hope that Lucie and her father feel. Furthermore, in passage (10), the word denoting light, â€Å"sunrise,† is also used. At the same time, however, the â€Å"plane-tree† co-occurs with the word â€Å"shadow,† which seems to carry an ominous implication for Dr. Manette’s future. In reality, in the following chapter, Chapter 18 of Book II, Dr. Manette has temporarily reverted to shoemaking because of the shock of Charles Darnay’s revelation, on the morning of his wedding to Lucie, of his identity as a member of the St Evremonde family. It can be said that the repeated use of the â€Å"plane-tree† itself symbolically suggests the Manettes’ domestic peace, co-occurring with the words significant of light. Yet, the change of words co-occurring with the â€Å"plane-tree,† that is to say, the new combination of â€Å"plane-tree† and â€Å"shadow,† implies the characters’ future fate in terms of foreshadowing. The foregoing arguments justify stating that Dickens deliberately exploits the technique of repetition with great artistry in order to individualize characters, to make creative use of conventional symbolic meanings, to prefigure future events, and to convey the main themes of the novel, such as fate, resurrection, and contrast, to the minds of the reader. The novelist’s use of repetition for the stylistic effects of emphasis and irony can also e found in his other novels. However, in A Tale of Two Cities, the repetitions of words and phrases are well organized and structurally used, and thus have the obvious function of creating a strong sense of unity in the structure of the novel. In a metaphorical sense, as various kinds of threads are woven to gether into texture, various kinds of repetition are skillfully interwoven into the story, and provide a strong sense of continuity and association within the novel. Such structural use of repetition is one of the linguistic peculiarities of A Tale of Two Cities.

The Misanthrope Essays - The Misanthrope, Operas,

The Misanthrope The Misanthrope was not similar to anything one might expect to see in a modern day theatrical production. The dialogue that was spoken between the actors was hard to understand as an audience member. Moliere's play is done in classic verse format, meaning that the play was done completely in rhyme. An addition obstacle for the actors was the language was not updated to the current mode of speaking. Often times plays that are kept in the original language get complaints form their audiences about the inability to enjoy the play because most of the audience's time was spent trying to figure out what the actors were saying. At the same time, actors must be aware of overdoing their movements and gestures so they don't go down the path of dreaded indication. This production of the Misanthrope was a little lacking in the overall quality of the performance because the majority of the actors were having trouble overcoming the language barrier. The play opens with a conversation between Alceste, played by Geoff Wilson, and Philinte, played by Stan Q. Wash. Alceste shows himself to be very cynical about the motives of people and Philinte shows himself to be very sincere believing that people should be kind to each other even if it meant putting on a false face. We learn this through Alceste and Philinte's comments on a poem written by their friend Oronte, played by Blake Bowen. Alceste thinks it is horrible while Philinte thinks it is wonderful. Philinte also says that Alceste was too blunt and could have softened his criticism. Later, Alceste decides to go see Celimene, played by Kelly Ann Ford, and talk about their relationship. He tells her that she should get rid of the rest of her suitors and she insists that he is her only true lover. The rest of the suitors at Celimene's apartment believe the same as Alceste. As they're talking, Oronte enters with the marshal who tells Alceste to apologize to Oronte about the comments he made on his poem. Then Acaste, played by Brian Levin, and Clitandre, played by Jeff Radue, argue over who is the better lover for Celimene. After that situation, Arsinoe comes in to confront Celimene about her personality. They discuss the matter very heatedly and Arsinoe does not succeed in putting down Celimene. Finally after these conversations, Alceste brings a letter to the attention of everyone. It is a letter from Celimene to Oronte. He tries to confront Celimene about it, but she denies any such letter. Alceste wants to leave all these problems he is having, but Philinte convinces him to stay and think everything through. Then Oronte goes to Celimene to find out whom she truly loves and then all of the others come in shortly after. While all of the characters are together Acaste reads his letter from Celimene that discloses her feeling about everyone. Once this was revealed, Clitandre and Acaste decide that she is not worth their time so they leave. Oronte leaves her wit h a few words and then Arsinoe tells her a thing or two. Alceste forgives her and still wants to be with her. She really does not want to be with him and then Alceste decides that she is really not worth his time and he really does not like her. Philinte and Eliante decide to get married and make it their duty to make Alceste happy. Even though this production lacking the language barrier there were some well-portrayed moments in the play. The actress who portrayed Celimene, Kelly Ann Ford, and the actor who portrayed Alceste, Geoff Wilson, did a wonderful job in conveying their intended message to the audience. The character of Alceste is meant to be a man obsessed with the truth, high morals, and the pursuit of intelligence; accordingly his physical actions should demonstrate this in some shape or form. Alceste clearly was centered in his head, they way he carried himself, reflected this, as he always had his head slightly upturned and looked down upon, literally, everyone. Celimene, on the other hand, was clearly centered on her chest. She liked all the attention and was an extremely proud woman, as demonstrated during her